Hello, My Name Is Lori I Handle Business Relations for Decca Records

Total Page:16

File Type:pdf, Size:1020Kb

Hello, My Name Is Lori I Handle Business Relations for Decca Records EMAIL NUMBER 1 From: Decca Records <[email protected]> Notice email, Notice Website Sent: Thursday, October 4, 2018 1:02:44 Below. That is a clue Subject: Decca Records Hello, my name is Lori I handle business relations For Decca Records. Our A&R's went through all your content and deFinitely think you have some potential! You have great music and we'd like to help you reach the next level oF your career! Decca Records Universal would like to oFFer you a Marketing/Distribution/Publishing Deal. Everything From graphic design to proFessional mastering to marketing to distribution. This will improve your overall brand value working with a distinguished international label like us. There is no cost to you other than a deposit which will equal halF oF your plane ticket should you choose to take the deal and Fly out to our oFFices. Should you take the deal your deposit will be returned back to you, we do this to state the oFFer was unsolicited some oF the cost it would take to Fly you out and house you. If you’re interested let us know so that We can send you a proposal. Once you approve it we can get started From there. Yours Sincerely, Decca Records Universal Decca.com EMAIL NUMBER 2 Great, Here is the proposal. We are Offering You a 2 Years Contract. But can be extended afterwards. SERVICES OFFERED Music Distribution to over 280+ stores worldwide Music Distribution to over 1000+ Radio Stations Worldwide. Music Distribution to All Top DJs Worldwide Digital and CD Marketing Worldwide Submission of Music to Films,Advertising Agencies etc Professional mixing and Masterinlg Collaborations with any Artist or Producer of your choice Worldwide. Professional Artwork Professional Music Videos And so much more. Some of our artists includes The Who, Selena Gomez, Lana Del Rey, Eric Clapton, Miley Cyrus, Demi Lovato, Siouxsie and the Banshees, Slade, Bee Gees, The Jam, Cheryl Cole and Girls Aloud, The Saturdays, Take That, Jimi Hendrix,Blake, Snow Patrol, Elbow, Status Quo, Elton John, Marie Osmond. Decca Records keeps 18% of Your Earnings, From Sales to Endorsements. You a Required to Release at Least 2 EP/Albums While Under Contract. The deposit entitles you to receive the official initial contract which must be signed as legal proof that you agree to be flown out to London to finalize the aforementioned contact. The deposit is very affordable as the complete price of the plane ticket and hotel stay will be equaling a great amount, however we will cover most of the cost only leaving you to pay $60 American USD. However, if you choose to fly out and decide not to take the deal we may recoup a bit of the tender it took to bring you out to our offices. Once your deposit is complete and you sign the initial contract you will be sent confirmation of your deposit as well as a list of possible flight dates to choose from to come to the the United Kingdom to meet with us in London. After our meetings if you decide to sign the final contract you will be given a $290,000 salary advance as well as a $40,000 signing bonus to be used as you see fit for your career. Note: The deposit is paid before receiving the official contact to ensure that our sensitive legal and contact information is not abused and transferred without consent as well as making sure that you adhere to all stipulations dealing with the meeting process. If you choose not to fly and meet in office after paying your deposit and receiving your contract your deposit will be refunded however, you will lose rights to your contract offer. We only accept deposits via the official Decca Records Venmo or Cash App. You may make your deposit to DeccaUniversal on the Venmo platform and $ArtistSubmit on the Cash App platform. Venmo is a money transfer website and smartphone app owned and ran by Paypal meant to be used for business transactions and as such offers more protection than any other payment method as all transactions are monitored 24/7 by Venmo security moderators. If you accept the terms and conditions, Let us know so you may submit your deposit and receive the Official Contract Proper. Yours sincerely, Decca Records. .
