Robbk

Just what I stated. So you can believe it. The 2 for a dollar were slower movers in special bins. The lowest discounted new popular records in discount stores were 69 or 79 cents. The wholesale price was 50 cents. So, selling new records 2 for $1.00 couldn't make ANY money -so it wouldn't be done.

That $1.00 price could have been the original price in 1965, in a popular record store that didn't discount the list price.

The 99¢ -$1.00 price was a standard listed price from about 1965-1972. I left in 1972 (so don't really know how it progressed since then, and didn't buy any retail records in my visits after that, in any case).

45 Records in USA in 1970 were generally $1.00 (99¢, 95¢), sometimes discounted to 85¢ or, in a few cases, 79¢). But, regular retail price was pretty much $1.00 across the country. Same in Canada (where the Canadian Dollar was set at $1.03 of US $).

Yes, that was among the recordings Rod got from me. We had a 7-inch acetate with an American style large hole, which we taped. The acetate shown above is a different one, but, clearly a legitimate Motown acetate from 1965 (given the red typewriter ribbon strokes.

We had planned that song to be on a later "From The Vaults" LP (the 3rd one, If I remember correctly). But, as you all know, we only got one album released, as the sales were zilch, due to no promotion and no push with distributors. The first was out in mid 1979. The 3rd would likely have been released in early 1980. Wasn't it released on a "Cellarful of Motown"?

So, even the vocals for ALL the songs were recorded in Detroit! I'm impressed.

I always thought that Luther Dixon had Popcorn Wylie (with the help of Sonny Sanders) record the background tracks in Detroit for the "Going Back To Detroit" album, but that The Platters had their vocals recorded in New York. Was I misinformed?

Here's my original. I think I got it from John Hillyard in 1969 or 1970. It has Delta numbers 68365 and 68366, which reflect the last week of September 1967, with Nov 17, 1967 (1 and a half months later) stamped on the label (date of distribution?): It has black plastic.

I would guess those were legitimate 70s repressings done by Lou Bedell, and that is why they had the same delta number. I remember some 70s pressings of a Kennard record that had a purple label. In fact, I remember Superbs and Whispers purple represses as well (all done in the '70s).

Here's the badge patch for the last all-nighter held at The Casino in september 1981: It's attached to my skiing jacket I bought in 1973. It's still in good nick!

The Brill Building (1619 Broadway) is on 41st and Broadway, and 1650 Broadway is on 43rd and Broadway. 42nd and Broadway is Times' Square (is it not?). I've been to New York City once in my 68 years (other than having been in Kennedy and La Guardia Airports hundreds of times (but never leaving the transit building)). I know Freetown, Sierra Leone, Amman and Wadi Es Sir, Jordan, Luxor, Egypt, Marrakech, Tanger, Fez and Meknes, Morocco, Kharthoum and Gedaref, Sudan, and Monton in Eccles, Oldham, Salford and Clitheroe all infinitely better.

What a HORRIBLE LP. The only thing even remotely listenable on it is Rita and The Tiaras. I wouldn't buy that just to have the song on a Dore label. Why didn't Dore just press a newer pressing of it when Northern demand started, in the 1970s, like Harthon and so many other small company owners did??? It's nice to get the recording on mint vinyl directly from the master tape, but who wants all those other-genre cuts on a big hunk of plastic, just to have one cut??? This is just a generic rant, as I wouldn't walk 2 feet out of my way to listen to it (which is why I swapped it).

Sorry to hear this. Condolences to his family. I enjoyed reading his posts over the years.

No! I didn't trade the record away immediately! I waited the many years until I found someone who valued it a LOT more than I. It was in the very late '70s when I traded it. Maybe 1977, 1978 or 1979(?).

