Robbk

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.

Ask Rod (ModernSoulSucks). He looked through those shelves (breathing that 10-inch layer of horrible dust), on many a sunny afternoon.

I think we could add: "Don't use cement blocks to hold up shelves made of loose boards, and nail your shelving to your walls with railroad spikes!" And,for good measure, put all you most valuable records on your lowest shelves.

As I am not an autograph collector, even though I have met many famous artists and a few musicians, I have never had any of them autograph anything for me. But, I have several 45s and a couple LPs with the autographs of the artist/group members, or musicians on them. The one I remember most, at hand, is Richard Street and his "New" Distants on Thelma Records. It has the autograph of all 5 members written in pencil on the "A" side ("Answer Me"). These were the new singers he recruited, when he decided to not join his fellow Distants in moving from Johnnie Mae Matthews' Northern Records to Motown when their contract with Matthews lapsed in late 1960. Most of the other former Distants signed with Motown as "The Temptations" in early 1961, and Street formed his new group near the end of 1961. He first signed with Hazel and Robert Coleman's Thelma Records in early 1962, when A&R man, Don Davis, changed DaCo (Davis/Coleman) Records to Thelma Records (naming the label after The Colemans' daughter, first wife of Berry Gordy). Street was first signed as an assistant producer and songwriter, and soon after, got an artist/group singing contract for his new group. Unfortunately, I'm not with my US 45s now, and so, cannot post a scan of those interesting signatures.

I've never broken a really expensive record. I had five yellow Atlantic 45s from 1951-53 broken from falling from my top wall shelf (16 feet high) during the great 1994 Los Angeles earthquake. But, 4 of them were duplicates for which I had an almost-as-good condition back-up copy (and they were not terribly rare (Joe Turner, Ruth Brown, Clovers). The most valuable was Atlantic 944 (Clovers - "Don't You Know I Love You"), for which I had a duplicate in similar condition. It probably is worth about £50-70 today. I was extremely lucky that neither of my Diamonds' nor early Cardinals, nor other, rarer early Atlantics were broken, especially given that it was a cement block that had been holding up detached boards (as shelving) that had fallen atop those records, that had broken those five. I had the top 3 shelves on that wall fall, with hundreds of records fall the 12-16 foot distance, with 4 cement blocks falling. During the quake, amidst the ground-rolling and wrenching-shaking, I ran out into my living room, and had to hold my chest against the remaining shelves, and spread my arms wide to hold up the remaining top shelves, to keep the remaining top 2 or 3 shelves from also falling. That helped my save my precious 1940s/'50s King/Federal/Deluxe/Bethlehem 45s, and my even more precious Chess/Checker/Argo/Cadet/Tuff/Parrot 45s. It could have been a terrible disaster. Since then, I have moved, and my US 45s are no longer in earthquake danger.

Gene Chandler was co-owner and one of the 2 executive producers of Maurci Records. So, I just assumed that he took them to him. Simtec Simmons was the other.

I have no clue who Monique is. But, I don't think she's from Detroit. I think that tapes of Dave Hamilton's tracks happened to get into the hands of Maurice Jackson from a Detroit contact of his, and he took them to Gene Chandler, and they recorded a Chicago singer (Monique) over them. I can't place her voice on another artist I know.

Both label styles are legitimate originals, from the mid sixties.

Great read! Thanks, Rob. Great read! Thanks, Rob.