Robbk

Wow!!! More LaBrenda Ben, Linda Griner, Rita Wright, Liz Lands, Oma Heard, Lollipops, Barbara Randolph, and even more Kim Weston, Brenda Holloway, Martha and Gladys! I'm drooling! And Kim Weston's is a slow Jazz tune! I can't wait!

This website has been a lot of fun for me, and I've learned a lot in the 9 years or so that I've been on here. Too bad I was on the "wrong" NS website for 5-7 years before their demise and they only referred me to Soul-Source THEN. Not that they didn't have a good site, I enjoyed my time there and learned some. But this place had 10 times the traffic, and a lot more resources, and artists and DJs as posters. I can't imagine this site stopping and changing to Facebook. I hope that never happens.

I have never seen a silver issue of THAT particular record. All the issues I've seen were gold, and the demos white. Both those gold records look legit, the top being the West Coast (Monarch styrene pressing, and the lower being the East Coast pressing. You can tell if the Monarch pressing is a boot. If it has numbers starting in the 90000s or 100000s its a 70s boot. If it's in the 60000s it's original.

Sounds like a few kids in someone's garage. What a bunch of noise! The sax is okay.

This is Detroit drummer, George McGregor's cousin, who is also the brother of Chicago's Billy McGregor, who had a minor Chicago hit with "Mr. Shy". His voice is very, very like Billy's.

The bkue was looks like Jamaican to me, as it has the same font that was never used on a US pressing, and is seen above on every Jamaican example.

As you can see from the record jacket photo above, The RCA Lollipops were NOT a "white" group. The group on Smash Records was. Those 2 groups get confused,

I have both The Tempos and Young Hearts on Canterbury. That label had no other Bobby Sanders involvement, so I have a hard time believing he was A&R chief and part owner of that label. As I remember it, he merely leased masters to Canterbury to release and provide national distribution, as they had farther reach than any of Sanders' previous labels had. He was operating Soultown Productions at that time, but I think he hadn't yet started operating Soultown Records. As I recall, only the Sandy Wynns are Soul, and all other Canterbury releases were Pop. NONE of them had Bobby Sanders involved. Pick-A-Hit Records was certainly Bobby Sanders' label.

ZTSC 103000 was mid 1964, while 107000 was early to mid 1965. The '70s boot was probably done the same time as the non-Stephanye songs' boots, as they looked very similar in vinyl, runout and other aspects.

Aha! Thanks. And, why did they decide to put a Young Hearts release on Pick-A-Hit Records. Was that just a one-off subsidiary of Canterbury? I saw several Canterbury releases with no involvement of Sanders. And only the Young Hearts', which was. That leads me to have a hard time believing that Sanders was chief of A & R at Canterbury, and even moreso, that he was a major stockholder of that corporation. Certainly, he was chief of A&R at his own Soultown Records, and the major non-financing stockholder. But, I still need to be convinced that he had a major role with Canterbury. Pick-A-Hit was certainly a Bobby Sanders label. As for Canterbury, - I need some convincing.

Does anyone know the story of Bobby Sanders leasing masters to Canterbury? Why did he choose that small L.A. Label? Who were its owners? What is the relationship of Pick-A-Hit to Bobby Sanders? I always assumed he owned it. I assume that he felt that Canterbury could give him better national distribution than he could do on his own.

If Roy Handy was pressed and released in 1973, you can bet that whoever released it didn't pay Gene Redd, Jr. and/or Ed Wingate for the rights to press it up, and that neither of those 2 were the ones who pressed up that "lookalike" of the original.

Ha! HA! Your name, Rob Wigley reminds me of another supposed '60s dance tune, "The Wiggle"!. Also, I forgot "The Harlem Shuffle" and "The Olympic Shuffle", and "The Shuffle".

I believe so, as "Baby Hit and Run" and Just a Little Misunderstanding were both 1966, and "Good Night Irene" was 1967.

Thanks. I didn't know that The original Falcons got back together.

If it was listed alternatively as Joe Stubbs and The Falcons, I have to assume that the original recording was made by The Falcons, with Joe Stubbs on lead. That leads me to believe it was from a previously unreleased tape made under the auspices of Robert West (probably during the group's Lupine or period (or with the much lesser posibility that it was made during their Atlantic period)..

