Robbk

I saw this one out also back in the day. I think its a second press run, but NOT a re-issue. I think it was out, possibly 3-6 months after the first, multi-coloured issue (or was it before-I can't remember)?. But, it has a different catalogue number. I'm pretty sure that this one was pressed and distributed by Ed Wingate's Golden World/Ric-Tic, while the other was pressed and distributed by Mike Hanks' MAH's/D-Town Records, as an independent. It was the same situation with MAH's 1037 and 1038. They each had a Wingate-pressed and distributed and independent press run.

So THAT'S why i couldn't find them!!!

Ha! Ha! it would serve you Brits right if a billionaire Inuit from Greenland buys it, and never lets anyone see it again. It belongs in The UK no more than Frank Wilson belongs in USA. And don't tell me that The British are just "rescuing" the obscure Soul records from USA where no one appreciates them. I've known collectors of African-American music in USA almost all my life, who were buying the rare records then, and have been all along. Yes, I think it would be nicer if a Brit who liked that music from the time it was out and has been collecting ever since, gets it, but that should also be true for Americans having their rarest records.

Did someone pay a fantastic amount for that Parliaments' record, only to find out that the Cabell group was from Louisville, KY, and had nothing to do with George Clinton? I don't think the Cabell issues are so rare that that good but not great Soul record should be worth more than a couple hundred quid, at most.

Exodus WAS essentially VJ, while they were going bankrupt (Exodus=escaping or getting out-eg leaving the business).

Yes. Most of her recordings were made with the idea to use them as demos for the eventual singer.

Sharon McMahon was a very good singer. I know she wanted to be a songwriter, but I'm astonished that ollie didn't release a lot more singles on her, instead of mainly using her singing just for demos.

I hope that Ace.Kent will be the ones to release at least a 5 CD set (if not more). If there were enough cuts for 4 CDs for Dave Hamilton's productions, there should be even more for Ollie McLaughlin's.

48 people looked at this and NO ONE knows whether it was released during the '60s on a commercial pressing, or just recently found on an acetate and a boot or legitimate current pressing sold or not? SOMEONE here must know, as it has been played by at least one DJ. What's the story here? Ady C. ? Was this among Ollie McLaughlin's master tapes?

Sounds like an acetate. Clearly an Ollie McLaughlin production. Did it get an original commercial release in the mid '60s. or just recent NS pressing? - or has it only been put on a couple studio discs for DJs?

I definitely meant "Do It" rather than "I Do". i didn't mean to imply that it was a big charted hit like "I Do" was. Just that it was played on the radio in Chicago (Illinois/Wisconsin/Indiana areas) and was sold in stores as store stick. That means it was not rare in store stock form. It wasn't abundant or omni-present, but i did see store stockers of it, say, maybe 20-25 times. But, I never saw that old label design (on the Japanese one above). I saw it only on the newer style that most of the 10800 -10900 series used.

And that just didn't exist in the '60s or I'd have seen it.

This is correct. Thelma 115 is a bootleg of the previously unreleased Thelma recordings. It was made in the 1990s. My original Thelma 106 has Bell sound, and is Emanuel Laskey (Lasky).

Where are all the Detroit experts? I have the regional "hit" (charted) version. It is by FAR the most common. The alternate version is very rare, and should be worth more, despite being less likeable (at least to me on a personal level). In the trail mijn has the following: ZTSC 97699 etched, and "Bell Sound" is stamped. There is also a small insignia stamp made from 3 letters superimposed on each other. One is a capital "H". and one is a capital "L". I can't make out the 3rd letter. That insignia ts to the right of "Bell Sound: and the entire writing in the trail runs counter-clockwise - the opposite direction from that of the writing on the label. On the other side of the ZTSC engraving (before it) is one letter or a couple superimposed letters scratched out and unreadable. I bought this in 1964 in a record shop in Detroit. The other mix has different emphasis on the background vs. vocal, and I think the strings and horns are different takes. I can't really remember, but I like it less, and think the "hit" radio-played version is much tighter.

I'll bet you won't see or hear any Peruano flautist groups there. They're ALL dispersed about on the streets all over Europe!

