Robbk

Thanks for the link. Somehow, I had forgotten what I had read on that Fred Bridges webisode. The recordings for the Boo releases were made in several different recording studios in both Detroit and Chicago, for different portions of the recording process (lead vocals, background vocals, strings, background tracks, etc.). So, The Brothers of Soul did NOT come to stay in Chicago for long periods, but stayed in Detroit, and only commuted to Chicago fo one to 3 days or so.

As far as I know, Boo was Chicago based. The Brothers of Soul lived in Chicago during the late '60s, but they recorded some in Detroit (perhaps 35%), due to Fred Bridges' Detroit connections. But, they used mostly Chicago people in Chicago, with Mike Terry coming there from Detroit. I would guess that 2/3 of the Boo recordings were made in Chicago, and 1/3 in Detroit, and not all the Detroit recordings were made at Terra Shirma. But, I'll ask my old buddy, Ralph Terrana and his brother, Russ (owners of Terra-Shirma).

Sad to hear. 78 is much too young. I'm not far away from there, myself. I'd bet I own at least several 100 45s with Arthur's arrangements, and another few hundred with him as "merely" a session player. He provided a large part of my music enjoyment, growing up.

What's stamped in the runout will tell you. Also, if I'm not mistaken, all the boots I have seen were styrene, pressed at Monarch(and so, have the etched delta (with the following etched number with a telltale 10,000 series number from the late 1970s). And, their label colour is a lighter and brighter shade of green, with slightly more yellow in the green hue. The originals were not only a slightly more blueish and green, but darker. The only originals I have seen were vinyl, if I remember correctly (and were pressed in one of the smaller Detroit plants). I used to remember the name of that plant. But, I've forgotten it now. I'm now in Munich, away from my records. So, I can't check.

Dee Dee Sharp also sang What Am I Gonna Do. I'd bet that I could look through my collection and find 10 more different songs titled "Breakaway" and 10 more titled "I Still Love You", and 10 more titled "I'm So Lonely" and 10 more titled "Don't Pity Me" (but then, fully half my collection was released during the 1950s (so it wouldn't be surprising).

Shout was distributed by Columbia at one time, and Atlantic, as well (I believe).

And the singer sounds too young to have been Detroit's Herman Davis.

Goodbye Cruel Love was released on Motown and is, by far, the most common. If you have it on yellow Tamla with Globes, it's the Canadian pressing. Yes, now I remember that there was one small batch that had the wrong word (guessed wrong by the printer).

I think you meant "Good-Bye Cruel Love" by Linda Griner. "Goodbye Cruel World" (I'm Off To Join The Circus) was a horrible Pop song, sung by one of those '50s "pretty boy" movie stars, who couldn't sing. I think it was James Darren on Colpix Records? It started out with an instrumental intro of circus steam calliope music. Real camp!

I see that it is an L.A. label. I take it that THIS Herman Davis is not the Detroit guy that co-owned Lando Records and its Nu-Sound subsidiary that released Ed Henry and Nickels? The record was distributed by L.A.'s Kent Records.

Hits: My Girl - Temptations Ask The Lonely - Four Tops Truly Yours - Spinners Tracks of My Tears - Miracles My Guy - Mary Wells Run, Run, Run -Supremes Take Me In Your Arms - Kim Weston This Old Heart of Mine (Is Weak For You) - Isley Brothers Everybody Needs Love - Gladys Knight & Pips Non-Hits: A Favor For A Girl - Brenda Holloway Keep On Loving Me - Frances Nero Lonely, Lonely Girl Am I - Velvelettes The Man Who Don't Believe In Love - Marv Johnson My Beloved - Satintones (Strings version) I'll Come Running - Carolyn Crawford Vinyl unreleased: Tears, Nobody and A Smile - Serenaders All I Do (Is Think About You) - Tammi Terrell Cry- Monitors Baby, Hit and Run - Contours (Dennis Edwards) Dr. Jekyll and Mr. Hyde - Versatones Crying In The Night -Monitors On The Avenue - Jimmy Ruffin All I Have Left are Memories - Sammy Turner & Serenaders A Tear From A Woman's Eyes - Temptations I Should Have Known Better - Marvelettes There are WAY, way to many to list that were perfect recordings, and better than almost anything else recorded by any other company

Yes it's real. They DID get national distribution and pressed on The West Coast. That looks to be a styrene Monarch pressing.

