RARE ORIGINAL "DOC" RECORDS 102 45 RECORD BY PARIS,,,,,,"SLEEPLESS NIGHTS/WISHING WELL" VERY TOUGH FIND HERE,,,,,,,, THIS IS A SUPER RARE COPY HERE....THE LABELS ARE SIGNED,,, ON WISIHING WELL SIDE IS SIGNED TO DAVID PARIS FROM THE PARIS WHOOSIE AND THEN READS UNDER SPINDLE HOLE "THIS IS THE 1st COPY GIVEN TO ANYONE" ON THE SLEEPLESS SIDE IT IS SIGNED "recorded at radio recorders hollywood singing in the background the vows lewis siters, b holloway, frank wilson ,,,so you got a bit of northern soul history on this record

I didn't know just how much of a Motown influence there was on this record.

Edited June 10, 201212 yr by Prophonics 2029

Can you say anything about its recent history, where did you find the tough find?

RARE ORIGINAL "DOC" RECORDS 102 45 RECORD BY PARIS,,,,,,"SLEEPLESS NIGHTS/WISHING WELL" VERY TOUGH FIND HERE,,,,,,,, THIS IS A SUPER RARE COPY HERE....THE LABELS ARE SIGNED,,, ON WISIHING WELL SIDE IS SIGNED TO DAVID PARIS FROM THE PARIS WHOOSIE AND THEN READS UNDER SPINDLE HOLE "THIS IS THE 1st COPY GIVEN TO ANYONE" ON THE SLEEPLESS SIDE IT IS SIGNED "recorded at radio recorders hollywood singing in the background the vows lewis siters, b holloway, frank wilson ,,,so you got a bit of northern soul history on this record

I didn't know just how much of a Motown influence there was on this record.

Hi Tony

Its a jobete published song which was Motowns publishing company.

Not been able to find any motown acts covering it though.

SHAME.

Al H

Is there any substance to the rumour that Mr. Paris was a Japanese American? Fascinating to see apparent confirmation of the involvement of what looks like the entire staff and roster of Motown's West Coast office, though. You can see how the very polished production came about.

Doc is an interesting label. I'm only aware of this 45 and the Sandy Wynns classic. Are there any more releases? The Pennsylvania address would seem to be a diversionary tactic to put people on the wrong scent when looking for moonlighting Motown staff.

Edited May 22, 200816 yr by garethx

Its on ebay Dean and all seems to make sense I don't doubt the authenticity of the skript, still no light shed on Hazel (Opps Paris) Martin he even thinks its funny the whoosie, the group harmonies are very reminiscent of Ain't No Big Thing, The Tempest. Pure speculation but have you listened to Wishing Well?

Jerry Long is quite a famous Motown staff arranger: perhaps his most famous arrangement was The Temptations Just My Imagination.

Is there any substance to the rumour that Mr. Paris was a Japanese American? Fascinating to see apparent confirmation of the involvement of what looks like the entire staff and roster of Motown's West Coast office, though. You can see how the very polished production came about.

Doc is an interesting label. I'm only aware of this 45 and the Sandy Wynns classic. Are there any more releases? The Pennsylvania address would seem to be a diversionary tactic to put people on the wrong scent when looking for moonlighting Motown staff.

1964 I did think it was 65, but if moonlighting why would they put their names up?.

1964 I did think it was 65, but if moonlighting why would they put their names up?.

Everything about the production and writing of Paris "Sleepless Nights" and Sandy Wynns "A Touch Of Venus" records is Los Angles, why did they come out on the DOC label from Rydell, Pennsylvania?

Is Doc an east coast distrubution for Champion?

Could Paris have been considered for release on Champion?

intrigue!!! and i cant find anything about this on the net either

There's also an instrumental on "Doc" can't remember off the top of my head "The Brush" or something like that.

Des Parker

This is one thats always interested me too, The credits on both sides are C Pipkins is that Chester & the Production was Pipkin-Wilson is Wishing well a Frank only track or am I a bit late with this has anyone dug deep I would dearly like to know? Also is it Pennsylvania release or just a mock up to hide the true artists as listed by Prophonics?

Yes. Chester and Gary Pipkin, well known Los Angeles music figures. Recording artists on Philles as The Alley Cats and sometime members of Gold Star Studios' famous Wrecking Crew session band. They later had a hand in much of the output of the A&M subsidiary Omen.