Was there REALLY an orange "To Win Tour Heart"? Don't forget that many scanners distort colours. Golden World and Ric Tic's earlier series was issued in 1962, rather than 1964. I don't remember seeing any pressings of "To Win Your Heart" frm RCA and on vinyl. All the legitimate pressings I saw were on styrene, and from Columbia Chicago/Terre Haute.

That was pretty rare. I had only seen a couple incirculation. I do remember Ron Murphy selling several copies of that one after he bought out all the Golden World/Ric Tic/Wingate stock from a warehouse. in 1971.

"Do It" by The Marvelows was a regional hit. I used to see lots of white DJ issues and a lot more store stockers. It was a pretty common record when it was out. It was played all over The Midwest and The South. The Pat Powdril release was pretty rare. I don't believe it was played anywhere (even L.A. , where it originated, and where Pat lived).

But all the red pressings I've ever seen had "Distrubuted by Independent Producers' Group" printed on them. Did IPG distribute them in 1964, and then AGAIN in 1967? Or are you saying that the red Lanrod was released ONLY in 1964?

I knew that the yellow Lanrod was out about the same time as Arnold Records. I assume this was co-owned by James Hendrix and a money partner to afford to press more records than Carrie could do with only his money. I assume that this money partner was named "Arnold". The flip side of this Arnold record has "Mester Music", the same publisher as the yellow Lanrods. And it has the same plastic and record physical features (indenture, thickness, etc. as the yellow Lanrods, and also the same label design and font. Mester Music was probably the publisher of the Hendrix-Arnold partnership. I assumed that Carrie 039 came out first, only in Detroit, Then, soon after, the yellow Lanrod came out also in 1964, to get better (regional) distribution. I assumed that the red pressing was released in 1967, after Hendrix got the masters back from Lou Beatty. But, you seem to be saying that there was a red pressing in 1964, to distribute the record nationally. Am I understanding you correctly?

Yes, I was a particopant on that thread. So, I guess we will never know. The two sound very alike, Some of Hamiltons photos make him look very different, but a couple look very like the one Binns photo. I think the early Lanrod and Arnold were sister labels, probably owned by Hendrix with a money partner. Carrie was his own. So, I think the other labels, including Staff, were partnerships (other than the one with Beatty).

So then Lanrod was owned by someone else than Hendrix. Do you know who owned it? Did you ask Hamilton who Cllifford Binns was? Did you ask him if Cornelius Grant was their manager, and was moonlighting with them while he was working at Motown with The Temptations?

I can't read clearly the writing on the right hand side of the A side of the acetate. But, it looks lik "....anrod" from Lanrod. Is THAT why you thought that the acetate was for Lanrod 1605? Please let me know. I see no evidence that this was for Lanrod, as it has the Carrie issue backside rather than "I Love You So". Apparently, Hendrix's masters, made previous to his partnership with Beatty, were also housed at Beatty's office, along with those of the projects they worked on together. When Hendrix ended the partnership and finally got back his masters, he re-released many of them on Carrie and Lanrod. Hendrix indicated that Beatty released some of Hendrix's recordings without telling him and without permission. I assume that that and keeping money to himself that should have been split may have been the main reasons for Hendrix leaving.

Carrie 038, by Gearlene Duckett, out virtually the same time as The Arabians' Carrie 039 was out in 1964, as we can clearly tell from the writing style of the song, and the instrumentation, and sound quality of the recording. I saw those yellow Carrie records years before I saw a Lanrod release. James Hendrix stated in an interview referred to in "Detroit City Limits" in 1988, that he and and Lou Beatty (who had partnered up for many release projects on Beatty's LaBeat and Mary Jane labels) had a falling out in late 1966, and when Hendrix had finally recovered his original masters, he left Detroit to return to Nashille. He operated Carrie records out of Nashville again, starting then, and also issued and re-issued records on Lanrod Records. So, apparently, the Lanrod 1605 re-issue of "Now You Have To Cry Alone" was released in 1967. He operated Lanrod before returning to Nashville, as there were other releases produced by him before 1967, and also on the related Arnold, and Staff Records.

"Now You Have to Cry Alone" was released both on James Hendrix's Carrie Records (1964) and on Lanrod Records (1966? or 1967?). So, it is not surprising that Carrie Records was listed on the acetate. The flip of the Lanrod release was "I Love You So", while "Temptation of Love" was on Carrie 039. Therefore, we must conclude that this acetate was made for the Carrie release in 1964.