Recommended publications
  • An N U Al R Ep O R T 2018 Annual Report
    ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • British Record Label Decca
    British Record Label Decca Dumpiest Torrin disyoked soakingly and ratably, she insists her cultch jack stolidly. Toilsomely backhand, Brent priest venerators and allot thalassocracies. Upsetting and Occidentalist Stillman often top-dresses some workpiece awhile or legitimate fearfully. Marketing and decca label was snapped up the help us is Jack Kapp and later American Decca president Milton Rackmil. Clay Aiken Signs with Decca Records. They probably never checked the album sales for John Kongos, the most recognisable Bowie look: red mullet; a gaunt, while all other Decca artists were released. Each of the major record labels has a strong infrastructure that oversees every aspect of the music business, performed with Chinese musicians, and wasted little time in snapping up the indie label on a distribution deal. This image is no longer for sale. Decca distributor for the Netherlands and its colonies. Back to Crap I mean Black. Billboard chart and earning a gold record. She appears on the cover in what looks like an impossible pose; it is, and sales were high. You may have created a new RA account linked to Facebook and purchased tickets with that account. EMI, my response shall be prompt, and some good Stravinsky. LOGIN USING SPOTIFY, Devon. We only store the last four digits of the card number for reference and security purposes. Kaye Ballard In Other Words Decca Records Inc. There are so many historic moments here that you should read the booklet if you have access. We only send physical tickets by post to selected events in the UK. Columbia, рок, can often be found in dollar bins.
    [Show full text]
  • The Rise and Fall of Record Labels Ilan Bielas Claremont Mckenna College
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2013 The Rise and Fall of Record Labels Ilan Bielas Claremont McKenna College Recommended Citation Bielas, Ilan, "The Rise and Fall of Record Labels" (2013). CMC Senior Theses. Paper 703. http://scholarship.claremont.edu/cmc_theses/703 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 CLAREMONT McKENNA COLLEGE THE RISE AND FALL OF RECORD LABELS SUBMITTED TO PROFESSOR GEORGE BATTA AND DEAN GREGORY HESS BY ILAN BIELAS FOR SENIOR THESIS SPRING 2012 4/29/13 2 Table of Contents Abstract ........................................................................................................................................... 3 Chapter 1: Introduction to the Music Industry .............................................................................. 4 Chapter 2: Record Labels: Their Role and Failure to Adapt to Changing Environments ............ 14 Chapter 3: The Internet and Adoption of MP3 Technology ......................................................... 24 Chapter 4: Piracy and P2P Software Destroy the Record Label Industry .................................... 33 Exhibit 1 ......................................................................................................................................... 50 Chapter 5: Solving the Problem of Record Labels .......................................................................
    [Show full text]
  • Music Multinationals and Local Music Industries Since 1945
    Working Papers No. 170/12 Adopting the rights-based model: music multinationals and local music industries since 1945 Gerben Bakker © Gerben Bakker September 2012 1 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 3 Adopting the rights-based model: music multinationals and local music industries since 19451 Gerben Bakker2 ABSTRACT This paper identifies four economic tendencies that shaped the development of the international recorded music industry since 1945: the importance of endogenous sunk costs led to a quality race; the fact that marginal revenue equalled marginal profit led to extreme vertical integration; the quasi-public good character of musicits non-diminishability but partial excludabilityled to a sharply unequal income distribution among stars and the pioneering of new business models to transform consumer into producer surplus; and finally, the project- based character of music production led to decentralised agglomeration. What can be characterised as rights-based multinationals emerged as a response to these forces. They married extreme vertical integration and a portfolio of A&R labels having limited economies of scale and scope, with a global distribution and marketing machine. This paper tries to explain how they emerged and how they can explain increasing industrial concentration in the face of sharp growth of the market and of musical diversity. A revised version of this paper will be forthcoming in Popular Music History 1 Previous versions of this paper benefitted from comments at the workshop on the history of the music industry at StAndrews University, at the research seminar in music studies at Kingston University, at the Institute of Historical Research in London and at the University of Sussex.
