Robbk

Thanks for that information. It would have been ice to have known all this 50 years ago. But, as Mickey McCullers once sang, better late than never.

No one ever accused record companies of always meeting all the terms of their contracts and oral agreements with their artists.

Thanks for pointing that out.

They have Soul music used on commercials -just not RARE Soul (that never made it to the radio during its initial sales run. They only use songs that were monster hits. "Stand by Me" was a mega hit. They've never used unreleased cuts and songs like "Just Say You're Wanted and Needed" by Gwen Owens, and songs off acetates that were never released like The Cashmeres on HEM. They mean nothing to the average American. But then, I never thought that Northern Soul would be recognised by mainstream Britain.

In USA (the land of Soul music, were lucky if we hear a Supremes' song on a commercial, and in The UK, unrelesed and unpressed recordings by The Cashmeres, and virtually unreleased cuts by Gwen Owens and Rita and The Tiaras, ad infinitum, are played as Muzak, and used on TV commercials. What a bizarre world!

Wow! Who would have guessed that a record that I discovered in 1966, and bought for a nickel in a South Central L.A. Goodwill Store, and was given to Rod Shard to break in The UK first debuted there in 1980, would eventually be in a commercial making fun of that nation's prime minister? And, although I never met Johnny Cochran, I've met O.J. Simpson, (a celebrity he defended). What a small World it is!

Kind of bizarre one-off situation of King picking up the rights to a Modern record. Modern had Modern Oldies Series, and Kent repressing their hits throughout the late '60s and early '70s. I wonder when that King issue was pressed? (end of the 1970s?)

All Ray Charles' releases after he started Tangerine Records, were Tangerine Productions, and should have had the Tangerine logo on the labels. That was part of his new production deal.

The grammar police at the printer made this change. They assumed wrongly, that ABC would have wanted the grammar in the title to be in proper American English, as opposed to the way in which Ray Charles sang the song. Clearly, the person who made that decision, hadn't heard Brother Ray's song on the radio, played from a WDJ issue, that preceded this first press run. For the pressing at that plant, the printing order was separate, because it went to the printer used by that plant. That same error was not made in the other orders at the other plants. At Airwave Records, we had printers screw up on orders that I, myself had okayed and seen that the words had been spelt correctly.

That was the proper thing to do, as it doesn't make sense to send 2 separate packages when one can be sent. Still, in these days of selfishness and rampant dishonesty, it's nice to see things like this happen. There are still a lot of honest, caring, respectful people out there, just that their percentage of the total population seems to shrink with each passing year.

I've seen it before, but it's the least common pressing. It was pressed in a plant that still had the blank labels from the previous style that had already been changed in all other plants for many months (possibly more than a year) to the white circle design.

This happens all too frequently, the recording on the actual pressed record is not on You-Tube, but an alternative take is. There are very many common records whose cuts are not up on You-Tube, in addition to many slightly rare records and some very rare ones, as well. Still, it's a great resource to hear hundreds of thousands of songs. Many of those missing have been on before, and will be again, until they are taken down once more.

Voice Records was owned by Chex's Tony Ewing, and the recording session was run by Popcorn Wylie. Gabriel Garrett, who produced the Gloria record, had worked previously with Ewing. There's no credit to Ewing, and his own Music publishing co., Criss Music, doesn't share the publishing with Garrett's publisher. I wonder how Garrett got that backing track, and why the original music writers, Ewing and Othea George, didn't share in the writing credits?

By the way,I guess you all know that "Sherl SwoTe" has 2 misprints. Her name is correctly spelt: "Sheryl Swope".