The Pennsylvania address seems to be a bit of a red herring as everything about the releases on Doc shouts "LA". Other posters have suggested the records might have been meant for east coast distribution but why not then press on the east coast? The Doc singles are all manufactured on the west coast.

Yes. Chester and Gary Pipkin, well known Los Angeles music figures. Recording artists on Philles as The Alley Cats and sometime members of Gold Star Studios' famous Wrecking Crew session band. They later had a hand in much of the output of the A&M subsidiary Omen.

The Pennsylvania address seems to be a bit of a red herring as everything about the releases on Doc shouts "LA". Other posters have suggested the records might have been meant for east coast distribution but why not then press on the east coast? The Doc singles are all manufactured on the west coast.

Yep, the Pipkins got around a bit. They did some Motown stuff for Little Lisa, Oma Heard (and Marvin Gaye), Martha Reeves etc plus Brice Coefield, Vicky Nelson and Tate. Busy guys. I always bought anything with their name on it..........

Ian D

Robb K knows just about everything (that's worth knowing) about the operations of the Motown LA teams writing & production work.

If the Motown management didn't want to sign a West Coast act that the LA guys had cut .. OR ... didn't want to use a song they had written; then the LA crowd could release any of this product on their own pet labels.

it has a delta mark so it can be dated exactly. defo 1964 ...this is hazel martin lead vocalist of the tempests right

just compare the sleepless nights vocal to this

Edited June 6, 201212 yr by dave pinch

Here's two pictures of the first number on the label, as mentioned by Des. 'The Brush' being an instrumental, 'Smilesville, U.S.A.' sounds like a surf/Garage style advert for a dentist ! Very strange.

Think Mr Rix has the full inventory on this one if my memory serves me right. Cooooeeeeee Andy.... where are you?

Steve

The Shiny Brothers (Doc 101) produced by Al Capps, Paris (Doc102) produced by Chester Pipkin and Frank Wilson, and Sandy Wynns ("The Touch of Venus") (Doc103) produced by Ed Cobb, all had Monarch numbers from 55,000 to 55,300, indicating that they were released in November 1964. I sincerely doubt that the Pennsylvania address was used as a red herring to throw Berry Gordy off the scent that those producers were "moonlighting". If that were the case, and they had EXCLUSIVE producer contracts to produce ONLY for Motown (something I KNOW to be untrue), why on Earth would they use their OWN NAMES? Why, in Heaven's name, would they release other personal indie productions on known labels in L.A. under their own names? That doesn't make any sense.

1) First, let's consider who was doing what. Ed Cobb released a production of his on Sandy Wynns on a song he wrote for Jobete Music, that had been recorded by Motown by Motown-contracted artist, Patrice Holloway. This occurred in November 1964 (Doc 103) (AFTER Cobb had quit working for Motown after his differences with them over not receiving label credit as producer (and, ostensibly-also not receiving producer pay) on "Every Little Bit Hurts" by Brenda Holloway. I am sure that he had the right to release an independent production using that Jobete song he'd written, on a non-Motown label by a non-Motown artist, X months (6?) after selling the song to Jobete, and IF Motown had chosen to NOT release it by one of their artists during that period. This explains all the Jobete songs by Marc Gordon, Frank Wilson, Hal Davis, H.B. Barnum, William Powell, Al Capps, Chester and Gary Pipkin, Willie Hutch, Vince Love and the rest of the L.A. Jobete crew, on Modern, Joker, Power, Champion, and other labels.

2) Chester (and probably, brother Gary) Pipkin, and Frank Wilson released the Paris record (Doc 102). Like Cobb, they had been signed writer/producers for L.A.'s Jobete Music office. Presumably, (similar to Jobete Music's New York office), they received writer's pay for writing songs, AND also received a salary as in-house producers, as production was needed to produce demo records that would be used later by Motown artists.

