Robbk

Being a Detroit collector, I'm intrigued by this post. I have no idea what your post means. But, I assume that you mean that the exact same backing track used on the Volumes' vocal released as Audio Arts 6 was issued as the instrumental tracks alone, on another issue (or played on the scene from a studio demo or acetate from the original tape master) and was given a different song title. Am I right, or is there some other explanation?

Kapp DEFINITELY used more than one pressing plant. They had several variations of the same issues. They pressed in L.A., on The East Coast, and in The Midwest.

There was almost no chance of the authorities catching these small bootleggers. The "posed" as employees or representatives of the record company whose records they were booting. There was plenty of that going on all through the '50s and '60s.

The Canadian issue was on REO. If this was pressed in Canada, it was paid for by Ed Wingate, made to distribute to the US market, in a rush job, because all the Detroit-Area plants were booked, and he wanted them sent to his distributors immediately. Motown did that with a Marvelettes and a Miracles record (they were pressed on a solid yellow Tamla script print label (with no globes logo). That looks like a boot as well, but it was a legit release. This may have been the same situation with Wingate. Usually this happens with a big hit, when store orders outstrip store stock on hand, and the orders at ALL the local plants (Archer, American(Detroit) Columbia (Terre Haute, Ind.)) are backed up resulting in several days to a week or two delay.

Yours looks to be an original. The most common boot had a black "A", and was made at Monarch in L.A. and has a Delta number in the 103,000s (late 1970s). Not sure if there waqs a red "A" boot, but yours looks real and your Matrix numbers are original, as far as I know (at least on one 1960s issue).

I know that Motown did that. I didn't know that Ed Wingate did that as well.

BOTH of those have to be bootlegs. I was in Chicago and Detroit the whole year that was out and never saw that variation. I also traveled across USA that year and never saw it. I never saw any Ric Tic official pressings on that design. The original may have been a US boot.

I've never seen it listed as an official release. Maybe it was found on a studio demo, or a master tape from Lebaron Taylor's or Don Davis' boxes.

That's the Kapp Records logo, as that album was a Kapp record. Pied Piper placed no graphics-based logo on any of their record releases, as far as I've seen.

I can't remember ever seeing a special "Pied Piper" logo on any of their releases on RCA, Kapp, GWP, Karate, Giant, or even on that weird country production on that Golden World subsidiary label.

Drum/Elgin were NY/Conn. Metro Area companies. So, maybe that's the Hamster (NY) Jimmie (jimmy) Mack, or maybe that Elgin Record is too early (1959 or 1960?) to be the Hamster artist. Or, maybe it's a 4th Jimmy Mack. Just like all the different James/Jimmy Barnes.

Wasn't he from Philadelphia? We should ask Bobby Eli. He certainly was around on the Philly scene at that time. A little while back I would have asked Weldon McDougall. But, alas, he's no longer with us.

Yes, I have that Classics' record. Still, I am wondering if I did see a Chicago record with Jimmy Mack as an artist. It seems to ring a bell in my memory. I don't think it was just seeing Jimmy Mack as an arranger and songwriter on a few Chicago records that gives me that feeling.

Yes, it follows, and it is MUCH, MUCH better than "Test Me" (the faster, but "B" side). I would have kept it, so, I guess I never had it. I guess I never had a chance to buy it, and was unable to hear it. It's okay, but yet one of Bateman's poorer efforts.

That's what I had always been told. So it sounds like a good possibility. I'd still like to hear what Ralph, and maybe Dennis Coffey and Stu Bass and any of the others who were around remember of him. We can't ask Bob Babbit, as he's very sick in hospital right now. I also thought I had remembered seeing a Jimmy Mack release as artist on a small Chicago label (perhaps one of the Clarence Johnson or Johnny Cameron-related Master Key-related labels?). Or, maybe I only just remember his name as an arranger/producer or songwriter on several Chicago releases? Or maybe I remembered seeing the Hamster single and thought it was from Chicago, so it must be that guy? Still, I'd like to know who the Palmer artist was, if it is possible to nail it down.

