THIS JUST POPPED UP ON A CD ANY INFO PLEASE NOTHING LISTED IN MANSHIPS GUIDE

THANKS

KEV

It's not the version that used to be credited to Diana Ross and then Barbara Mercer is it?

It's not the version that used to be credited to Diana Ross and then Barbara Mercer is it?

Always sounded like Diana to me, though I wouldn't have a clue.

Never the best quality recording, the sounds a bit up and down, but otherwise a good version IMOP:

Clearlya Groovesville track. Why would Diane Ross be singing on a Groovesville track?  Sounds more like Barbara Mercerat times, but also not in places.  But, I'd still guess Mercer.  She did record for Don Davis and Lebaron Taylor and Ed Wingate.  I really doubt that Diane Ross ever did. This singer doesn't sound anything to me like Sandy Wynns.

Edited November 13, 201311 yr by RobbK

Where's Gilly.?

Can't play the YT vid but the one doing the rounds credited first to DR and later to BM is clearly Babs Mercer. Sounds very unfinished so I guess it's publishers demo acetate for other artists.

 

Shawn Robinson on Minit is credited Myto Music, that's Don Davis isn't it?

Always sounded like Diana to me, though I wouldn't have a clue.

Never the best quality recording, the sounds a bit up and down, but otherwise a good version IMOP:

That`s a truely dreadful version! you need to purchase some Otex Mick 

Myto is Ed Wingate. Always thought this was Barbara Mercer. Sounds a bit slow to me. There is a much faster Band Track.

THIS JUST POPPED UP ON A CD ANY INFO PLEASE NOTHING LISTED IN MANSHIPS GUIDE

THANKS

KEV

 

But is this the version the opening post is referring to ?- Can you point us in the right direction for this Sany Wynns CD you have, then we can compare etc.

 

Cheers

Mick

SORRY FOR THE DELAY IN REPLYING WAS AWAY YESTERDAY 

IT SOUNDS LIKE THE DIANA ROSS /BARBARA MERCER BUT NOT THE SAME TO THESE EARS ANYWAY

ITS ON A SOULSHACK CD CALLED GO GO POWER 22 CLASSIC NORTHERN SOUL GIRLS

KEV

But is this the version the opening post is referring to ?- Can you point us in the right direction for this Sany Wynns CD you have, then we can compare etc.

 

Cheers

Mick

RIGHT LETS SEE IF THIS WORKS 

KEV

 

BINGO

Edited November 14, 201311 yr by kevinsoulman

RIGHT LETS SEE IF THIS WORKS 

KEV

 

BINGO

 

Thats either a different version or it's been doctored, but it's more blue eyed than Shawn Robinson's version

So, Golden World had Barbara Mercer record the song (for potential release on their own label, or as a demo for other artists).  They ended up not releasing her version, but Imperial/Minit decided to produce Shawn Robinson singing it).  The Barbara Mercer recording was "discovered" at the same as many other tapes from Groovesville (which included songs both published by Don Davis' Groovesville Music, that had been used by artists on Solid Hitbound Productions (LeBaron Taylor and Don Davis), and also songs that had been published by Ed Wingate's and JoAnne Bratton's Myto Music, that were, apparently, brought to Wingate by Don Davis (who worked as a producer with the former's labels, and in partnership with Wingate on particular projects. 

 

What I find that is interesting, is that neither of Barbara Mercer's Golden World 45s has even one song produced, or even written, by Don Davis.  So why was that Barbara Mercer cut found, together with Groovesville tapes?  It should have been found at Motown, with the other Golden World/Ric Tic tapes. 

 

Does anyone know the source of that "find" from the 1980s that resulted in the bootlegged "Groovesville Cassette" tape sales?

 

Can anyone tell me where Shawn Robinson was from?  A Detroit artist?  Or just another Imperial/Minit artist who recorded a song controlled by Don Davis of Solid Hitbound Productions) arranged in the same deal that had Solid Hitbound producing those 4 songs by The O'Jays in Detroit (A similar deal that Solid Hitbound had with Verve to produce Terri Bryant)?