3) Al Capps released 2 cuts by "The Shiny Brothers" (perhaps a local, L.A. band that he used in his independent Soul productions?) as Doc 101. Capps was a writer/producer for Jobete Music's L.A. office (Jean(ie) King on General American (and writing on several other Jobete songs). All three of the Doc releases were pressed ONLY at Monarch Pressing Plant in L.A., despite Doc Records' Pennsylvania address. I think it's highly unlikely that those three producers were trying to hide "moonlighting" from Berry Gordy and Motown. On the contrary, it's pretty clear that NONE of the L.A. Jobete Music writers/producers had EXCLUSIVE contracts with Jobete/Motown. Clearly, they were allowed by contract, to produce independent productions and release them on independent labels, using the songs they wrote for Jobete Music, sung by non-Motown artists. ALL three Doc records were released in November 1964 (as proven by Delta numbers between 55,000 and 55,300). Doc probably used the Pennsylvania address because the financier who was found to pay for the recording and pressing of those records, had his home or headquarters there. It may be that this Pennsylvania financier was a friend of Ed Cobb, The Pipkins, or Al Capps, and agreed to finance his current production. The remaining of Al Capps, Ed Cobb, Frank Wilson or The Pipkins (all of whom had songs by artists that were ready to get released, or that they wanted to produce just at that precise time) may have approached the financier (through the friend) to get their projects financed in the same deal.

4) Ed Cobb, certainly completely gone from Motown employment (and contractual obligations), re-issued "The Touch of Venus" on Champion Records (presumably his own label (releasing only 3 records-all productions of his (2 by Sandy Wynns and one by Gloria Jones), in May, 1965 (as illustrated by numbers in the 56,900s). Cobb's own Equinox Music published all the songs other than "The Touch of Venus", and wrote all the songs except one by Marc Gordon (fellow L.A. Jobete co-employee). I assume he ran the label and found a financier or co-financier. This was a case of his setting up shop after leaving Motown, and using ex-colleagues from L.A. Jobete's office (Sandy Wynns, and Gloria Jones and Lincoln Mayorga). As "Love Belongs to Everyone" and The Gloria Jones record were pressed only in May, 1965, it's clear that the Champion release of "The Touch of Venus (using Monarch's same delta number (same pressing masters) was just a re-release. Marc Gordon's only involvement was as songwriter on "A Lover's Quarrel" (written while he was together with Cobb at L.A. Jobete's office. Therefore, I conclude that Ed Cobb's Champion Records never considered releasing Paris' record, as that production's masters were controlled by Frank Wilson and The Pipkins or, either of the two, alone (depending upon who paid for what, and their production agreement.

Edited June 7, 201212 yr by RobbK

it has a delta mark so it can be dated exactly. defo 1964 ...this is hazel martin lead vocalist of the tempests right

just compare the sleepless nights vocal to this

[media=]

Sure sounds like the same guy.

With a first name of "Hazel", he must have had a tougher childhood than "A Boy Named Sue". My mother wanted to name me "Robin" (as in Robin Hood). Luckily for me, my father wouldn't allow that.

Great reading Rob, I find it hard to think that Mr Tears is the same singer on both sides of the 4J's record Mr Tears - Paris is this one person or 2. The other side sounds like Wade Flemmons to me.

Hazel? always thought of that name as a colour and not in the girls name.

I asked Mr Frank about Paris The Whoosie and he said he's a great singer but never confirmed if it was Hazel but the sound of the voice convinces me.

Is there any substance to the rumour that Mr. Paris was a Japanese American? Fascinating to see apparent confirmation of the involvement of what looks like the entire staff and roster of Motown's West Coast office, though. You can see how the very polished production came about.

Doc is an interesting label. I'm only aware of this 45 and the Sandy Wynns classic. Are there any more releases? The Pennsylvania address would seem to be a diversionary tactic to put people on the wrong scent when looking for moonlighting Motown staff.

more reading on Johns site regarding Mr Tears (Paris)

https://www.sirshambling.com/artists_2012/T/mr_tears/index.php

and he wrote a robbie williams song

Great info as ever Rob.

It still remains that the Pennsylvania address is something of a red herring. These are LA records through and through.

Comment about the odd address being designed to throw Motown in some way were made a few years ago and obviously now we know a bit more. Maybe the money men behind the label resided in Rydal, PA. If it was some kind of marketing tactic it failed miserably as the records on this logo are pretty scarce.

I don't know where Hazel Martin fits into all of this. No doubt he sings in a similar style to Paris but to say it it definitively the same singer is stretching things a bit. This David Paris is the same guy who recorded with Gene Page and Dick Glasser for Uni later in the sixties (with apparently an album "Paris Has Arrived", which got at least as far as having a catalogue number, UNI 73067) and who, under the name of Ekundayo Paris wrote for Barry White in the 70s. Those events place him fairly firmly in California while Hazel Martin and The Tempests were recording in the Carolinas and in New York.

Dylan the Robbie Williams credit comes about because of the sampling of Barry White's "I'm In Ecstasy" for "Rock DJ".

