Robbk

Yes, I've been seeing your posts here for over a year now. I don't post much at Soulful Detroit anymore, because there are not many threads have any interest for me there these days, unless I START IT.

I think it's a slightly different mix. Nice to see you arrived here, Larry, if this is you!

Only one "gem" for me - the uptempo version of "Envious" by Linda Griner. That proves that a well-written song will sound good at any tempo. I like the Oma Heard and Brenda Holloway's version of "Lonely Teardrops:, as well as one of The Gladys Knights, one of The Connie Haines' and The Lollipops. All in all, it's roughly at the quality I expected" a few pleasant surprises, and most of the rest listenable, but nothing special, or songs I already had in some form. But, I'd have gotten it just for The Linda Griner. alone.

Jack is one of Marvin Jones' best friends. Dan Mancha is yet another stage name for another guy Don suggested use his family name.

Good catch. I'm convinced the bootleggers leave a little something small, but obvious when finally seen, just to keep peope from thinking they tried to flood the market with boots, and, perhaps, pass some off through secondary sellers, as originals. I am also of the opinion that those boots were made in Britain. Why bother to have a US plant press them, and then have to ship them to UK, when the existing US plants can't make them look any more legitimate than these are?

Not to mention "Catologue Music"on the Musicor record, rather than "Catalogue", and my friend, Dennis Coffey should be insulted that his name is misspelled as: "Coffee". Do they make one small misspelling to identify it easily as NOT being original, for those amateurs, that don't know how the original fonts for each pressing plant looked.

I also have the raised X on the "I Love You 1000 Times" side, with ZTSP 106382 1 Delta on the flip. So, it was mastered by ALCO in Hollywood, and pressed at Allied Pressing plant. As you might remember from a thread we had a couple years ago, the Delta symbol does NOT always indicate Monarch Pressing Plant in L.A. When NOT, it indicates Allied. Allied was connected to ARDCO (Allied Record Distribution Co.), which distributed many small, independent L.A.-based record labels. ALCO Steel made the stampers for Allield, and, if I remember correctly, was Allied Steel, owner of Allied Pressing Plant and ARDCO, as well.

That was the flip of "I Love You 1000 Times", which was their biggest hit on Musicor. I have the "Don't Hear, Speak, See No Evil" version. It has the ZTSP pressing code, indicating that it was likely pressed in Columbia's New York plant. I bought it in 1966, when the record was out, so we know that it was legitimate, and, thus, not a bootleg. There were a small number of ZTSPs pressed in Hollywood, California. And this was pressed on styrene. But, New York's plant used styrene as well, at times. I bought this in Chicago, and we mainly got Columbia pressings from New York. Columbia Chicago/Terre Haute, Indiana was used mainly for custom, small outside label runs from Detroit and Chicago. I've seen a lot of both titles, but I think that there were more of the one I have originally pressed.

Yes, thats's the legitimate jukebox issue. I bought it in 1964. Unfortunately, I didn't get it with the cardboard picture cover.

Going abroad isn't cheap for ANYONE! (unless your boss or clients are paying for it!

That must be München, they are constantly sending me invitations to attend (I live there 2-3 months per year). I also live in Noord Holland for 5-6 months. So. I could potentially attend the Amsterdam nighter. I also live 1-2 months in Nord Sjaeland in Danmark, so could attend Soul venues in Kopenhagen.

Great for me to see it. I watched the first episode -4 hours. Great to see what all these people look like, who I have dealt with for records, and or had conversations with on fora, or heard stories about. NONE of them look even remotely as I'd imagined them. It gave me a little better perspective on Northern Soul, especially the late 1960s pre- NS Soul scene, and Northern Soul in the early '70s (before I came to Lancashire to meet any Soulies.

Great for me to see it. I watched the first episode -4 hours. Great to see what all these people look like, who I have dealt with for records, and or had conversations with on fora, or heard stories about. NONE of them look even remotely as I'd imagined them. It gave me a little better perspective on Northern Soul, especially the late 1960s pre- NS Soul scene, and Northern Soul in the early '70s (before I came to Lancashire to meet any Soulies.

Soulful Detroit Archives has archived threads, but only since mid 2004. Threads from 2001-early 2004 were lost when they switched platforms for the forums. You could look up "The Temptations", and every thread in which they were mentioned will come up.

I don't think I've ever heard of a website that had that information. But, I think I saw a thread on The Motown Subforum of Soulful Detroit Forum, on which some poster posted a list with that information. I think Keith Hughes should know if such a list exists.

