Bit of a spin off from the Darrel Banks London Issue thread.

 

I'll be as simple as I can with this.

 

Its something that has puzzled me for yonks, here we go.

 

1966   Darrell Banks     on London. (Decca)

1966   Darrell Banks     on Stateside. (EMI).

 

1967   Al Kent/Parliaments  on Track (Polydor).

1967   J.J. Barnes on Polydor

1970   Dedonaires on Track (Polydor)

1970   Backtrack 6 Track album

 

All pretty chronological so far with the rights passing from Decca to EMI to Polydor. 1966-1970

 

So how come.

 

1966 two Edwin Starr Ric Tic singles on Polydor.

1967 one Edwin Starr Ric Tic single on Polydor.

1968 one Edwin Starr Ric Tic single on Polydor.

1968 Fantatic Four I Love You Madly on Tamla Motown (EMI)

1969 Stateside (EMI) re-issue Darrell Banks.

 

 

Maybe the answer is companies just buying rights to individual records,but

given the amount published by Track/Polydor I cant see it.

Edited June 17, 201410 yr by Kegsy

Bit of a spin off from the Darrel Banks London Issue thread.

 

I'll be as simple as I can with this.

 

Its something that has puzzled me for yonks, here we go.

 

1966   Darrell Banks     on London. (Decca)

1966   Darrell Banks     on Stateside. (EMI).

 

1967   Al Kent/Parliaments  on Track (Polydor).

1967   J.J. Barnes on Polydor

1970   Dedonaires on Track (Polydor)

1970   Backtrack 6 Track album

 

All pretty chronological so far with the rights passing from Decca to EMI to Polydor. 1966-1970

 

So how come.

 

1966 two Edwin Starr Ric Tic singles on Polydor.

1967 one Edwin Starr Ric Tic single on Polydor.

1968 one Edwin Starr Ric Tic single on Polydor.

1968 Fantatic Four I Love You Madly on Tamla Motown (EMI)

1969 Stateside (EMI) re-issue Darrell Banks.

 

 

Maybe the answer is companies just buying rights to individual records,but

given the amount published by Track/Polydor I cant see it.

 

Going from memory (might be a bit out). the deal with Ric-Tic and Polydor was a set deal/contract covering  a time period of a few years which is why TM couldn't release these tracks in the UK after their firs tRic-Tic aquisition. . The deal between Solid Hitbound and Track (Stamp and Lambert)  was separate and nothing to do with Ric-Tic/Polydor. At the time (1967) it was announced in the press  that Track were going to release the whole Revilot catalogue but obviously this never happened.

 

By the time Motown acquired The Fantastic Four the Ric-Tic/Polydor contract time span was over.

Bit of a spin off from the Darrel Banks London Issue thread.

 

I'll be as simple as I can with this.

 

Its something that has puzzled me for yonks, here we go.

 

1966   Darrell Banks     on London. (Decca)

1966   Darrell Banks     on Stateside. (EMI).

 

1967   Al Kent/Parliaments  on Track (Polydor).

1967   J.J. Barnes on Polydor

1970   Dedonaires on Track (Polydor)

1970   Backtrack 6 Track album

 

All pretty chronological so far with the rights passing from Decca to EMI to Polydor. 1966-1970

 

So how come.

 

1966 two Edwin Starr Ric Tic singles on Polydor.

1967 one Edwin Starr Ric Tic single on Polydor.

1968 one Edwin Starr Ric Tic single on Polydor.

1968 Fantatic Four I Love You Madly on Tamla Motown (EMI)

1969 Stateside (EMI) re-issue Darrell Banks.

 

 

Maybe the answer is companies just buying rights to individual records,but

given the amount published by Track/Polydor I cant see it.

 

Kegsy, the Edwin originally came out before the Track label was up and running, so as it was a minor hit, maybe they got the option to take a few releases from Ric Tic / Golden World.  Don't forget The Holidays also appeared on Polydor.

Going from memory (might be a bit out). the deal with Ric-Tic and Polydor was a set deal/contract covering  a time period of a few years which is why TM couldn't release these tracks in the UK after their firs tRic-Tic aquisition. . The deal between Solid Hitbound and Track (Stamp and Lambert)  was separate and nothing to do with Ric-Tic/Polydor. At the time (1967) it was announced in the press  that Track were going to release the whole Revilot catalogue but obviously this never happened.

 

By the time Motown acquired The Fantastic Four the Ric-Tic/Polydor contract time span was over.

