Robbk

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).

I bought it when it first came out, and mine has "Flash Records". I'm guessing "Flash", alone, was an early, limited pressing, and it must be the rarer, as I only remember seeing the "Flash Records" pressing in shops, at United Records Distributors (which I used to frequent), and also remember seeing a few boxes of that same pressing at John Anderson's in King's Lynn. Can you post a scan of the "Flash" pressing? I'm curious to see what it looks like, and which pressing plant pressed it.

Why would a "Tamla expert" be of any use? From listening, we can certainly tell that isn't a Motown recording.

We collectors who have had too many records to start putting them in a database since before computers existed! We have always had to depend upon our photographic memories. Which is why I often bought a record 5 or 6 times, not remembering whether or not I had that partcular record by that particular artist on that particular label, if that artist had over 10 45s released on that label, and I didn't want to take a chance that I might not have that particular one!

I bought it new when it was first out in 1965, and mine sounded perfect no hiss, distortion or background noise.

It seems to me that the Age version came out before the Tamboo. The Age version charted, and was played a fair amount on WVON. It was very common. I've only seen a few copies of the Tamboo.

It sounds like what would result from Van McCoy having written and produced a song at Universal in Chicago in 1974, with Willie Henderson arranging and a Chicago group singing.

Error.

I know we've had a thread on this before, but what is the story behindd the gold wax being used on The Professionals' record? Was that BEFORE the black vinyl issue?

Was that a legitimate re-issue, after the original sales run started selling well, or a legitimate re-issue for The NS market? After good local sales on Dynamic, the record was leased to Imperial Records, so the owner probably couldn't release that record with picture sleeve, just locally, after the national lease. Or, was it a bootleg, later, for The northern Scene? I don't remember seeing that issue back in the '60s. And, I really doubt that the original owner of dynamic Records would have issued that record on red plastic, and doubt that he'd have spent the money on the picture cover printing before the record started selling well.

Yes, that label was NOT used during the 1960s in Detroit. That voice is NOT Chris Clark! Not a chance! Someone just wrote that name on much later than the recording was made. The songs sound like Jimmy Webb's writing, but the style of the recording sounds 1970s. The singers on Jobete Music acetates were often justthe writers, or writers' demo singers. I wouldn't be surprised if those songs were nevereven recoprded by contracted Motown singing artists, let alone never pressed on plastic (other than the Jobete song ownership"proof" acetate). Maybe they were targeted for MoWest or Motown's '70s C&W label.

Yes, '76 might be right. I was trying to estimate the year by using the delta #. My list only goes to 96,000. In any case, I can't imagine that Roger Bass got them pressed up in L.A. when he was in Detroit, just to ship them all to The UK for the NS market. I remember that Soussan was getting boots pressed up at Monarch at that time.

It was pressed up at Monarch Pressing Plant in Los Angeles in 1974 (Delta # 102402). It was rumoured that it was pressed up by Simon Soussan. If it had been a legitimate re-issue by the owner, Roger Bass (or whoever owned Sound, Inc.) in Detroit, why was it pressed in L.A. Should we really assume that British record dealers paid Bass, or whoever owned the rights to Sound City's recordings, for issuing that record? I rather doubt that.

Sorry about my misinformation. I was going by my memory, which was clearly wrong. We had a thread on Canadian Detroit releases some years ago that discussed this. I guess I remembered having seen those red Ric Tic Edwin Starrs, and thought they were also Canadian Ric Tic, but they must then be bootlegs.

There were some others. There were one or two late Edwin Starrs, and records by one or two other artists (Detroit Emeralds?) Didn't we have another thread discussing this that also had the label scans?

Here's another of their releases on a classic Chicago label (disgusting joke!) It was listed as being arranged by an ex-neighbour of mine in San Mateo, California. But, I think that was just a joke, as were the credits on the Lost Nite parody record:

Here's the original, by the same exact group/line-up:

I thought Flint said in his interview that HE had sung lead on the Wise World cuts. If so, why wouldn't his singing with a backup group be good enough? Gus Winfield (deceased) was the original and main lead, sang lead on the Thor/Nike cuts. But, I seem to remember that Flint said that HE, himself, sang lead on the Wise World cuts. Now I see that I heard it incorrectly, as Donald Lloyd was the lead on the Wise World cut. So, as Donald is deceased, and Flint is the only member of the group who still sings (Robert Vincent in Seattle, is retired), there was no demand to bring Flint and his new group to The UK.

The Magnum issue was released in mid 1965, the MGM acouple months later, and the Mutt & Jeff, I believe, was issued in 1967. I think the Good Old Gold was issued in the late '70s.