Can you direct me to any sound clips of the uni Paris Gareth.

Hazel fits in for me only in the sound of his voice and the doc address being close to the carolinas. Whats to say that the records were only pressed in la and recorded elsewhere.

The Sandy wyns instrumental of touch of Venus how did this turn up?.

Edited June 7, 201212 yr by Prophonics 2029

This David Paris is the same guy who recorded with Gene Page and Dick Glasser for Uni later in the sixties (with apparently an album "Paris Has Arrived", which got at least as far as having a catalogue number, UNI 73067)

A test pressing of that LP went through eBay about a year ago.

It doesn't turn up on Popsike or CollectorsFrenzy and this is the only mention of the auction that I can find:

https://www.worthpoin...-demo-174065095

Was it anybody on here who got it?

Here's the info from the auction:

----------------

PARIS (aka EKUNDAYO PARIS) -- Paris Has Arrived -- original 1970 U.S. album,

white label demo test pressing. This is an apparently completely-unknown

and unreleased 10-track LP by the late 1960's American Deep Soul singer

Paris (aka Northern Soul singer and songwriter Ekundayo Paris), pressed

up by Uni Records and given catalogue # 73087 but never commercially

released, making it an extreme rarity for fans of late Sixties Deep Soul.

Vibe here is excellent mainstream soul sound with occasional funky guitar,

a bit like Marvin Gaye, with a distinct Sam Cooke-inspired flair to the vocals.

Ekundayo Paris is most likely the same artist who put out two earlier

Northern Soul 45's in the mid-60's: "Excuse Me Baby/Don't Lead Me on" on

4J under the name "Mr Tears (Paris)", and the monstrously-rare Northern Soul

killer "Sleepless Nights/Wishing Well" credited to Paris, on the Doc label.

As just Paris, he put out one single on Uni in 1970, a very good cover of

Cooke's "Change Is Gonna Come" (Uni 45 #55423), produced by Dick Glasser

and arranged by Gene Page (who almost certainly both worked on this

full-length album). That Cooke song is included here along with 9 others;

there are no song titles listed on either side of the label, only the

singer's name and apparently what was intended as the album title,

"Paris Has Arrived" (a bit ironic seeing as how this never saw the light

of day!) Uni must have had big plans for the singer to go to the expense

of recording this entire LP; if you check discographies of Uni albums,

numbers 73086 and 73087 (this one) are apparently unknown; the next

one commercially released was Dewey Martin & The Medicine Ball, Uni 73088.

Without major success as a performer, Ekundayo Paris later went on to

significant success as a songwriter, co-writing the Barry White hit

"It's Ecstasy When You Lay Down Next To Me" and others in the mid-1970's.

This is a unique opportunity for Deep Soul & Northern Soul fans to own

an entire unreleased album from a fascinating and still unknown Soul

performer on a major U.S. label. (Unfortunately I don't have sound

clips from the album available on-line so please don't ask me.)

For more information on Ekundayo Paris and his 45 releases, go

to the excellent Sir Shambling's Deep Soul Heaven website

at: /artists/mr_tears/mr_tears.html. In generic white cover.

Record: VG++, light surface marks, overall excellent, on white

Uni label, U.S. pressing, stereo.

Bizarre, every time I download a track on my phone I get a picture of rob Messer in drag.

Just listened to the uni recording and for me its not Paris but it could be Mr tears, its getting like a miss pressed tommy andre .

Pure speculation

Hazel Martin had just a bit more bite than the Paris dude mate. They are not the same, I'd bet my left one on it.

Hazel Martin had just a bit more bite than the Paris dude mate. They are not the same, I'd bet my left one on it.

Paris doc or Paris uni or Paris 4js Mr sims.

I may take you up on that bet, I need a new centre for my 45 and that would be quiet a novelty one.

As in 'Sleepless' fame, not the same cat, honest.

2008 2012 and I still can't hear any difference between them. Lol

Here's the info from the auction:

----------------

PARIS (aka EKUNDAYO PARIS) -- Paris Has Arrived -- original 1970 U.S. album,

white label demo test pressing. This is an apparently completely-unknown

and unreleased 10-track LP by the late 1960's American Deep Soul singer

Paris (aka Northern Soul singer and songwriter Ekundayo Paris), pressed

up by Uni Records and given catalogue # 73087 but never commercially

released, making it an extreme rarity for fans of late Sixties Deep Soul.