 

 

I can see you point on the Edwin Starr Ric Tic stuff.

However Track released Revilot/Solid Hitbound singles in 1969/1970 too.

So how come Stateside could re-issue Darrell Banks in 1969.

They also released backtrack 6 in 1970 which had Ric Tic/Revilot and Solid Hitbound stuff on it and

Tamla Motown UK had the Ric Tic rights in 1968 as show by the Fantastic Four release.

 

I could understand all this if Motown , only had the rights

to Ric Tic releases made after the purchase of ric tic in 1968, but that cant be right

either as double o soul came out in the UK in 71 but was pre buyout.

I can see you point on the Edwin Starr Ric Tic stuff.

However Track released Revilot/Solid Hitbound singles in 1969/1970 too.

So how come Stateside could re-issue Darrell Banks in 1969.

They also released backtrack 6 in 1970 which had Ric Tic/Revilot and Solid Hitbound stuff on it and

Tamla Motown UK had the Ric Tic rights in 1968 as show by the Fantastic Four release.

 

I could understand all this if Motown , only had the rights

to Ric Tic releases made after the purchase of ric tic in 1968, but that cant be right

either as double o soul came out in the UK in 71 but was pre buyout.

 

Revilot isn't directly related to GW and RT though is it?

Revilot isn't directly related to GW and RT though is it?

 

 

True, only via the Solid Hitbound connection I suppose.

 

Then there's the fact artists like Rose Batiste, J.J. Barnes Etc seemed to swap between them.

 

Makes you wonder if there's a version of Open The Door etc by Edwin Starr on a dusty tape somewhere.

 

If it was found would be come out on Decca/London/Stateside or Polydor, AAARRRRRGGGGHHHHHHHHHH 

Edited June 18, 201410 yr by Kegsy

 

So how come Stateside could re-issue Darrell Banks in 1969.

 

Would Stateside still have held the rights from the 1966 release? Could they have had the rights for a set amount of time?

 

 

 

So how come Stateside could re-issue Darrell Banks in 1969.

 

Would Stateside still have held the rights from the 1966 release? Could they have had the rights for a set amount of time?

 

 

 

They were still pressing it in 1971!

They were still pressing it in 1971!

 

 

I'm beginning to wish I had not stated this topic.

They were still pressing it in 1971!

 

 

The other thing is there were no other Revilot records ever released on Stateside.

Although the did release Just Like Romeo and Juliet from Golden World.

No Ric Tic on Stateside either.

 

It does look like things were leased record by record but what bloody daft

way to carry on.

Edited June 18, 201410 yr by Kegsy

The other thing is there were no other Revilot records ever released on Stateside.

Although the did release Just Like Romeo and Juliet from Golden World.

No Ric Tic on Stateside either.

 

It does look like things were leased record by record by what bloody daft

way to carry on.

 

What about Shades Of Blue on Sue - another detroit one off UK issue

What about Shades Of Blue on Sue - another detroit one off UK issue

 

 

Kinnel Pete, I've got enough trouble trying sort out Revilot/Ric Tic/Golden World/Solid Hit without

you bringing Impact into it.

Bloody hell Kegsy and Maslar playing nicely. Good lads.

I can see you point on the Edwin Starr Ric Tic stuff.

However Track released Revilot/Solid Hitbound singles in 1969/1970 too.

So how come Stateside could re-issue Darrell Banks in 1969.

They also released backtrack 6 in 1970 which had Ric Tic/Revilot and Solid Hitbound stuff on it and

Tamla Motown UK had the Ric Tic rights in 1968 as show by the Fantastic Four release.

 

I could understand all this if Motown , only had the rights

to Ric Tic releases made after the purchase of ric tic in 1968, but that cant be right

either as double o soul came out in the UK in 71 but was pre buyout.

 

From what I know of Track  they started of with big intentions regarding soul output but seemed to fall flat pretty quickly. The was an the initial gusto at the end on 1967 and the announcement of the  planned release the Revilot catalogue (maybe this was just hype). But then in 1968 there was no soul output at all. Three singles were released in 1969-70 and two of these were re-releases and one was non-Detroit

 

Only the Debonaires was fresh. I don't have the Backtrack but I have the later Liquorice Allsorts which contains some of the same tracks. It's clear Track had the rights to  the Parliaments' "Don't Be Sore At Me and All You Goodies Are Gone since they appear on both compilation LPs. - Although AYGAG is for some reason titled Let Love Put You IN The Losers Seat and has composer credits listed as "Unknown". Why these were never released as a single I don't know but probably down to some blocking following the breakup of Solid Hitbound.

