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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. "Society Hill" is an American metaphor for the place where the rich (high-falutin') people live. That song is more likely to be about Pittsburgh than Philadelphia. It's not about Chicago because that city is perfectly flat. Not even a mole hill there. In Chicago, the singer would be talking about "the billionaires on Lake Shore Drive".
  2. It wasn't a dead rare record. But, it certainly wasn't the easiest to find, even back when it was out.
  3. The pacquet's white label has BOTH "Hit and Run" AND "You'd Better Wake Up" written twice. "Hit and Run" is listed as by Gwen Owens twice (i.e. 2 different versions), and "You'd Better Wake Up" has Gwen Owens listed for the first version, and Telma (Hopkins) as the possible artist for the second version. The second one follows the colon, just as Gwen Owens does. Therefore, it must be a guess as to who the artist is, rather than the record company recipient of the recording. I doubt that that was a misspelling of "Thelma" standing for Thelma Records.
  4. I can't believe that Martha Reeves would have sung a demo for Thelma Records in 1966, or, even as early as 1965. She had absolutely no reason to risk angering Berry Gordy at that time, to help out Don Davis or Joey "King" Fish, or just to make a little extra money. That makes no sense at all. On the other hand, her group's rumoured moonlighting, backing up some of J.J. Barnes 1963 and early 1964 Mickay's and Ring recordings, for her old bosses, Joe Hunter and Fred Brown, would have been a different story, considering that back then, Hunter was still also an important cog at Motown, and the group's money was still being "managed" by Berry Gordy. In that case, The Vandellas could help Hunter out, and get some needed cash, and, if caught, maybe just a slap-on-the wrist fine, because Berry likely didn't want to lose Hunter's services (he DID leave some months later near the end of 1964).
  5. Yes, but wasn't that during the time in which he was between contracts and holding out for a better deal, and he got together with The Cavaliers, and booked some dates of gigs to get leverage, trying to get a better deal with Motown (then, he DID re-sign with Motown, after only some weeks in between)? I think that the recording listed as Martha Reeves might have been Martha Starr, or one of those other singers who sounded like her.
  6. No, I never knew for sure that he was a songwriter or songwriter/producer with them. I just heard that as a rumour from one or two L.A. record collectors. I did see his name as co-writer on one or two of Hal Davis' Finesse Music published songs on small Hal Davis-related L.A. labels, which seemed to go along with the rumour. He was one of the group of Watts/South Central/South L.A. producers and songwriters who hung out together, and sometimes worked together on projects with the same small label, and he had one or two of his own productions, or self-written sons released on the same small L.A. label as had released Jobete songs, so I guessed that he might have been among the writers whose songs could be used by Davis and Gordon to offer to Jobete. Now that I've looked through all my records in those labels, I'm wondering if that was a reasonable conclusion. He may have just been a general colleague as a fellow South L.A. writer/producer, who crossed paths with all the Jobette crew, but never had actually worked on a Jobette project. Or, maybe I saw a Jobette song he co-wrote in another collector's collection, and I've since forgotten the record?
  7. I never did understand why Martha would have recorded a solo for Don Davis, as late as 1965 or 1966, well after becoming a mega-star with Motown. She did record, along with her group members, some backgrounds for Joe Hunter, for use on J.J. Barnes releases in late 1963 and early 1964 (after "Heatwave", but before she had gathered in a lot of money, and while Motown was still parceling it out very slowly to her. I found it very hard to believe. And I wasn't sure, after listening over and over to it, that that was really Martha.
  8. This woman has a higher pitch than Rose Batiste in her normal voice. So. I'm inclined to believe it is more likely to be Gwen Owens singing this, than Rose. But, it could be any of several women who sang for Davis by the early Solid Hitbound period. I have seen "guesses" of Gwen Owens" on uncredited Groovesville acetates, but I can't remember any true confirmation that Owens ever recorded for them. Has anyone here seen or heard any authoritative conformation that she had before the release of Revilot 204?
  9. I seem to remember when Don Davis' "Groovesville" and other tapes were procured, some of them were unlabled as to the artist name, and there were "guesses" made when they came available to the public on "The Groovesville Masters or Tapes", released CD. What we do know is that many of the Don Davis-related Groovesville, Solid Hitbound, Golden World/Ric Tic, and Thelma cuts that were or were not released on record, had more than one, and often 2 or 3 versions made by different artists. Just like Motown, these off-Motown, Don Davis-related labels often had different artists record a given song, originally (sometimes one was originally a demo, whose vocal could later be given a full, finished mix, or tracks made with an earlier company still in Davis' hands, could be used with a different artist produced by Davis, while working with a later company). So, some of the artists on some of the artist-unlabled tapes of previously unreleased versions, are still not officially confirmed, (even though, being labeled with the non-confirmed "guesses" has semi-legitimized them from their familiarity.
  10. The Stylistics on AVCO Int., and Gamble an Huff also having Neptune and Gamble Records, and being with Motown after Philly Int. There were many other labels that sported Philly-Sound productions.
  11. I concur. In all my years of searching through, literally, over a million 45s, I've never seen nor heard of "Hit and Run" being on a pink label pressing.
  12. No. Only some. My first one bought had them on correctly.
  13. I bought the Bell Sound version in Chicago, while it was played on WVON, when the record was out. I didn't see the other version until some time in the 1970s, maybe after the original find of the saved stock. I don't think that version was distributed in The Midwest during the records original run. I suppose it's possible that that version was sent by accident to another area of The US. The main area I never looked for records was The Deep South (mainly The ex-Confederate States. I DID search California, The Pacific Northwest, The Mountain States, The Midwest regularly, and 2 trips to The East Coast, so i probably would have found it in those places if it had been issued there. So, IF it had been released when the record was originally issued, it likely would have been to Southern distributors.
  14. Wow!! It's even worse than I remembered!!! Jerry Mathers had a great career awaiting him in Soul music! Maybe they should have formed a harmony group of Jerry Mathers, Burt Ward, Jerry Solomon, William Shatner and Mrs. Miller? (one female singer) - like The Platters. Might have been interesting.
  15. Isn't it bad enough to be trying to fight off a pandemic. Do we need to deal with drek like this, too??? As Mill Evans (Edwards) once sang, "Why? Why? Why?"

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