Hier scheint er schon im Zuge des VITA-Labels (Inhaber: Larry Meads) kurz im Forum auf:
viewtopic.php?t=3493&highlight=collier
Über die van Hoogten-Brüder gab es hier etwas:
viewtopic.php?t=1802&sid=b7a8084fd56a3e798aada214aaf03743
Ich meine, dass es sich bei JACK COLLIER um einen den van Hoogten-Brüder
(Rene, der auch als RAY MAXWELL ORCHESTRA recordete) handelt.
Moonglow 207 (USA)
Happy José/Octopus Tango
MOONGLOW 5169 (Belgien)
JACK COLLIER CHING-CHING / OCTOPUS TANGO
PRESIDENT PRC 266 (original french)
Tracks:
CHING CHING "HAPPY JOSE"
by Jack Collier and his Orchestra
OCTOPUS TANGO
TROMBONE CHA CHA
GAY PARIS
by John Van Horn and his Orchestra
(siehe Scan...)
Mehr über MOONGLOW RECORDS in
www.bsnpubs.com:
The history of Moonglow Records goes back to the 1950s in Belgium, although most know Moonglow as a 1960s Los Angeles-based label. Albert van Hoogten was owner of Ronnex Records in Belgium, and sent his brother, Rene Jan van Hoogten, to the United States in the mid-1950s to set up a label here. The first version of Moonglow Records was run out of Woodside, New York. The label noted that Moonglow was a subsidiary of Ronnex Records of Belgium. Rene Jan van Hoogten changed his name to Ray Maxwell to help Americans with pronunciation. Maxwell put out a number of singles on the New York-based label, including a couple of 1958 reissues of tunes from the 4-Star label of a few years earlier by Sammy Masters and His Rocking Rhythm ("Whop-T-Bop"/"2-Rock-A-4" [Moonglow 5015] and "Pink Cadillac"/"Some Like It Hot" [Moonglow 5018]). Apparently, sales were not enough to keep the original incarnation of Moonglow above water in New York, so Ray Maxwell relocated to the Los Angeles area.
Maxwell re-started Moonglow in the 1960s from an office at 6359 Selma Avenue in Hollywood. This time, there was no mention of being a subsidiary of Ronnex, but perhaps Ray's brother was part owner. On the operations side, though, it was pretty much a one-man show. Ray Maxwell was President, producer ("supervisor"), owner of the house music publishing company (Ray Maxwell Music), and generally ran the label. The first single from the new Moonglow was Penny Richards' "I'll Be Yours"/"The Only Way" [Moonglow 201], released in 1961. The first dozen singles generally sank without a trace, with artists such as the Runaways, Roy Jackson, Bert Convy, Jack Collier, and the John Van Horn Orchestra.
Moonglow 214 was "There She Goes (She's Walking)"/"That's All I Want Tonight" by the Paramours, a group that had both Bill Medley and Bobby Hatfield as singers. The Paramours had recorded two singles for Smash in 1962, but to no success, and the label dropped them. Although both singers were white, their sound was black, and their black friends called them "the righteous brothers," a name that was right out of black gospel music. The two decided to leave the Paramours and record as a duo as "The Righteous Brothers." Their first single [Moonglow 215] was "Little Latin Lupe Lu," a Bill Medley song which hit the national charts starting in May, 1963, eventually reaching #49. A tour after the song hit may have done them more harm than good, Medley reflected later. The vast majority of deejays thought they were black, and when they showed up to promote the record, some stations that programmed all-black music had to apologize to the Brothers when they had to pull the record from rotation.
After the success of "Little Latin Lupe Lu," each of the singers released a solo venture. Moonglow 220 was Bobby Hatfield's "I Need a Girl"/"Hot Tomale," while Moonglow 221 was Bill Medley's "Gotta Tell You How I Feel"/"If You're Lying, You'll Be Crying." The public wasn't buying. But their followup single as a duo, "My Babe" [Moonglow 223], made the national charts again in September, 1963, eventually reaching #75. Unfortunately, their third try, "Koko Joe" [Moonglow 224], a studio recording with an overdubbed audience, failed to chart. It was about this time that Moonglow issued their first album, Right Now!, by the Righteous Brothers. The mono versions of this album had an orange label and the stereo versions had a yellow label.
In late 1963, Moonglow entered into a distribution agreement with Atco Records. The Moonglow label (either yellow or orange) had black printing. "Moonglow" was above the center hole with a quarter moon symbol in a black box to the left of the center hole. Most of the labels after the Atco distribution agreement have a statement at the bottom of the record that it is distributed by Atco, but some do not. As far as the orange and yellow labels went, Atco seemed to prefer the orange labels for stereo and the yellow for mono, the opposite of the original intent. But there didn't seem to be much organization concerning which label was used, so both mono and stereo versions are known with both yellow and orange labels. Nor was there consistency in the inclusion of the Atco statement at the bottom of the label. Some had them and some didn't, even as late as Moonglow 1004. Some of the statements were on two straight lines of type at the bottom of the label, and some had the notice bending around the bottom of the label. There were several printing variations, also. Some said "stereo," while some said "High Fidelity," even if the record was actually stereo. Some didn't say mono or stereo at all. And there were several different type fonts used for the labels.
Pre-Atco Moonglow 45s (at least as late as "My Babe," Moonglow #223) had blue labels with silver print. After Atco started distribution, Moonglow 45s had orange labels with black print.
Keep Smiling!
Dieter