From what I know of Track  they started of with big intentions regarding soul output but seemed to fall flat pretty quickly. The was an the initial gusto at the end on 1967 and the announcement of the  planned release the Revilot catalogue (maybe this was just hype). But then in 1968 there was no soul output at all. Three singles were released in 1969-70 and two of these were re-releases and one was non-Detroit

 

Only the Debonaires was fresh. I don't have the Backtrack but I have the later Liquorice Allsorts which contains some of the same tracks. It's clear Track had the rights to  the Parliaments' "Don't Be Sore At Me and All You Goodies Are Gone since they appear on both compilation LPs. - Although AYGAG is for some reason titled Let Love Put You IN The Losers Seat and has composer credits listed as "Unknown". Why these were never released as a single I don't know but probably down to some blocking following the breakup of Solid Hitbound.

 

 

The Debonaires 1970 single also has writer/composer as unknown.

From what I know of Track  they started of with big intentions regarding soul output but seemed to fall flat pretty quickly. The was an the initial gusto at the end on 1967 and the announcement of the  planned release the Revilot catalogue (maybe this was just hype). But then in 1968 there was no soul output at all. Three singles were released in 1969-70 and two of these were re-releases and one was non-Detroit

 

Only the Debonaires was fresh. I don't have the Backtrack but I have the later Liquorice Allsorts which contains some of the same tracks. It's clear Track had the rights to  the Parliaments' "Don't Be Sore At Me and All You Goodies Are Gone since they appear on both compilation LPs. - Although AYGAG is for some reason titled Let Love Put You IN The Losers Seat and has composer credits listed as "Unknown". Why these were never released as a single I don't know but probably down to some blocking following the breakup of Solid Hitbound.

 

I can think of one Soul 45 they put out in 68, one that hardly anyone would even know of I guess, there was a UK cover version of Gimme Some Kind Of Sign, it's by Tony something, Tony Simon? It's terrible.  I think, I did have it once upon a time.  But no, no US sides I don't think.  Al Kent was apparently withdrawn and is quite rare, much rarer than The Debonaires but not as expensive.

The Debonaires 1970 single also has writer/composer as unknown.

 

I thought on the single it was wrongly credited as Holland Dozier and Holland. On the Liquorice Allsorts LP it's credited to Ware and Terry

Bloody hell Kegsy and Maslar playing nicely. Good lads.

 

 

We have finally found a topic we can agree to disagree about.

I thought on the single it was wrongly credited as Holland Dozier and Holland.

 

That's the flip I'm In Love Again

I can think of one Soul 45 they put out in 68, one that hardly anyone would even know of I guess, there was a UK cover version of Gimme Some Kind Of Sign, it's by Tony something, Tony Simon? It's terrible.  I think, I did have it once upon a time.  But no, no US sides I don't think.  Al Kent was apparently withdrawn and is quite rare, much rarer than The Debonaires but not as expensive.

 

I thought that came out in 67. before the Detroit stuff? One thing about Track is it's fairly difficult to find a decent discography for such a small label/output. I did start to collect it some years ago due to the Bolan connection but then stopped. Interesting label though. and of course contains one of the great UK rarities: John's Children's Midsummer Night's Scene - only around 25 copies and given away free at a concert after  Bolan left JC. Guaranteed to sell for over £5000 and probably a lot more.

Edited June 18, 201410 yr by maslar

I thought that came out in 67. before the Detroit stuff? One thing about Track is it's fairly difficult to find a decent discography for such a small label/output. I did start to collect it so me years ago due to the Bolan connection but then stopped. Interesting label though. and of course contains one of the great UK rarities: John's Children's Midsummer Night's Scene - only around 25 copies and given away free at a concert after  Bolan left JC. Guaranteed to sell for over £5000 and probably a lot more.

 

You are correct mate.  Thought Brenton Wood was 1968.

Weird Emidisc test press of Tony Simon

 

I had a Debonaires "Headache" similar to this once, with custom labels

 

 

 One thing about Track is it's fairly difficult to find a decent discography for such a small label/output. I did start to collect it some years ago due to the Bolan connection but then stopped.

Very comprehensive label discography here (with label scans)

 https://www.45cat.com/label/track