Robbk

The company was in New York. But O.C. Tolbert was a Detroit artist, and arranger, Joe Hunter, was based in Detroit. So, were these 2 cuts recorded in Detroit, although paid for by A financier in New York?

Interesting that Berry said he turned down 95% of Smokey's songs when he was a young aspiring writer, but after hearing this, he new Smokey could be a writer - that THIS song was his first that Berry thought would be a hit. That makes it sound like Smokey came to him with this song in late 1957 or early 1958, BEFORE Berry produced Smokey's cuts for George Goldner's End Records in 1958 (starting with "Got a Job, and before "Bad Girl", "Way Over There" and "Shop Around"). If that's really so, why did he wait 3-4 years to produce it, if he thought it was a sure hit? I listen to these old men and women telling their life story, and changing what happened, either because of bad memory or an agenda to make themselves look better, or someone else look worse, or just to simplify the story to make less information for the public to digest, given that they already know out the major events. I think Berry used the latter case here. I'd bet the farm that Smokey didn't write "I'll Try Something New" in 1957 or '58, but that Smokey's early songs showed promise, which caused Berry to make the kid his right hand man, and that "I'll Try Something New" is his favourite song by Smokey, so Berry just cheated a bit, and combined the 2 stories. But these long-time celebrities can't fool people who were there (like saying that Diana Ross "discovered" The Jackson Five", and celebrities leaving out important parts of their histories just because they think those stories or accounts will be dull to the public, and making it sound like they became big shots overnight.

This voice sounds like the Jesse Herring Prod (Swa-Ray/Tru-Glo-Town/Verve/Mar-V-Lus guy. Must be the same, with that rich, smooth tenor voice.

As stated above, it seems that the DJ issues had different colours, and had the copyright month, when the stockers didn't. That's the opposite of most labels, whose DJ issues are less elaborate.

None of mine have a date until 7207. They started the date with 7207. I think those earlier numbers containing a date were 2nd pressings.

The blue background around the cloud, was the earliest, from Fall 1963. The yellow and green was a reprint from mid 1964. Not sure about that Du-ettes. That's the proper design for the late '63 release, but the blue looks too "greenish". But, now I see that using the month with the date may have been haphazard.

Yes, but only those very late re-issues. The original "Twine Time" only has C1963.

I always thought those dates were the dates when the individual labels' logos (trademarks). But, it appears that some printing errors were made. I'm sure that the Jan 1963 date was One-derful's, and May 1963 was M-Pac's. Interesting that the earlier One-derfuls have the Jan date, and the later ones have the May date, while the earlier M-Pacs have May, and the later have Jan, and ALL the Mar-V-Lus have just copyright 1963, and Midas, Toddlin' Town and Halo have NO copyright date (as do the earliest of all 3 with copyright dates,

So, you are saying that from 1973 on, the Philips records issued for sale in the US market all looked exactly like the Canadian and European ones? I stopped looking for records in USA in early 1972, so that explains why I never saw those. And if I did see a few in USA when accompanying my British visiting friends on the few scattered post 1972 record scrounging days, I'd have not looked closely at one, thinking it was a foreign post 1972 issue. I own only a handful of post 1972 records, in any case.

I never saw those in USA. Surely they were made in USA for sale in another country. The US label never used that design.

I'll be very surprised if more than 2 are Motown cuts.

I'm a Gypsy. I divide my year (every year) in five locations: The Netherlands (4 locations: Oude Niedorp, Leidschendam, Veldhoven, Nijmegen), Denmark (Allerød), Germany (Munich), USA (Los Angeles), Canada (Winnipeg). I'm never more than 3-4 months in any one place. So, I can't be represented by your map. But, then, I rarely participate in any events these days. So, maybe it doesn't matter.

Most of us like songs from our late teens through early 20s, best. I'd guess he'd choose several songs from the1940s and early '50s. I'd expect a few big band cuts (maybe Count Basie or Duke Ellington, maybe a Billy Eckstine or Sarah Vaughn vocal. Maybe some city Blues (Jimmy Witherspoon? Dinah Washington). Maybe some Pop crooners (Bing Crosby, Doris Day?). One thing is sure: Neither "Do I Love You (Indeed I Do)" by Frank Wilson, "Like A Nightmare" by The Andantes, nor "When I Needed You" by Little Iva (AKA Miss Ray), nor ANY Thelma record will be one of those 8, nor will any of the records released by Ed Wingate's companies! I think MY OWN PERSONAL 8 would be the following: "Up On The Roof" - Drifters 1962 "Red Sails In The Sunset" - Five Keys 1952 "I'm Yours" - Flamingos 1954 "Liberation" - Afro Blues Quintet +1 1966 "Grand Spanish Lady" - Royal Ravens 1964 "My Girl" - Temptations 1964 (very late-I'll admit) "Young Boy" - Barbara Green 1964 "Found True Love" Billy Butler & 4 Enchanters 1963 Only ONE Motown cut - amazing! And NONE of my Motown Vault discoveries, nor any of our Airwave/Altair cuts! And no room for Blues, Gospel, Avant Garde Jazz, or one from the "Girls Group" genre! I'd need at least a Top 1000 to take to a desert island to take all my favourites. You Northern Soulies would neither be Happy with Berry's nor MY 8 choices. Even my own personal Top 1000 would include a heavy dose of 1951-54 R&B, 1949-1955 Chicago Blues, 1940s-'50s Gospel, late '50s-'60s Avant Garde Jazz, Afro-Latin Jazz, early '60s R&B/Soul transition, and early to mid '60s Soul, and early '60s Philles/Dimension style Girls Group style..

Yes. he worked in New York with Teacho Wilshire, and we can't mistake his rich tenor voice.

I wonder if that is Chicago's arranger, or a different Johnny Cameron, operating out of New York? Is this a vocal or instrumental?

Yes. Those Metros and Nelson Sanders cuts came from the Gold Soul masters that Ron Murphy purchased.

All the Soul King releases were legitimate. The label was run by my good friend, Ron Murphy. He was honest as the day is long. He bought all those Gold Soul masters from the owner, and he bought the Doni Burdick from its owner, as well. They were released in 1991.

I would guess that Ruth Dolphin was the money partner with Al Scott in Call Me Records, and was a half-owned subsidiary of Money Records.

Those group histories above were written and researched by Marv Goldberg, and come from Marv Goldberg's (Group) Notebooks, with help from Victor Pearlin, Gordon Skadberg, and Ferdie Gonzalez. If such copyrighted Internet sections of articles are posted, the author should be credited.

Yes. I thought I had made that clear in my post. But I don't speak English very often, so maybe mine is rusty.

That Grand Opening in 1962 (above photo) was Dolphin's #2 store on Crenshaw Blvd. near 51st St. in Liemert Park (The Crenshaw Area). The original store on South Central Avenue near Vernon Avenue, in South Central Los Angeles (about 6.5 miles east of the new store) was opened in the late 1940s.

The last session WAS in 1974, and I do believe it was a Junior Walker session (or, at least, Walker's was one of the very last).

If you mean Johnny Manship, I'll agree. But why would you think Joe Moore was a Caucasian? Or do you think he was an African-American with Blue eyes, like Billy Eckstine. I seem to remember seeing a photo of Moore, and he was a Black man. Do you have some authoritative source for that information?

I like "I Still Can't Get To You" much, much better than its flip. I guess I;m still a Chicago Boy, at heart. "I'm Lost Without You" seems to wander some, and doesn't have the nice horns. I just don't like the song, nor the arrangement.