Robbk

It has strings.

I have all 3 releases, but, alas, my eyes are failing me, and I cannot read what's scratched and stamped on the runouts. On all 3 "A Love That Can Never Be" always has H-GO scratched in, with Bell Sound stamped on. H625 has ARP scratched on, and Audio Matrix stamped on. H55596 has H625 scratched on, Bell Sound and Audio Matrix stamped on. The West Coast pressing has what KJW listed, Delta 37804, H55596, H625 and MR stamped, and Bell Sound stamped. The pressing with "Angel" has about 5 known. I've seen hundreds of the ARP pressing, and only scores of the West Coast pressing. "Angel" is super rare. The West Coast pressing is a li9ttle more "relatively scarce" than is the ARP pressing. But neither of the non- "Angel" pressings is "rare".

The issue of Motown 1006 that has "Angel" instead of "Tomorrow and Always", and "A Love That Can Never Be" on the flip, is by FAR the rarest. There are only a few copies known. It was the latest issue of the record, , made as a late change, to satisfy a lawsuit that was initiated by Nevins-Kirshner and Carole King and Jerry Goffin of Aldon Music, as that "sequel" to "Will You Love Me Tomorrow" did not give Aldon Music half their publishing rights. The small batch pressed up was probably a token, to show compliance with the out-of-court agreement. That pressing was made in Detroit (probably just 100 pressed (or maybe 50? Just to show a sample. I think it was made in June or July 1961. As far as I remember, both the April '61 Monarch and ARP (American Sound Studio in Detroit) pressings had strings. I think somene here got this Satintones' record mixed up with Motown 1000, "My Beloved", which had an earlier non-strings version, and a later, with strings version.

Ha! I passed up buying that Earl Jackson several times during the '60s. It didn't seem all that rare back then.

Yes, those 3 different pressings represent different plants. But, the one with "of Philadelphia" on the label was, by far the most frequent, being distributed on The west Coast, in The Far West, and in The East. The one with "Arlen" written on the side was issued in The Midwest, and, I believe in The South. I think the 3rd standard and simple label design was a second pressing, a few months after the first, and only issued on The East Coast.

Absolutely! Can't wait!

Everything's going very well. I'm doing a lot of work for Danish Disney (which pays a lot more than the Dutch office, so I'm in good shape). I had plans to stop in London on my way back from Canada to Holland back at the beginning of June, to visit Ady and the gang at Ace/Kent, but I couldn't swing it (but several of them were away on holiday, anyway). I hope to stop there maybe next May. Perhaps I'll be able to meet some of the other Londoners on this website, as well. And maybe I'll make a trip up to Manchester, as well.I hope to visit Stockholm and have an extended stay in Finland next summer, as well.

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.