Vibe here is excellent mainstream soul sound with occasional funky guitar,

a bit like Marvin Gaye, with a distinct Sam Cooke-inspired flair to the vocals.

Ekundayo Paris is most likely the same artist who put out two earlier

Northern Soul 45's in the mid-60's: "Excuse Me Baby/Don't Lead Me on" on

4J under the name "Mr Tears (Paris)", and the monstrously-rare Northern Soul

killer "Sleepless Nights/Wishing Well" credited to Paris, on the Doc label.

As just Paris, he put out one single on Uni in 1970, a very good cover of

Cooke's "Change Is Gonna Come" (Uni 45 #55423), produced by Dick Glasser

and arranged by Gene Page (who almost certainly both worked on this

full-length album). That Cooke song is included here along with 9 others;

there are no song titles listed on either side of the label, only the

singer's name and apparently what was intended as the album title,

"Paris Has Arrived" (a bit ironic seeing as how this never saw the light

of day!) Uni must have had big plans for the singer to go to the expense

of recording this entire LP; if you check discographies of Uni albums,

numbers 73086 and 73087 (this one) are apparently unknown; the next

one commercially released was Dewey Martin & The Medicine Ball, Uni 73088.

Without major success as a performer, Ekundayo Paris later went on to

significant success as a songwriter, co-writing the Barry White hit

"It's Ecstasy When You Lay Down Next To Me" and others in the mid-1970's.

This is a unique opportunity for Deep Soul & Northern Soul fans to own

an entire unreleased album from a fascinating and still unknown Soul

performer on a major U.S. label. (Unfortunately I don't have sound

clips from the album available on-line so please don't ask me.)

For more information on Ekundayo Paris and his 45 releases, go

to the excellent Sir Shambling's Deep Soul Heaven website

at: /artists/mr_tears/mr_tears.html. In generic white cover.

Record: VG++, light surface marks, overall excellent, on white

Uni label, U.S. pressing, stereo.

That's for passing this on Sebastian.

As in 'Sleepless' fame, not the same cat, honest.

but you dont know that for definate

but you dont know that for definate

Well it's not Bruce Forsyth either, put it that way!

Great info as ever Rob.

It still remains that the Pennsylvania address is something of a red herring. These are LA records through and through.

Comment about the odd address being designed to throw Motown in some way were made a few years ago and obviously now we know a bit more. Maybe the money men behind the label resided in Rydal, PA. If it was some kind of marketing tactic it failed miserably as the records on this logo are pretty scarce.

I don't know where Hazel Martin fits into all of this. No doubt he sings in a similar style to Paris but to say it it definitively the same singer is stretching things a bit. This David Paris is the same guy who recorded with Gene Page and Dick Glasser for Uni later in the sixties (with apparently an album "Paris Has Arrived", which got at least as far as having a catalogue number, UNI 73067) and who, under the name of Ekundayo Paris wrote for Barry White in the 70s. Those events place him fairly firmly in California while Hazel Martin and The Tempests were recording in the Carolinas and in New York.

My instinct would tell me that he CAN'T be the same guy, as The Tempests were on the East Coast, and he was an L.A. guy. He COULD possibly have left L.A. to join The Tempests in 1966-67. and returned in 1968. But, I doubt that.

Their voices sound very close. But., of course, we can't say definitively that they are the same person.

Edited June 8, 201212 yr by RobbK

just a thought............didnt america have transport in the sixties because we hear folks says things like "couldnt possible have been cut in chicgo coz they were from or recorded in detroit"...just an example.... also what gareth says could be right but the tempests records are 1966/67 with out of my life in 69...the paris 45`s are from 63 and 64 so anything is posible really..we`ll never know for certain

I'm sure glad I re-opened this 2008 thread as there seems to be a great deal of learn-ed gentlemen blowing my mind with an array of information that I for one was certainly not aware of!!

Thanks Guys

I'm sure glad I re-opened this 2008 thread as there seems to be a great deal of learn-ed gentlemen blowing my mind with an array of information that I for one was certainly not aware of!!

Thanks Guys

For sure. That's why we're all here.

I'd like to work out the recording history of the Paris who recorded "I Choose You" on Chi-Sound. This my personal favourite Paris but who was he and what did he do before?

Fascinating stuff......

Ian D

and for years i thought it was bobby.............doh!!!!!!!!!!!!