I never saw that record, despite looking through literally millions of 45s in USA from 1953-1972. I also never heard of a dance called "The Whip". I guess you could probably mention ANY one sylable English word, and it was the "so-called" name of a "dance" on a US 45 record.

I forgot all of those. I'm sure there are many more.

Forgot this one. The Barracuda would have been a Chicago dance, as Alvin Cash and The Crawlers sang that song first. Holly Maxwell was a Chicagoan, but, I think shed DID record that song on a trip to Philadelphia, if I remember correctly. But, I really don't remember the "Barracuda" dance step. So, I wonder if it was just another of those marketing wannabe fabricated dances? Anyway, that reminds me of "The Fish", which WAS a dance step (albeit not one I'd do in front of anyone).

HA! HA! THAT would be quite funny, and that's quite an understatement! Wouldn't you say, Rod? Ask Modern Soul Sucks if anyone here would really dare to take a peak at such a travesty. In any case, I'm probably the most technology-challenged old geezer you could find. I've never owned a camera in my life(despite traveling all over The World for 50 years), other than the one on my most recent I-Mac tabletop, and MacBook, and my first mobile phone (which I've only had for 1 year, and whose camera I still haven't a clue how to use.

More were created on the dance floors. There were a few that were created by artists (but, I would guess that their ideas for them probably came from seeing kids on the dance floor making those moves). We had some pretty good dancers at my high school (Bowen, in South Chicago). I wouldn't be surprised if The Uncle Willie, or one of the other Chicago dances started there. But, kids would see steps other kids were doing, at sock hops, and modify them to their own taste. Also, they watched the good dancers (like Lester Tipton and Major Lance, and the other featured kid dancers on the TV dance shows -in the '60s, and they copied steps from them).

Dang!!! I forgot "The Mess Around"!!! I have a Chubby Checker and a Ray Charles record dedicated to that "so called" dance. We never saw that dance in Chicagoland (as far as I remember). Maybe it was Chubby Checker just throwing his legs and feet all around in a random, clumsy "mess"? Sort of like doing "The Mashed potatoes" and letting your legs wander randomly and clumsily all over, after the initial floor scraping?

There was NO dance called "The Shake and Fingerpop". Fingerpoppping was snappping your fingers to the beat, shaking was referring to the dancing. That just meant, "come on woman, let's go out and do some dancin' " . They were doing The Jerk, The Skate, The Pearl , and The Boogaloo when that song was out. Yes, we Ghetto Chillin' did The Bop, The Stroll, The Madison, The Twist, The Hully Gully, The Mashed Potatoes, The Pop-Eye Waddle, The Duck, The Funky Chicken, The Uncle Willie, The Stomp, The Bird, The Watusi, The Pony, The Camel Walk, The Shing-a-ling, The Temptation Walk, The Dog, The Limbo, The Swim, The Fly and The Tighten-Up. The 81 was not really a national dance craze (that was mainly a Philly thing as was The Bristol Stomp), The Uncle Willie was a Chicago thang), I guess that The Boston Monkey was a special way of dancing The Monkey (only in Boston). The Monkey, The Skate, The Swim, The Boogaloo, and The Watusi all involved a lot of arm motion (but also foot and body motion. Other dances were mainly body and foot motion. Others, like Weegee Walk, The Clam (Elvis' song), just had a song to try to introduce them, but no one ever saw those so-called "dances". Most of them were just a single "dance step", as opposed to a full blown "dance". No self-respecting teenager would have been caught dead doing "The Freddie" or was it "Freddy"?

I lived in Chicago at the time the record was out, and searched for 45s in USA up to mid 1972. I have seen more copies of the orange & white than the gold. I would say about 5 to 1. But I wouldn't say the gold was "rare". As to how many of each are now in the hands of NS collectors, I couldn't say. Both Monique records are "uncommon", but I wouldn't define them as "rare".

No! No! My quote "Nail your record shelves to the wall with railroad spikes." was advice TO DO, to keep from getting your records broken in earthquakes. Shelves going high up on a tall wall are bound to come crashing down(carrying all their contents) IF they are not strongly nailed to the wall. Small, narrow nails wouldn't be strong enough to hold heavy shelves to a wall in a strong earthquake (6.0 or higher), or a middling quake, with your house located near the epicentre.