I bought a mint, store stocker of Rita and The Tiaras in a record shop (in Long Beach, CA) bargain bin for 25 cents, a few months after it was released. Not liking it all that much, I swapped it to Tim Ashibende (who was posing as someone else (using the name Dave Sullivan) in a package along with Terry Bryant's "Geni", and a few others, for Sidney Barnes' "I Hurt On The other Side", or to Martin Koppel, in a package for some rare Detroit records (some J.J. Barnes on Mickay's and a few others). I forget the exact details, as it was 50 years ago. Had it been last year, I wouldn't remember it at all!!! :lol:

The Invitations started as The Champlains and Tip Toppers, before they became The invitations and signed with Dyno Voice Records. Roy Jolly was the lead when they were with Dynovoice1965-66. The others were Gary Grant (Gant?), Bill Morris and Bobby Rivers. When they moved to MGM in late 1966 and 1967, Herman Colefield replaced Jolly. In 1968 they moved to Diamond Records. in 1973, Lew Kirton replaced Colefield as lead, and they moved to Silver Blue Records. I think they lived in The New York, new Jersey Metro Area, but, some of them (Jolly, Colefield, Grant? originally came from The South (South Carolina?).

Do you want James Washington Lee on L&M, as well?

I will send it in about 4 hours along with The Darlings on Dore.

I have The Vows on Markay. Do you want me to send 300dpi scans of both sides, along with The Darlings? I also have The James Washington lee on L&M. Do you want scans of that one, too?

It is nice to have a thread on this label. Do we have threads for Carmen Murphy's other labels: HOB (House of Beauty, Starmaker, and Spartan? Do we have them for Mike Hanks' early labels like Spin. MRC. MAH's, Wheel City and USD ? I'm sure we have discographies for D-Town and Wheelsville USA.

I have The Darlings, but I'll have to wait 7 hours till I get home to scan it.

Good programme! Nothing I didn't know, but it brought me back to those years.

Here's a link to The Glows' best side: https://video.search.yahoo.com/video/play;_ylt=A2KIo9Ss4D5VmHcAZ8EsnIlQ;_ylu=X3oDMTByZWc0dGJtBHNlYwNzcgRzbGsDdmlkBHZ0aWQDBGdwb3MDMQ--?p=The+Glows+-+%22We%27re+Drifting+Apart%22&vid=329ee88782cdd6868f8602cca255feec&l=2%3A39&turl=http%3A%2F%2Fts3.mm.bing.net%2Fth%3Fid%3DWN.NiR0oFlgO2Qf7Euwtly4CA%26pid%3D15.1&rurl=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DlFjqlhmPcVY&tit=We%26%2339%3BRe+Drifting+Apart+-+The+Glows+-+SOUL+838&c=0&sigr=11bfsqal9&sigt=11fo6g1ni&sigi=11vrpumjs&age=1411143026&fr2=p%3As%2Cv%3Av&fr=yhs-mozilla-001&hsimp=yhs-001&hspart=mozilla&tt=b

I haven't seen any discography of Carmen Murphy's Soul Records other than my own. I've only ever seen 837 through 841, with two 838s and NO 839. I believe that the second 838 (Barons) was supposed to be 839, and so, 839 was not used. Soul Records (like House of Beauty (HOB) Records), was located in the office of Carmen Murphy's beauty shop ("House of Beauty"), at 111 Mack Avenue, in Detroit. Mike Hanks was A&R man and chief producer for Mrs. Murphy. Most of their recordings were made at United Sound Recording Studio. The Barons were Roger Craton (AKA Lee Rogers), Jesse Greer and Barney (Duke) Browner, with one other member (I've forgotten). Johnny West WAS Buddy Lamp. Othea George had been a member of The Twilighters (Willie (Tony) Ewing's group, who had been recorded by Hanks and Ewing for their Spin Records label. 837 - The Barons - "Money Don't Grow On Trees" / "Dog Eat Dog" 838 The Glows - "We're Drifting Apart" / "Twenty-One" 838 The Barons - "Who's In The Shack" / "While The Cat's Away" 840 - Othea George - "What's The Matter With Me" /"If I Don't Have To Tell A Lie" 841 Johnny West - "Tears Baby" / "It Ain't Love"