So, Golden World had Barbara Mercer record the song (for potential release on their own label, or as a demo for other artists).  They ended up not releasing her version, but Imperial/Minit decided to produce Shawn Robinson singing it).  The Barbara Mercer recording was "discovered" at the same as many other tapes from Groovesville (which included songs both published by Don Davis' Groovesville Music, that had been used by artists on Solid Hitbound Productions (LeBaron Taylor and Don Davis), and also songs that had been published by Ed Wingate's and JoAnne Bratton's Myto Music, that were, apparently, brought to Wingate by Don Davis (who worked as a producer with the former's labels, and in partnership with Wingate on particular projects. 

 

What I find that is interesting, is that neither of Barbara Mercer's Golden World 45s has even one song produced, or even written, by Don Davis.  So why was that Barbara Mercer cut found, together with Groovesville tapes?  It should have been found at Motown, with the other Golden World/Ric Tic tapes. 

 

Does anyone know the source of that "find" from the 1980s that resulted in the bootlegged "Groovesville Cassette" tape sales?

 

Can anyone tell me where Shawn Robinson was from?  A Detroit artist?  Or just another Imperial/Minit artist who recorded a song controlled by Don Davis of Solid Hitbound Productions) arranged in the same deal that had Solid Hitbound producing those 4 songs by The O'Jays in Detroit (A similar deal that Solid Hitbound had with Verve to produce Terri Bryant)?

 

Robb I had a press cutting about Shawn Robinson when she signed for Minit, I doubt I'll find it now but someone else might have a copy of it

Robb I had a press cutting about Shawn Robinson when she signed for Minit, I doubt I'll find it now but someone else might have a copy of it

Interesting that both sides of her 45 were written by Robert Staunton (for Wingate's Myto Music), and arranged by Arthur Wright, who worked out of L.A.  Solid Hitbound brought The O'Jays to Detroit and had Mike Terry arrange their cuts.  This situation seemingly had Robert Staunton produce shawn Robinson in L.A. as an independent producer for Imperial (to whom she was signed as an artist).  Was it a deal done by Wingate with Imperial, sending Staunton to them?  Staunton had a falling out with Berry Gordy, in late 1965.  Maybe Staunton just went over to Wingate's Golden World/Ric Tic just after (staying in Detroit).  And then Wingate placed him in this deal.  Or, maybe Staunton, who had worked in New York and Chicago, went to L.A. and made an independent deal.  But, then, why weren't the songs published by Imperial's Metric Music?  So, it seems more likely that Wingate made the deal with Imperial/Minit.

Interesting that both sides of her 45 were written by Robert Staunton (for Wingate's Myto Music), and arranged by Arthur Wright, who worked out of L.A.  ......  maybe Staunton, who had worked in New York and Chicago, went to L.A. and made an independent deal. 

Has anyone written a detailed article on Robert Staunton's music career ??

He certainly did seem to do stuff for lots of different labels and out of different cities !

No doubt these just list a few of his many efforts .............

https://www.discogs.com/artist/Robert+Staunton

https://www.discogs.com/artist/Robert+Staunton+and+Robert+Walker

OK I Will add my bit,found this track in 1992 on a master tape at an engineers house,he said it was a Golden World session and was Diana Ross on vocals,hard to believe you might say(was the snakepit busy that day so they went over to GW place ?)The first song S Lane put up is the version I used to play along with the instrumental the 2nd song put up I also have and its the song sang twice and mixed together to give a stronger vocal (something they used to do from time to time(not very good is it) Later on the song cropped up on CD from Tim Browns domain and the track in question was sung by Barbara Mercer,makes more sense I guess.Those are the facts as I know it.Is it D Ross or B Mercer surely not Sandy Wynns

Didn't it say Diana Ross on the can Gilly?