I seem to recall that the "I Choose You" guy (F*ck*n great track) was a Paris Holly from the Windy City.

No doubt Bob A will know more about him (though he was around in the early to mid 80's -- Paris not Bob).

I seem to recall that the "I Choose You" guy (F*ck*n great track) was a Paris Holly from the Windy City.

No doubt Bob A will know more about him (though he was around in the early to mid 80's -- Paris not Bob).

Paris L Holley?

Edited June 7, 201212 yr by simon t

I seem to recall that the "I Choose You" guy (F*ck*n great track) was a Paris Holly from the Windy City.

No doubt Bob A will know more about him (though he was around in the early to mid 80's -- Paris not Bob).

Well, yeah for sure.

But there's sure an abundance of Paris's in the house.

The best-known Paris of 'em all is the rap guy who hit big in the 90's. Even my daughter knows THAT Paris LOL.

But Paris was obviously a name that a few people went for. Did the Chi-Sound Paris make any earlier records under a different name I wonder? He's just too good to be a first-timer on "I Choose You", which is one of my favourite vocal performances of all-time as an aside.

I've bumped into this Paris problem before.........

Ian D

My instinct would tell me that he CAN'T be the same guy, as The Tempests were on the East Coast, and the 4J record and Doc records guy worked out of L.A., and he worked in L.A. in the '70s. It's POSSIBLE that he joined the East Coast Tempests in 1966, and stayed with them through 1967 or 1968. and then returned to L.A. (but I doubt that that's what happened). Maybe we'll never find out. It is certainly an interesting question. It seems possible, given the migrations of Sidney Barnes, Kell Osborne and others.

Their voices sound very close. But., of course, we can't say definitively that they are the same person.

just a thought............didnt america have transport in the sixties because we hear folks says things like "couldnt possible have been cut in chicgo coz they were from or recorded in detroit"...just an example.... also what gareth says could be right but the tempests records are 1966/67 with out of my life in 69...the paris 45`s are from 63 and 64 so anything is posible really..we`ll never know for certain

Hazel left the group in 67ish then another singer did a few songs with the band, Out Of My Life was reissued under Hazel's name later on after comming out on Smash.

Dave Flynn has done some sleeve notes for the CD LP.

I thought that The Tempest LP was a Beach Scene record, isn't that an LA thing?

Edited June 8, 201212 yr by Prophonics 2029

Well, yeah for sure.

But there's sure an abundance of Paris's in the house.

The best-known Paris of 'em all is the rap guy who hit big in the 90's. Even my daughter knows THAT Paris LOL.

But Paris was obviously a name that a few people went for. Did the Chi-Sound Paris make any earlier records under a different name I wonder? He's just too good to be a first-timer on "I Choose You", which is one of my favourite vocal performances of all-time as an aside.

I've bumped into this Paris problem before.........

Ian D

I've actually had the confusion between 80s Parises. Paris on Kelli Arts is Paris Holley. There's another 80s Paris record, a cover of love makes the world go round, produced and recorded in detroit. I have no idea if it's the same person.

There is another Paris soul record, a singer who had one single on Uni in like 1969 and who had an unreleased Uni LP. At least that Paris is chronologically closer.

Hazel left the group in 67ish then another singer did a few songs with the band, Out Of My Life was reissued under Hazel's name later on after comming out on Smash.

Dave Flynn has done some sleeve notes for the CD LP.

I thought that The Tempest LP was a Beach Scene record, isn't that an LA thing?

out of my life is not on the lp tho tony is it. was it an earlier cut just randomly released a couple of years down the line. i havent seen flynny`s cd notes so i cant comment.but all the other tempest 45`s and the lp are 66/67. out of my life never came out at this time. its 1969 and sounds the part to my ears. perhaps it was really just a hazel martin solo 45 under the tempest banner.. i think it was reissued as hazel martin anyway on a purple label some copies with purple vinyl..name of the label escapes me now.....and to be honest i cant even remember if the reissue is a re recording ??? maybe for the beach music scene

dave

Edited June 8, 201212 yr by dave pinch

Re: Pennsylvania address on "Doc"

Could this have been used to avoid State Tax on the purchase of the 45s from the pressing plant?

Re: Pennsylvania address on "Doc"

Could this have been used to avoid State Tax on the purchase of the 45s from the pressing plant?

Possibly. But why then wouldn't such action be much more widespread with tiny labels?

The Smash OOML is 1967.

Some great reading and info here chaps.