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About Robbk

  • Birthday 24/11/1946

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  • A brief intro...
    Worked on "From The Vaults" projects at Motown 1970s, Co-Owner Airwave/Airwave International Records 1979-1984. Contributor to oldies CD projects(Ace/Kent & Motown). R&B record collector since 1953. Artist/storywriter for animation and comic books 1984-present in Europe and North America.

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  • Gender
  • 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. Well, they had several American Football players, who managed to play some games in Te NFL. The only one on that who could remotely be considered an NFL star, was Cornell Green, and even his name wasn't a household word (e.g. he was only known by serious football fans).
  2. The '80s Imperials had only group founder Clarence Collins left from either the original END Records "Little Anthony and The Imperials", or the classic lineup of the group that got together when Little Anthony returned from his short solo career. THAT lineup included Clarence Collins, Jerome Anthony Gourdine (Little Anthony), Ernest Wright, and Sammy Strain, ALL of whom had been with the later End group, but Strain was not an original group member (he joined 1 year later, when Nate Rogers left). They were together from late 1963 through about 1976 or 1977, when Anthony left again for a second try at a solo career. So, the late 1977- the 1980s group had only Clarence Collins as an original member. The classic group got back together in 1992, for gigs on The oldies Circuit, and remained together until 2004, when Sammy Strain died. From 1961-the end of 1963, "The Imperials" (WITHOUT Anthony) operated as a different group, recording for Capitol Records, Double-L, and a couple other labels, with Collins on lead, and little success, but with some nice R&B/Soul transitional recordings (all of which I bought).
  3. Oh! I thought that read 10028. It was too small for me to see the dash. Yes, I'd say it was an Original (as opposed to being a boot or a pressing made years later as a re-issue to be sold as an "oldie"). But it could possibly be the second pressing during the initial sales run, made at a different pressing plant. I remember a blue one early, as well.
  4. That's an interesting question because it's really hard to peg a label colour to a specific time, for Fraternity, as they used different colour labels in different pressing plants at the same time. Worse yet, I seem to remember the earliest Fraternitys being blue, then, the label went to maroon, then back to blue then back to Maroon again. I would guess that you'd have to go by whats scratched and stamped into the runout. A second pressing might use the same pressing number, because the same stampers were used. But, maybe there would be different code letters after it. My Albert Washingtons are all in the 900s and 1000s. That longer series was later. But I don't know offhand if that means it is automatically a 2nd pressing. All my Albert Washingtons have different extra codes etched into the wax. We'll need to get an expert on Fraternity to answer this. I even have one that has BOTH a Coumbia AND an RCA pressing code number!!!
  5. Mine has T-118 etched in on the top, it also has a stamped seemingly 4 letter cursive word written into the top area to the left of the T-118, and it is right side up, while T-118 is upside down. The stamp also has a roundish, pushed-in area in the stamped area's centre, and THAT makes it difficult for me to read. It looks like ARP in caps and a small letter "s" after those. There is another stamped area on the left side of the upright label. It is ARP all in fancy Italic script -all capital letters. It's interesting that my Topper 1015 "Challenge My Love"/"Sweep It Out In The Shed" has only the cut pressing number etched in and the ARP stamp, while 1011's "Talkin About Love" has those and also adds a set of initials (capital letters URN), and the Temple records have ALL that (initials only 2 letters-WS) plus the record catalogue number etched in as well, and Nashville Matrix in cursive script stamped in. Could the initials be those of the masterer?
  6. Well, even Canadian ice hockey star, Joe Thornton, after hearing thousands of people mispronounce his name, probably just gave up trying to tell them how it is pronounced properly. The name must come from a rural place somewhere in England. The suffix "ton" meant "a small settlement" in later Old English and all of Middle English. In Canada we pronounced the "n". In England they pronounce the "n". I wonder if it is pronounced in India, and Papua Pidgin English?
  7. Well, Thornton is a cousin of Brian and Eddie Holland, and he owned a recording studio, with which many of the Motowners, and other Detroit Soul singers were familiar. So, I think his association with Motown was for several years. I think his name being left off The Elgins' record was a random oversight, which had been included on The Supreme's release, and would be corrected on Chris Clark's (notwithstanding the misspelling). Why is it that Americans can't seem to pronounce the "n" in the name "Thornton"??? In my 70+ years I have met, read about or heard of literally hundreds of people with the name "ThorNton", but not one single person with the name "Thorton".
  8. So, with Thornton being on the inside at Motown, The Wonderettes could have been signed by Motown. They certainly were talented enough. But, They would have trouble beating out The Velvelettes for getting good material, getting releases, and having their records plugged, let alone competing with The Supremes, Marvelettes, and Martha and The Vandellas.
  9. I can't tell who they are or aren't from the voices, but it stands to reason that the might well be, as Johnnie Mae ran all sessions of production of this song, and because she listed them on HER version, we know they sang backgrounds to the backing track. Hard to believe it was missed when the recording was delivered for mastering. Maybe the tapes got switched into the cans of the opposite versions?
  10. Thanks. Yes, the Ruby issue was several months before the UA. They must have been playing the latter into early 1966.
  11. Here's The Wonderettes' Enterprise flip:
  12. The Wonderettes don't seem to be singing in the background of Johnny Mae's "Lonely You'll Be", there WERE in the BG of Calvin Williams' version.
  13. Yes to both of your surmisings. I'm pretty sure that Rose was Johnny's wife, rather than sister or daughter. I'll ask my Detroit '60s friends left on Soulful Detroit Forum if they remember Johnny. Yes, the Enterprise 1964 release was earlier than the Ruby (Late 1965). Interesting that also Sammy Solo's Ruby record was released earlier (1965) on Enterprise, and that Joe Terry's and Lee Gates' Soul releases on Enterprise are still not shown or listed on Discogs.
  14. Surely they recorded for Ruby Records first, (which may have been co-owned by Bob Schwartz and the owner of Different Music (Detroit's Enterprise label group , which included Enterprise, Ruby, Dynamic, Cindy, and Heart Records, and, I think one or two others)), and leased their record to UA after, to get national distribution. I say that, not only because most records that appear on 2 labels started on the smaller label, and moved to the larger one to gain national distribution, but also because the Ruby issue listed ONLY Enterprise's "Different Music", while the UA issue added "Unart Music" (United Artist's in-house publisher), thus splitting the publishing rights in half for UA's paying pressing costs and distributing the record nationally; and, most importantly, I bought the Ruby record when it was out, at least a couple months before I ever saw a UA copy.

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