Robbk

I've seen Claude Johnson have a lot of credits on tiny Chicago labels in the 1960s. Specifically, I remember him as a writer/producer with Trans World Sound and its subsidiary, June Bug Records. But, I seem to remember his name on several other Chi-Town labels. So, I'd guess he was from Chicago. The group may have been from Chicago, and yet signed to Cincinatti's King Records. King had offices in Detroit, and, I believe, they had a presence in Chicago (despite not having an official stand-alone office) during the 1960s. Gene Redd Sr. (not to be confused with his son-who worked mainly out of New York (except when in Detroit for Stephanye) was A&R man at King. So, he worked with many of the groups.

That Parkway record is probably a Chubby Checker.

Could be one of the biggest failures. I've never heard of it having gotten any airplay. It certainly didn't get played in Chicago, L.A. or The S.F. Bay Area. I wonder if it even got any play in Detroit, despite Wylie being local?

I assume that Bernie Harville is deceased. Were the recordings on the Ace/Kent CDs obtained from his son? Perhaps he knew the history of this record? Ady?

I'm guessing that the navy blue was a legitimate re-issue by Bandera's owner. He was still holding onto his masters in 1969, to take advantage of Patti and The Lovelites' new popularity.

Yeah! That record is "The BOMB!"

The article said that the fire used up the room's oxygen. There was nothing about an investigation, or any implication of dual suicide. So, what is the "untrue angle"? It seems to me as merely sensationalism. Perhaps the size of the title's lettering implies to the reader that there is a sensational angle (possibly lovers' dual suicide, or murder). And after one has read the article, we see that is is couched as a warning regarding safety, and for readers to use caution with gas appliances.

Yes, THAT'S what I was told. I just remembered it wrongly. It's been 36 years, after all. Very tragic for young people like that to be taken at such a young age.

I heard it was just an accident with the stove gas. Is that true, or was it some other way?

Yes, The Fabulettes (Florida group) recorded for Butane (as Mar-vells), Monument, Sound Stage 7, Phil-L.A. of Soul, Kangi and Access.

I doubt it. That doesn't look at all like a Chicago record. There were probably over 100 different groups called "The Mystics" included in the various music genres .

I would guess that THESE Fabuletts on TEAKO were a local, Chicago group. The group on Monument/SS7 was spelt: "Fabulettes", and was from Miami. Yes, The Mar-Vells later became The Fabulettes.

Well, then, I knew Nev Wherry in the late '70s. I'm good with record dates, but, at my age, trying to place the time of casual acquaintances often lead to inaccuracies. Could there have been TWO Nev Wherry's, both of whom had been Northern Soul DJs, and both been living in L.A. looking for NS records, both selling them to John Manship, both who died (together with their girlfriends), at a young age, from asfixiation from gas from a stove?

I knew Nev while he lived in L.A, in the '80s. I was shocked to hear about his death at such a young age. Both he and Bob "Larry" Wagner lived in L.A. for long periods.

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.