Robbk

Do you know about their Dee Dee 1003 record, "Nothing Lasts Forever"/"If There's A Tomorrow"? Is that a Dore subsidiary? Both Hillary and Meadowlark Music are Lou Bedell music publishing companies.

Too bad. It was a great site. I, myself. uploaded hundreds of different company record sleeves to a thread on a now-extinct Soul music forum. Too bad. I am too old and too busy now to upload them again. Some of you may have frequented that forum, as well as this one. It also was a Northern Soul forum, which had mainly British members. We were referred to THIS forum when they stopped operations (in 2007, I believe). And that is when I started posting here again.

I had one in my collection at that time (so did Norman Presley, so did John Raino, so did Bob Cattaneo, so did several other Americans that I knew).

Yes. There were a couple pressings of tunes that originally came out on non-Bobby Sanders labels that bore no relationship to Bobby Sanders productions, or Soultown Records. And I sincerely doubt that Sanders leased the rights to re-issue them. They looked suspiciously like bootlegs, and were pressed up at Monarch during the late 1970s, during a time in which Soussan was pressing up scores of titles. Maybe he also had business cards showing himself as a member of "Soultown Records' staff or a sales agent for them, just to make it look legitimate, as Monarch's staff should have remembered Sanders as head of Soultown.

Thanks. "Stop" is a very good mid-tempo, reminiscent of The "St. Louis Sound" of the early '60s. The ballad side, "Mr. Sunrise" was quite disappointing. I wonder what else was on Doc Oliver's "Lucky" and "Mr. Lucky" Records, other than The Embracers and Otis Leavill, (and, I also remember a bluesy record by a male Bluesy R&B artist)?

Wow! Doc Oliver's Chicago early '60s label. That's the one on which Otis Leavill had his first release in 1961. I'd LOVE to hear the 2 sides of this Embracers. I never saw it, but do remember the group from back in '61-3. I bet it's right up my alley. Can anyone upload files of the sides?

Hahahahahaha! :lol: Good Ol' Simon! A cartoon character if there ever was one! If I were writing "The Simpsons", I'd certainly have added him in as one of Springfield's zany characters.

I do know that Robert Bateman was paid for leasing rights to repress Luther Ingram's HIB record. For this one, I imagine that Bateman was payed, as HIB was his label. But both these cuts were produced by Bateman's and Courtney's Emmalou Productions. So, I assume that the marketers have paid Courtney, as well (despite mentioning only Bateman on the label)..

John had a ridiculous amount of different rare Chicago records from that haul. I bought a couple of Moniques at Soul Bowl. And, normally, I didn't buy records I already had, unless they were really inexpensive.

Weren't the rights to release those cuts paid for? It was my understanding that those new HIB releases were legitimate releases. If so, they shouldn't be called "boots".

I saw only styrene copies of that record with the Monarch delta back when the record was out. That was the West Coast pressing. But, in The Midwest and East, most likely, the pressings were vinyl. But, they, of course, wouldn't have had a delta on them. Monarch DID press some records on vinyl. But, I tyhought that started in the 1970s. I don't remember any vinyl records from Monarch during the '60s (or, at least before 1969. So, I don't believe this record would have been pressed by Monarc onto vinyl. So, the vinyl King Errison record is suspect. Does anyone here know wxactly when Monarch started pressing vinyl records?

The Monarch press of it was on styrene.

I haven't seen an alternate flip on "Mr. Shy".

That listing has it listed as 131A rather than B. That would indicate that it was originally slated to be the B side, and cancelled (most likely before it was even scheduled). Maybe it was slated before the recording session, and then junked in favour of the ultimate B side, and that song never even got recorde? That would be very strange. Usually songs are, at least recorded, before they are slated. But, there is no evidence that song was recorded.

