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Robbk

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About Robbk

  • Birthday 24/11/1946

Profile Information

  • Gender
    Male
  • Interests
    Soul, R&B, Blues, Gospel, Jazz music, cartooning, ice hockey, back country skiing
  • Location
    Oude Niedorp,Netherlands;MuenchenD;L.A.USA
  • Top Soul Sound
    A Tear From A Woman's Eye-Temptations

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  1. It could sound this way recorded any time between 1967 and 1973, or even 1974. The fact that the label font and style looks a little '70sish, and that Jimmy Delphs was on the label (had to be after he left Karen), leads me to believe it is at least m1971, and could be as new as 1973, or so. You are likely to be right.
    • 12 comments
  2. Very nice. It sounds like 1967. I've never seen nor heard of it before. I don't recognise the names of anyone one the record, other than having seen Sharlotte Shaw's name before, but spelled "Charlotte". Never heard of The Pages, nor Basic Step Music. Sounds like a Mike Terry arrangement.
    • 12 comments
  3. Again, I state: Someone should ask John where he got the information that Dena was recorded a few years before by George Fowler, and if the recordings still exist.
    • 15 comments
  4. Are you saying that you KNOW that Dena Barnes had a released record produced by George Fowler on another label a few years before her Inferno record?
    • 15 comments
  5. Are you referring to the two Balk/Browner unreleased cuts being "lost in the vaults", or the Fowler-produced cuts being lost?
    • 15 comments
  6. Might possibly be so, as Detroit's Jazz and R&B pianist, T.J. Fowler had his own record label from 1962-65, Puff Records, of which, he was the main producer. He could well have been the one mentioned above, as having recorded Dena Barnes a few years earlier than the Harry Balk/Duke Browner/Mike Terry 1966 session. BUT, it was Gospel organist and pianist, and producer, George Fowler, that was mentioned above as the producer who recorded Dena a few years earlier than Browner. BUT, a few years earlier than 1966, George Fowler was working as a songwriter/producer for Motown. I don't recall George moonlighting on his own non-Motown productions at that time, like Joe Hunter. I don't know if George Fowler had an exclusive producer/songwriter contract with Motown, after Divinity closed down in 1963. I never saw any tapes or acetates/demos of any Dena Barnes recordings in The Motown Vault, nor any reference to any such recordings. Neither have I heard of any from any other source. I would LOVE to find out that Dena recorded 2 cuts for Motown in 1964, with Funk Brothers' backing tracks. But, somehow, I think it is more likely that T.J. Fowler recorded her for Puff Records. Has anyone ever heard of Puff Records' master tapes being found? If they have been, why have we not heard those 2 Dena Barnes cuts? Someone should ask John where he got the information that Dena was recorded a few years before by George Fowler, and if the recordings still exist.
    • 15 comments
  7. So, maybe George Fowler recorded 2 songs with Dena, which may have been pressed on a record, or just left in the can (which are in addition to the never released 2 extra cuts recorded by Duke Browner and Mike Terry in the same session as the 2 songs released on Inferno). I have never heard of any George Fowler-related release in '63-'64. So, it seems only possible that Dena had recorded either only the 4 songs recorded for Impact/Inferno, or 6 songs, 4 of which remained unreleased. I would really love to hear all 4 of the unreleased cuts, and find out who was involved in the George Fowler produced cuts, for which label or project financier, the studio used, session players, etc. I really like the 1962-64 Detroit sound even more than that 0f 1966.
    • 15 comments
      • 1
      • Up vote
  8. I do. I still have probably a couple thousand company sleeves from the '50s, '60s, and beginning of The '70s, waiting for new (old) records I might get. But, I've only added a handful since the early 1990s.
    • 9 comments
  9. So, this seems to point to there having been 2 Bobby Klines. The different spellings point that way as well. Apparently, that's why people seem to be confused about how his last name is spelled. They've probably seen different references to the two different singers. What would be an even more ironic twist (coincidence) would be that the Kline whose name appears in the writing credits for one of their songs is the OTHER Bobby Kline, who DIDN'T sing with them, while the other one did.