If you say it was Motown sending Diana Ross to Golden World to record because The Snakepit was busy, then it would have been a Motown production.  if thatwas in 1966, why would they have sent her to Golden World?  Why would Robert Staunton be producing her-even if this occurred before his falling out with Berry Gordy, why would they have Robert Staunton producing Diana Ross, as a solo artist in early 1966?  Why then was the publishing Myto Music rather than Motown's Jobete Music?  I can't see Berry Gordy using a Golden World published song before the buyout. 

 

Ed Wingate was Gordy's rival, despite being smaller.  Gordy was furious that he was "stealing his musicians", and scoring hits in his "backyard".  he would NOT have sent his flagship artist to record leasing studio time at his rival's studio, and would NOT have recorded a Myto song, before he bought Wingate out.  By the time of the first buyout, Robert Staunton was already gone from Motown, after having an argument with Gordy over pay and producer credits.  Gordy would not have sent his most favoured artist to his rival's studio to record a song written by a hated ex-employee.

 

The recording has to be Barbara Mercer singing in a purely Golden World production.

Whoever it is, it wouldn't be unusual for a girl to sing in the style of Diana Ross or to copy her voice, either to cash in a popular sound or more likely to demo a song they intended to pitch to Holland & Dozier or other producers.

 

If you say it was Motown sending Diana Ross to Golden World to record because The Snakepit was busy, then it would have been a Motown production.  if thatwas in 1966, why would they have sent her to Golden World?  Why would Robert Staunton be producing her-even if this occurred before his falling out with Berry Gordy, why would they have Robert Staunton producing Diana Ross, as a solo artist in early 1966?  Why then was the publishing Myto Music rather than Motown's Jobete Music?  I can't see Berry Gordy using a Golden World published song before the buyout. 

 

Ed Wingate was Gordy's rival, despite being smaller.  Gordy was furious that he was "stealing his musicians", and scoring hits in his "backyard".  he would NOT have sent his flagship artist to record leasing studio time at his rival's studio, and would NOT have recorded a Myto song, before he bought Wingate out.  By the time of the first buyout, Robert Staunton was already gone from Motown, after having an argument with Gordy over pay and producer credits.  Gordy would not have sent his most favoured artist to his rival's studio to record a song written by a hated ex-employee.

 

The recording has to be Barbara Mercer singing in a purely Golden World production.

Just a suggestion Rob,nothing more

Whoever it is, it wouldn't be unusual for a girl to sing in the style of Diana Ross or to copy her voice, either to cash in a popular sound or more likely to demo a song they intended to pitch to Holland & Dozier or other producers.

 

That's a very good point Paul

Has anyone contacted Scott Harlow?

Paul Mooney, on 15 Nov 2013 - 4:29 PM, said:

Whoever it is, it wouldn't be unusual for a girl to sing in the style of Diana Ross or to copy her voice, either to cash in a popular sound or more likely to demo a song they intended to pitch to Holland & Dozier or other producers.

 

"That's a very good point Paul."

 

It might be a good idea to sing in Diana Ross' style to demo a song to non-Motown producers, but not for an attempt to get Holland-Dozier-Holland or any other Motown producers to want to use the song for Diana to record it.  They knew there was no chance that any of them would think that Berry Gordy would allow them to use a Wingate-published and/or Wingate staff written song.  Gordy was trying to drive Wingate out of business or buy him out (which actually occurred, not long after this recording).  He would NOT have allowed the two firms to work together on a project, which could potentially bring money into Wingate's operation.

?

Superb Detroit soul. Shawn Robinson's version is brilliant but to those familiar with it, the Barbara Mercer version adds a hint of mystique to an already stunning soundtrack. Dean used to spin this at the 100 Club, presumably on an acetate of some sort. Have it on a home-made compilation titled Plugged In Soul that was doing the rounds on the tape-swappers circuit at the turn of the Millennium but not seen the track available commercially. Thanks for flagging this masterpiece up - best track I've heard today. Excuse me while I play it again...

Thats either a different version or it's been doctored, but it's more blue eyed than Shawn Robinson's version

Now played this version which as Pete says has been tweaked, and in my opinion, lost the atmosphere of the Barbara Mercer version coming across as poppy and synthetic. Anticlimax of the day...