I had heard from other collectors, who had some knowledge, and (possibly) from other people in the music industry that The Jimmy Mack on Palmer was from Chicago, and had always thought he was the Chicago arranger/songwriter that was the subject of "I'm Jimmy Mack". That's what most of us had assumed. I think it was Ron Murphy who told me that the Palmer guy was from Chicago. I think his recording was made by Mike Valvano with Mike Terry at Sidra's Studios or Terra-Shirma. Is Mike Valvano still alive? If so, maybe someone can ask him. Maybe Ralph Terrana knows who the guy is? I'll ask him.

So, is that Hamster Record a New York label and production? Does anyone here know who the Jimmy Mack on Palmer was (given that he wasn't the Chicago artist/writer/producer)?

The label looks "Chicagoish" and the instrumental sounds somewhat like Chicago artists I'm used to, and the writing of the song also sounds somewhat "Chicagoish". I also remember that Jimmy Mack was a Chicago artist and writer/producer. But, when I listen to this back-to back with "My World Is On Fire", the voices don't sound the same. I also know the sound of Jimmy McEachin's voice (and that is quite different from both of these). Was the Jimmy Mack on Palmer just a guy from Detroit, who never had another release? I always thought he was Chicago's Jimmy Mack, who may have been brought to Detroit by Mike Terry (who also worked in Chicago-with Jo Armstead and a few other companies there). I'm almost positive this singer CAN'T be the Palmer guy. Every person's voice is unique. They sound too far apart.

On ABC by Bateman in 1969. Are you sure it was produced (recorded) in Detroit, rather than New York? I suspect that they were done in NY. Bateman didn't record anymore in Detroit by 1967 (as far as I remember. The Flo Ballard cuts must have been recorded in NY, as they were arranged by Bert DeCouteaux. They don't sound like the Detroit artists I know. They sound like Richard Tee's artists session players that Bateman used in New York to re-create The Detroit Sound. I bet it's a record I passed up because the group name looked too "modern", and like a rock group rather than Soul group name. Although, with Robert Bateman's name on it, I'd have given it a listen. It's really weak, boring Soul. So, I may have even heard it and not bought it, as I didn't like it. Can anyone post a link to, or post an MP3 of the flip? Maybe I'll like that better.

You Brits who just know what is common in Britain (and not know what was going on in the shops in USA and on the radio there) have a very distorted view of the music business in USA during the '60s. The stock of '60s 45s that ended up in Britain is certainly more representative of what was NOT sold, than of what was sold. RCA, MGM, Columbia, WB and Capitol didn't know how to market Soul music. But, they had executives who got the notion into their heads that they should tap the burgeoning Soul market. They produced a LOT of Soul music, but never were willing to put money into pressing up store stock, as they didn't see any interest from potential buyers of those records, as they were never able to get those songs played on Black-Community radio stations, and were rarely able to get those records into local shops-with the shop workers knowing what they sounded like. The shop workers played what they heard on the radio, and what Soul company reps brought to them and played for them. As a Soul record buyer, I went into local Ghetto record shops and asked for records with songs I heard on the radio, as well as new releases by artists I knew and on record labels I liked (R&B labels). I didn't have the time to ask to hear every new RCA, Columbia, MGM, Capitol and WB Soul release. The record shop clerk wouldn't have been able to find them for me in any case. But, that same clerk surely COULD (and DID) find me all the new Chess, VJ, Atlantic, Motown, Modern/Kent, Specialty, Aladdin, Imperial, releases. Mercury and ABC were better at marketing their Soul releases than were the other Majors. As stated above, often there were many more DJ copies pressed than store stockers, and in many cases, ONLY DJs. What ended up arriving to UK was completely due to quirks of history, rather than original numbers of records pressed.

Definitely a boot using the "base" data/graphics from the Bryan Hyland. Jean Carter wouldn't have been on ABC in 1963, and Stan Applebaum and Udell didn't write "Like One".

Yes, I always thought this, as well. J-2 and the new black-labled Sue (#1-12) came out after the old, orange Sue/Symbol/Broadway/Juggy/Crackerjack/A.F.O(Sue Dist. version) were ended. It stands to reason that it was a new (re-organised) company, just as what happened with us at Airwave records (morphing into Airwave International after Airwave went bust).

I would guess so. And maybe that's why the last Poets' record came out on VEEP.

This is the first store-stock (although treated like a DJ copy - with "plug side' marked).

There were AT LEAST two variations of the white DJ-2 different pressing plant issues. Different script fonts (size and thickness).