    • 33 comments
  10. Over my many years I have seen many, many people make the mistake of assuming that a group singing behind a specific lead singer in a studio recording and.or in stage performances, has that lead singer as a "member" of the group, when that singer was always a solo artist when teamed with that group. Hearsay from someone who saw them perform. or saw records of the recording session is not confirmation that the lead singer was a group member, because that first-hand observer didn't know the specific contractual agreements (if any) that bound the group and singer together. i'm guessing that The Ocapellos and Kline were paired for either a few shows, and/or studio recording sessions, but Kline was never an official group member, and the group also sang one or a few songs written by Kline.
    • 33 comments
  11. I always heard that The Ocapellos were an all Black group. They may have sung back-up for Kline on a record or two, but I really doubt that he was ever a member of that group, and I never heard a "white" lead on any of their recordings. They may have sung a song that he wrote. They may have recorded for the same label as he did, and may have been friends. None of those connections prove that he ever was a member of their group.
    • 33 comments
  12. Yes those styrene pressings with the delta and that label design are Monarch (L.A.) pressings, and other label design and colour differences are from Midwest, East Coast, and Southern plant press runs.
    • 6 comments
      • 3
      • Up vote
  13. Ronnie Savoy (Eugene Ronald Hamilton) produced them, probably in Detroit, rather than New York, given that Travler Music published the songs, Don Davis and Freddie Pride co-wrote the Billy Soul song on Velvet Sound, and Don Mancha (partner in Travler Music and their associated Detroit Productions on Jack Montgomery and The Honey Bees) did the marketing. Also, the first pressing of Velvet Sound 367 was pressed and distributed by Don Davis' Solid Hitbound Productions, and was pressed on styrene at Columbia Midwest (Terre Haute, Ind.), where most of Solid Hitbound's records were pressed. I assume the "Chico" Hamilton listed was yet another AKA of Eugene (Ronny) Hamilton, rather than the well-known Jazz drummer, who had played with Count Basie, and been one of the leading Jazz drummers in the 1950s through the 1970s. It would have been too much of a coincidence that two different, unrelated Hamiltons, from 2 different genres of music would have written and produced that Velvet Sound record. I don't think the drummer, Chico Hamilton produced any Soul vocal releases. Perhaps the "Chico" was an error by the printer, who was a Jazz fan, and hadn't heard of Detroit's Hamilton Brothers. Ronnie's brother, Bob Hamilton (AKA Rob Reeco), was the producer on the instrumental on the flip. The "Hamilton" listed on the writing credits of the Billy Soul Velvet Sound 45 was also Ronnie, rather than Dave Hamilton, quoted by John Manship on YouTube, where he uploaded its soundfile.
    • 9 comments
      • 2
      • Up vote
  14. Can you please show us hi-res scans of the label, and tell us what is etched, engraved, and stamped in the runout?
    • 4 comments
  15. robo

    ive recently brought joel christie since i found you its an audition record no im-66198 and its stamped it is not the same version as the ones on utube which there are several downloads my copy is slower and the vocals are different towards the end is it a genuine reissue hope you can help thanks robo

    1. Robbk's profile photo

      Robbk

      Why do ask if it is a genuine RE-ISSUE, as opposed to "a genuine ORIGINAL"?  If it has stamped letters and numbers in the runout, it is likely to be a legitimate issue.  What is stamped and etched into the trailer will help me to tell if it is original, re-issue or a relatively recent bootleg.  Tell me everything that is in there.  Also, it would be helpful if I can see 300 GPI scans of the labels.  I hadn't heard of there being 2 different versions of the song issued.  But that doesn't mean it isn't a legitimate original issue or re-issue.

    2. robo's profile photo

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