This is exactly it! Mary was Eddie's wife. They met when he was arranging and playing sax for The Ike & Tina Turner Review. Mary (formerly Mary Brown) was a member of The Ikettes. Eddie Silvers was a prolific independent Chicago arranger and producer, and had his hands in both the record productions above. Most of the young recording artists/singers in Chicago knew each other from "battles of the groups" at sock hops in the high schools, and practising singing in the park rec rooms at the many parks in the city, as well as in outdoor concerts/shows in the parks. Yes, it is true that the group membership was very fluid, and that many of the kids had sung together at one time or another. It's no surprise that a group in one song would mention a rival group whose current song they liked, or because they were friendly with the other group, and wanted to help that song get sales, or because the producer wanted to spur more sales for another record he had out on another label. I don't recall that particular lineup of The Blenders having a connection with Foxy and The Seven Hounds (but then, I don't know who The 7 Hounds were. But, it seems obvious that Eddie Silvers wanted to garner additional sales and chart action for that record, and through his association with both, group members of both groups surely had to know each other from rehearsal and recording dates, and also shows. I lived in South Chicago (very near its boundary with The South Side), and I worked on The South Side(1959-1967). I attended Bowen High School (which had a prolific music department-producing several R&B and Soul groups and a few single artists). I went to many sock hops at school, and park shows on The South Side and in South Chicago, and also several on The West Side and a few on The Near North side. ALL the young singers in each district of Chicago knew each other, and there was also a fair amount of cross-fertilization from area to area, as some of the kids hung out with cousins in other areas, or they'd be represented by a manager who had clients in another area, or they'd work for a producer who had groups in another area, or they'd meet at shows in other areas they were sent by their manager. Most of the young artists knew most of the Chicago artists, or, at least had seen them perform, and knew their repetoire. You will learn that by listening to Bob A's interviews on "Sittin' In The Park".

Referring to "Hollywood Records" as a Nashville label, is only referring to that label's resurrection from the end of the '60s through the early '70s, by it's owner, Starday Records, operating out of Nashville. Hollywood Records was started at the beginning of 1954, after John Dolphin, owner of the "Recorded in Hollywood" Records, sold his masters to US Decca, who made a partnership with Don Pierce to form "Hollywood Records", which would release those masters, and new recordings (many also made in L.A. Despite Pierce being located in Texas. The first Hollywood ran from beginning of 1954 through early 1959. Starday resurrected that label near the end of the '60s, re-issuing some of their '50s hits, while also recording and issuing new Soul material.

Yes, THAT Dean Barlow had been the lead singer of The Crickets, and a couple other groups. Most group collectors know him only as a group lead singer, and would be surprised that he had any solo career, at all (he really didn't have almost any sales). Same with Tony Middleton (Willows) Ray Pollard (Wanderers), Tony Williams (Platters), Eugene Pitt (Jive Five), Rudy West (Five Keys)Nate Nelson (Starglows), and so many others.

I find it difficult to understand why Clinton's Parliaments, who certainly must have started using that name earlier (1958) would have been forced to change their name, rather than the later, West Virginia group.

Ann Arbour is quite a bit west of Detroit, so it is considered, in some cases, "outside" The Detroit Metro Area.

The link sends me to a map of Detroit record label (companies) addresses - NOT recording studios. I HAVE also (in the past) seen a map of Detroit recording studios.

They are very close, but The Metros' sounds "fuller" and I hear some horns I didn't hear in the other 2 versions.

The 1977 is a tighter production. But I like the simpler, cleaner sound of the '60s version.

Ady, What do you mean "Metro, which apparently is actually MGM as they were in 1959"? I've seen most of the Metro records run, and they ALL have numbering system different from MGM's 45 series. And Metro Records was a definite subsidiary label of MGM. At least during Metro's run of King/Mack Productions' leased recordings, I don't remember ANY of the Metro releases also being released on the parent MGM label. I do remember a couple of the 35 Metro records also being released on MGM, but those were before The King/Mack run from K20022-K20035 from Aug. 1959 through April 1960. They both might have been released in early 1959.

I think they need it in high-quality (not MP3 or home-made CD) to make a new master for a commercial CD ("The Twirl Story") . I have sent Ace/Kent records so that they could make high-quality recordings off of them. They always sent them back with only one single play's worth of wear on them. I had The Dream Girls' record not long after it was out, but traded it in a big swap for other rare Detroit records in the late 1960s. I've lost track of the bloke since 1970 or so. He's probably deceased by now in any case. I've never seen nor heard the Freddy and The Parliaments. Were they an R&B/Soul group, or a pop group? There was some Pop on Twirl.

Probably more like 10 billion of us if you add all the undocumented illegal aliens in USA! Yes! Let's all live by The Golden Rule! No wars! No violence! Peace! Good health! Love and kindness! Time to stop and enjoy life! It goes by so very swiftly. Let us ponder. Let us smell the roses!