MOST of Malynn's distributed product was from labels owned by Money's owners (Mrs. Dolphin (John Dolphin's widow), and, later, perhaps a financier partner or (less likely) an A&R partner. Money (new, resurrected Money Records), Jerk, Ten Star, Call Me, Robin's Nest were all, at least partly owned by Money. Malynn, Highland, Pure Soul,and other Malynn-distributed labels had no other connection to Money Records, other than possibly using Arthur Wright as an arranger. The first (orange-coloured) Money label, and its Cash and Ball Records subsidiaries operated before Malynn Enterprises was formed.

I think it's also possible that it was booted for the low-rider scene, as the flip, "East Side" was played by them. "East Side" was, more or less, a tribute to The East L.A. sound, from which the low rider scene developed.

I've got enough extra Amy-Mla-Bell sleeves, as well as Fire, Fury, VJ, Specialty, King. Federal, DeLuxe, Bethlehem, Era, Chess, USA, Atlantic, Motown, Jubilee-Josie Group, Jamie and Jamie-Guyden, CIRCA, ARDCO, Scepter, Wand, End, Gone. and really, all the '60s, and many of the common '50s 45 sleeves. But, I would like it immensely, if I could get some of the rarer 1950s sleeves, like Flair, RPM, Modern, Crown, Aladdin, Jubilee, Gee, Rama, etc., AND if someone could make them for labels that never had any company sleeves, like Old Town, Prestige, Apollo, Sue, Symbol, Money, Cash, Savoy, Dore, Hollywood, Recorded in Hollywood, Parrot, Chance, United, States, Music City, Solid Hitbound Productions, Golden World, Ric Tic, Wingate, MAH's, D-Town, Wheelsville USA, Oneder-ful, Mar-V-Lus, M-Pac, Zodiac, Aquarius, Fortune, Hi-Q, Lupine, Bruce, Keen, SAR, Derby, Baton, Glory, Ebb, Arvee, Mira, Mirwood, Keymen, Master Key Productions, Renee, Ran-Dee, Magnum, HASA, etc., and every other label that never had company sleeves, but I have more than 10 recods of, and their distributors dodn't have distributor company sleeves.

I really doubt that "Elijah" would have been sought by The Low-Rider Scene members. Its flip, "East Side" would have been played by them, so that's a possibility. I was actually referring to Money Records that were "greasy ballads", like Vernon Green & The Medallions, The Larks, Lee Washington, M & M and The Peanuts, Don Julian.

Okay. So permission was given, legally, to issue it in Belgium. BUT, as no money went back to USA, (all rights-owning parties didn't receive their just compensation), it must be considered a "bootleg". Did the producer register "Tollie Records" as a company operating in Belgium? Or register "Tollie Records" as an official operating or trade name? Tollie Music Publishing was still in operation in USA. Were Jimmy and Vivian Bracken, or their heirs paid for use of their trademark name? Perhaps their rights to the label name lapsed after a number of years after their company, Tollie Records folded. But their music publisher still existed.

I guess that maybe I was thinking of the late '60s. I really wasn't buying much of anything from the '70s.

My first instinct is that Hank Jacobs was a jazz pianist, who recorded a lot of Jazz piano cuts that wouldn't lend themselves well to a Soul vocal on top. But, you are correct in wondering why a Jazz pianist would play a tune written by a Soul vocalist, if it weren't intended for a vocal by that artist or one of her contacts. It doesn't sound, at all, to me like a background to a vocal. If it WERE used for that purpose, it would likely sound "messy" to me, and I wouldn't like it very much (unlike the situation with Barbara Acklin's "AM I The Same Girl".

With a Delta number of 97939, that's got to have been in 1976 or 1977. That means it was a boot, as Malynn Enterprises was no longer operating by then. Money Records had also stopped (although, if I remember correctly Mrs. Dolphin started up Money again around 1979 or 1980, to press re-issues (mostly for The low-Rider Scene-I would guess). But THOSE legit re-presses didn't have "Distributed by Malynn" on them. Those late '70s Monarch pressings with "Licensed exclusively to Soul Galore" on them were pressed by Simon Soussan. I don't know for sure, but I sincerely doubt that he paid Mrs. Dolphin and Hank Jacobs for the rights.

Huh??? I was still buying 45s in Nederland in the early '70s, and I don't remember the US big hole format (other than in Soul bootlegs). Or am I senile, and just remembering the late '60s?

I've seen a few pressing from a plant different from Monarch, but, if I remember correctly, they also had "Distributed by Malynn Enterprises, inc." written on them. I don't remember an early pressing on Call Me Records, that was put out before it was distributed by Malynn. I'm pretty sure that Call Me Records was a subsidiary of Money Records from the start, and was half-owned by Mrs. Dolphin, and perhaps half owned by Hank Jacobs. So, as Malynn was Money's distributor before Call Me started, Call Me would have been distributed by Malynn from the start, and ALL Malynn-distributed Records had "Distributed by Malynn Enterprises" printed on them.