Robbk

I know those line very well. It's a song I've liked a lot over the years. But my old brain cannot place it. I hate being old!!! It will come to me some time.

"Lonely In A Crowd" was the first to come out on Westbound. 1012 did not. There was no re-issue of 1012 as far as I know.

Yep! My Eldees' also has "Music City" stamped in (in addition to Nashville Matrix). It also has 95 etched in on both sides. ALL 7 of my Dynamics' records have "95" etched on them. So, I guess Dynamics used Archer in Detroit exclusively for pressing, and they used the Nashville Matrix for their mastering. I wonder if The Eldees', having the "Music City" stamper as well, indicates that it was mastered in Nashville, while the others were mastered in Detroit using a machine originating from Nashville Matrix?

Mine looks just like that. I bought it in the late '60s. I always thought it was original. It has Nashville Matrix (script writing) stamped, as well as D-1012A and D-1012B etched, and also 95 etched on both sides. Have you seen other label dsigns for 1012 (such as the multi-coloured 1013 by The Eldees)? I don't remember if I've seen it with another label design. I don't remember hearing that it had been booted.

Well, it sounds "muddier" than VG++. And it's got writing on the label. But, it's still a good deal at £37.

I always thought so (at least, in terms of being pressed and distributed by D-Town/Wheelsville USA and their distributor). I think they had different ownership (which may, or may not have had Mike Hanks as a partner). If I had to bet, I might bet that he WASN'T a partner, despite many of his staff working for Wee3. But, I'd bet that, functionally, they were a part of the D-Town/Wheelsville USA operations. I don't remember seeing MAH's Music as publisher, or even co-publisher on any songs on Wee 3.

I think that was in 1970 or 1971. Verve also has an oldies line, as did many other labels. As stated above, ever since 1960, there was a small, but significant market for oldies re-issues in USA, totally independent of any UK demand.

Excellent way to tell the difference. ALL the boots have the white edging (rim) around the outside of the label, and a less orangish tint in the yellow. It's easy to spot the difference both in the vinyl and the styrene boots.

I think Goldies 45, Era Oldies, Modern Oldies, Eric, King (Gusto) and Atlantic and Motown (Hitsville), and, I'm sure I'm forgetting a couple. There was a market in USA. Record shops had a fair amount of 45 oldies on re-issue labels.

There were oldies series out on various labels all through the '60s and '70s to feed the US market (Oldies 45 from VJ), Modern Oldies, Chess, Lost Nite, Lana, Era Oldies, Collectables, ABC(Goldies 45), Bell Oldies, Atlantic, Motown Hitsville, Eric, Hi-Oldies, Capitol Starline Series, UA Oldies, King(Gusto), Scepter-Wand Forever, etc.

You may well be correct that it was a '70-71 release. I just went by memory of that Era oldies series and later label design) (remembering that it didn't exist in 1965-67) They had a Golden label (Era Golden Oldies?). I knew it must have been out in the very end of the '60s or, more likely, the early '70s (but BEFORE the P 1972 dating on the records.

That re-issue looks to be from 1968-70 period. Apparently, Madelon Wilson leased it to Era to issue as an oldie, when it got some oldies play on US Soul stations.

I have 2 original copies. Both have "Tam 101 -G1" and "Tam 101 G-2" etched. No Sheldon stamp. 1719 Gladstone Ave. was the first address of Tamla Records, and was the address of Ray-Ber Music (and RayBer Records. That record was booted in the 1980sor early 1990s. I don't know if there were 2 or more pressing orders for local Detroit distribution, but as soon a many orders were coming in that Gordy couldn't fill, he made his pressing/dist lease deal with United Artists. So, I wonder why your copy had a Sheldon stamp or "Sheldon" scratched in the trail. I have NEVER seen "Sheldon" on ANY 1959 Tamla Record. NONE of mine have that, and I don't remember seeing a stamp (Sheldon or Bell Sound) on any 1959 Tamla. My first is 54030 from 1960. As the record was also mint, I suspect that it was a bootleg. Motown never issued any legitimate re-issued 45 of it.

Mine just has AP-760A etched, and "Sheldon" stamped into the wax. I assume this is the common pressing. My copy of "Forget The Past"/"Nervous" by The Fabulous Playboys on Apollo 758-1-A also adds the date: 6-61, and an insignia stamped into the trail (in addition to the Sheldon stamp) it looks like a sideways lowercase "m". with an uppercase "T" superimposed over it. The -1 after the record number indicates the version or take number. If I remember correctly, the other pressing of "Honky Tonk Woman" also has a "take or version number" (either -1 or -2). I can't remember which. I hope someone else here will have that issue. The original Daco Records (1001) issue has the Sheldon stamp, and S-1305.

1. The original Motown master tapes of Suspicion would be very valuable. Other Motown tapes of it would be valuable. I don't know what a second generation unauthorised tape of it would be worth. 2. I'm not a Brit, nor a member of The Northern Soul Scene, so I don't know the protocol for NS DJs. I assume that NS DJs could play a Motown reference acetate as an original. 3. As an outsider, I'm not the one to ask this question. 4. There were several makes of blank tape used by Motown. I don't remember seeing AGFA among them. I don't remember them operating in the '60s. Determining the location of production is quite complicated, and where the vinyl/styrene records were pressed and mastered is what often can be discerned by reading pressing plant code numbers and mastering stamps. The delta numbers for Monarch pressing plant in Los Angeles, and the codes for the Columbia and RCA pressing plants are pretty straightforward in terms of referral to dates pressed. Those for many smaller plants are less clear. But one could write a book on that topic.

I've only seen them on orange.

Yes, all the Kellmac numbers are filled in.

These quotes are all correct and accurate, as to what happened. There were multiple tapes of "Suspicion" in the Motown Vaults. The version of "Suspicion" that I played for Rod, and that he got on tape was from the Jobete Music Co. publishing rights reference acetate, with no group (artist) name listed. There were other acetates with other takes. There is generally always at least one Jobete Music and also one Motown Records Corp. reference acetate, and was often an acetate for each take or mix made (although many of those were destroyed or "lifted" years ago).

I suspect that they might have been the same group as The Checkerboard Squares. Both recorded instrumentals in Detroit in the early/mid '60s.

Nor have I, and I saw all of Ron Murphy's stock that he purchased from the warehouse that Ric Tic used. And I had been in Chicago/Detroit all through the period in which they operated and have worked at Motown for some years, and never have seen any label that looked like that. It almost certainly must be a boot.

No, it's not an anomaly. There were many less white DJs appearing over the years than pink store stock. But there were enough whites to satisfy all The Soulies. I wouldn't use the term "rare" when discussing white DJs of "I'm Amazed".

I saw a LOT of the legit white DJ issue over the years, along with the pink store stock. I doubt that one would have much more value than the other. I never saw a boot of either (but that, of course) doesn't mean it wasn't booted).

No desired limit. Money limits its growth. Space is not a problem (I've got that in 3 countries).

Believe it or not, there are still Soul Music collectors in USA and Canada, who want songs on vinyl 45s (even if they were not released originally, during the vinyl period).

It's a matter of personal taste. I like The Camaros' best. The instrumental is sharper, and clearer, and the vocals are really nice. It sounds more "Detroitish" because you can hear those individual Detroit musicians more clearly.