Can we hear the other cuts in that set somewhere? "That New Girl is really good. I wonder if the others are the same artist, or others.

The demo record was made in a Cleveland, Ohio studio. The Manhattans version was written by Carnival Records' owner, so I assume that that was the original. I assume this Ohio version was a remake. It's pretty nice, with a nice vocal and nice guitar. I'd like to hear a group behind him. There may have been a background group on another track. I don't remember ever seeing a remake of this song.

I'm pretty sure that the green was the original. I don't remember seeing a black one until several years later.

The straight design started the labe. The curved came later.

That might explain why I never saw one, as most of the records I looked through occurred between 1953 and 1972. The boot was probably made no earlier than the late '70s or early '80s, I'd venture to guess.

Good point, Chalky. Popcorn recorded for Johnnie Mae Matthews' Northern Records near the beginning of 1960. Berry Gordy was friendly with Popcorn, and used his band on some sessions in 1959. And, he easily could have been asked by Berry to test the new equipment he bought from Bristoe Bryant in late 1959 (as Al Abrams has attested. But, like other recording session musicians at that time, I believe he did NOT have a contract with Tamla, or Motown, and so, was free to sell his songs to anyone he chose. Furthermore, the recordings were test recordings, and not really finished. So Berry didn't want them. And, as the main purpose was just to test the equipment, Gordy probably made the deal with popcorn that the latter could keep the tapes afterwards, and do what he pleased with the music and the songs rights. THAT, must certainly be why those 2 songs weren't published by Jobete Music, as Gordy was very careful to keep all rights possible, after getting none or very little of the money from record sales when having his songs pressed and distributed on other people's labels (such as George Goldner's End/Gone/Mark-X and Vega, and Robert West's Kudo, and Atlantic and Chess, etc.).

The pink and white promos are quite common. I looked through literally millions of 45s from the year that record was out through today, and I have NEVER SEEN A YELLOW ONE! I would guess that the yellow one is very rare. But, considering that the stock issue was extremely common, as were both the pink and white DJs, I wouldn't think that the yellow DJ would be very valuable, despite its rarity.

I absolutely HATE being senile! I, myself, mentioned the label owner as Lee Gordon at least 6 times in this thread alone. My memory for details from 1949-1979 is second to none. But, I can't remember anything from 5 minutes ago or 2 seconds ago. I guess I'd be in an oldies' care home, already, if I didn't eat fish every day and drink fish oil.

I imagine it is pretty rare, as Gordon didn't have all that much money, and it was pressed up for a small market for US Black music in 1959 in Australia and New Zealand. I've only ever seen the one that was recently sold, and had never heard of it before, despite having been in the loop of US Detroit collectors since the early 1960s, and having worked for Motown during most of the 1970s. I'd guess that most of Motown's staff never knew that Gordon got hold of Wylie's demos and released them Down Under. A limited pressing in both Australia and New Zealand, 56 years hence.......I'd guess it would be extremely rare both on Australian and New Zealander Leedon. Just an aside, ....... I wonder what the "Lee" in Leedon stands for. Just surmising, but I'd bet a fellow named Lee (probably an Aussie businessman) was Gordon's financial partner in his labels.

Thanks Dave. Micky Shorr was a popular DJ on Detroit radio station WXYZ. He knew many, if not most of the early Motown staff and artists. He probably knew Gordon as well, and turned Gordon onto the fact that Gordy wasn't going to use Wylie's 2 demos for anything (knowing that Gordon was trying to promote recordings, and get into the music business. Maybe he did that on behalf of Wylie, so Popcorn could get the cuts released}.

The original pposter sytated that "Money" by NBarrett Strong came out on Anna Records first. But, it came out on Tamla Records first locally, and was leased later, to Anna for national distribution. But, it is true that Anna did press some 78s of it, while U.S.Tamla did not.

Mickey Schorr (Shorr) was said to be the connection to Motown. I've seen that name connected with Detroit R&B/Soul music before. Does anyone know more about him?

I'm sure it's Auss[e/NZ.