I think the quality of the styrene if different plants varied. I had my worst wear on the records from L.A.'s Monarch, which was somewhat less durable than the grooves in the styrene from that plant in New York (Shelley?), and DEFINITELY worse than the Styrene used at Columbia Terre Haute. I don't know if styrene was better in the '70s. I only have a couple score records from the '70s, and most of them are vinyl. The few '70s styrenes I have are 1970-72 Motown(&Sub.) labels' issues. And those from Monarch are exactly the same quality as Monarch was pressing in the mid '60s. I also doubt that they upped their styrene quality after 1972.

The late '60s dark green re-issue was the one I bought. The light green came out in 1979, and was marked 1980. But, perhaps some of that 2nd re-issue run were pressed in late 1979, and some were pressed in 1980 (thus the 1980 date). If they played it on the NSA Scene in 1978, they probably were playing either the original orange, or the 1967 dark green re-issue. The 1979-80 pressings were a reaction to the new market for it, because the NS crowd were playing it.

The late '60s dark green re-issue was the one I bought. The light green came out in 1979, and was marked 1980. But, perhaps some of that 2nd re-issue run were pressed in late 1979, and some were pressed in 1980 (thus the 1980 date). If they played it on the NSA Scene in 1978, they probably were playing either the original orange, or the 1967 dark green re-issue. The 1979-80 pressings were a reaction to the new market for it, because the NS crowd were playing it.

Ha! Ha! I passed up that record many times for 10¢, because I didn't have the extra dime, and I bought all I could from earlier years(1967 and later is only on the margins of my taste). I saw that record in the 4 for a dollar stacks at Pat's, and Sam's Records, and Flash's store on Adams near Western Records, and also on the 10 cent table at Herman Griffith's (Crain's) record shop. I wonder where all those copies ended up? Melted back to plastic? Bought up by local Soul fans who were not serious collectors?

The one on the right looks real enough. I really doubt that that re-issue was booted. The legitimate re-issue was readily available through the mid to late '70s. Why would anyone boot it? If someone were to make a facsimile boot, they'd have copied the original, orange label. The record on the left is a colour of the re-issue I haven't seen. It is too light and is a bit too yellowish. But, I suspect that it is just from a diffrerent re-issue run. I really doubt that it was booted. My original re-issue C-014s have C-014 A and C-014 B etched into the run-out, as well as the number 208 (on both sides). There is no stamp, or anthing else. What is etched and/or stamped in the runout of your record on the left?

Up through early 1964, Motown's studios were still leasing time to private parties, and providing session musicians and arrangers. Mike McLean played me a bunch of acetates and studio demo records of outside customer recordings recorded from 1960-1964, ranging from hard Blues through Gospel and transitional R&B/Soul. I know that they also had MOR and Pop clients, as well. Most often, the recording studio hooked up the customer to the pressing plant, and often arranged the pressing deal.

Wally Roker started in the music business in 1953, when his group, The Heartbeats, were signed to Rama Records. He was already writing songs that year. He was active in the music business from then until today. He was a songwriter in 1963, working for Scepter-Wand, and also as an independent songwriter. His songs were sung by artists all over USA. The Isley Brothers lived and worked in New York (where Roker was, and they were under contract to Wand Records. I have never seen a pressed record with that title. I'm wondering if that might have been slated as the original B side, and cancelled for a second choice flip, - never even got to the recording stage, let alone the press run scheduling stage.

"Look At My Baby" has currently been re-released as a 45 on a Fire Records look-a-like legitimate pressing on Heat Records. I think they are owned by Norton Records. I wonder if they will also issue "Work To Be Done" on a 45?

Here's Perryman's only authentic Fire release:

Here's a scan of the bootleg. It has a bogus catalogue number, and no writing or production credits. It was probably an unreleased Fire recording. Perryman had only one Fire 78/45 release that I know, and 3 on Duke Records:

Upon looking at the Flash, alone, label. I do remember seeing that one as well. I don't think one was more common than the other, and neither is rare. I think the "Flash" alone version was the first run, and the other the second. But, they were probably pressed within a month or two of each other. They are both from Chicago plants (perhaps the same plant).