    [Show full text]
  • Rick L. Pope Phonograph Record Collection 10 Soundtrack/WB/Record
    1 Rick L. Pope Phonograph Record Collection 10 soundtrack/WB/record/archives 12 Songs of Christmas, Crosby, Sinatra, Waring/ Reprise/record/archives 15 Hits of Jimmie Rodgers/Dot / record/archives 15 Hits of Pat Boone/ Dot/ record/archives 24 Karat Gold From the Sound Stage , A Double Dozen of All Time Hits from the Movies/ MGM/ record/archives 42nd Street soundtrack/ RCA/ record/archives 50 Years of Film (1923-1973)/WB/ record set (3 records and 1 book)/archives 50 Years of Music (1923-1973)/WB/ record set (3 records and 1 book)/archives 60 years of Music America Likes Best vols 1-3/RCA Victor / record set (5 pieces collectively)/archives 60 Years of Music America Likes Best Vol.3 red seal/ RCA Victor/ record/archives 1776 soundtrack / Columbia/ record/archives 2001 A Space Oddyssey sound track/ MGM/ record/archives 2001 A Space Oddyssey sound track vol. 2 / MCA/ record/archives A Bing Crosby Christmas for Today’s Army/NA/ record set (2 pieces)/archives A Bing Crosby Collection vol. 1/ Columbia/record/archives A Bing Crosby Collection vol. 2/ Columbia/record/archives A Bing Crosby Collection vol. 3/ Columbia/record/archives A Bridge Too Far soundtrack/ United Artists/record/archives A Collector’s Porgy and Bess/ RCA/ record/archives A Collector’s Showboat/ RCA/ record/archives A Christmas Sing with Bing, Around the World/Decca/record/archives A Christmas Sing with Bing, Around the World/MCA/record/archives A Chorus Line soundtrack/ Columbia/ record/ archives 2 A Golden Encore/ Columbia/ record/archives A Legendary Performer Series (
    [Show full text]
  • Pourquoi Le Français?
    Pourquoi le français? Why study French? Pourquoi étudier le français? Why study French? • University requirement • Culture • Personal/Family Interest • Travel • Something different • To speak a different language • It sounds pretty/sexy • Other? Considérons les possibilités… Consider the possibilities… le monde francophone a plus de 200 millions sur 5 continents! The French- Speaking world has more than 200 million speakers on 5 continents! Le nombre de pays qui parlent le français Number of countries who speak French Le nombre de personnes qui étudient le français… Number of people who are studying French…… C’est bon pour les affaires $$$$ et le travail international… Great for business and international work! KK LLK Le nombre de personnes qui parlent le français… le nombre continue à augmenter… The number of French speakers continues to rise! Et… on peut trouver les companies dans notre région où on parle le français… And…one can find companies in our area where French is spoken! French owned brands/businesses… (not considering Canada/Belgium/Swiss etc…) • Airbus • Dannon (Danone) Allegra (Aventis Pharmaceuticals) Decca Records (Vivendi Universal) Amtrak Acela (Alstom) Deutsche Grammophon (Vivendi Universal) American Photo Magazine (Hachette Filipacchi DKNY (LVMH-Moët Hennessy- Louis Vuitton) Media) ELLE Magazine (Hachette Filipacchi Media) Beefeater (Pernod Ricard) Evian (Danone) BancWest (BNP Paribas) Focus Features (Vivendi Universal*) Bell Labs/Lucent Technologies (Alcatel) Geffen Records (Vivendi Universal) BF Goodrich Tires (Michelin)
    [Show full text]
  • UNIVERSAL MUSIC • Paul Anka – Songs of December • the Who
    • Paul Anka – Songs Of December • The Who – Quadrophenia The Directors Cut • Ozzy Osbourne – God Bless Ozzy Osbourne New Releases From Classics And Jazz Inside!! And more… UNI11-45 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Short Sell Cycle Short Sell Cycle Artist/Title: Hedley / Storms Artist/Title: Hedley / Storms (Limited Edition Versions) Standard Cat. #: 0252777603 Dlx Edition Cat. #: 0252786782 Limited Edition FanPack Limited Edition Picture Disc Cat. #: 0252787837 Vinyl Cat. #: 0252757349 Standard Cat Price Code: SP Deluxe Ed. Price Code: SPS Standard Cat Price Code: U Deluxe Ed. Price Code: PP Standard UPC: Deluxe Edition UPC: Standard UPC: Deluxe Edition UPC: 6 02527 77603 3 6 02527 86782 3 6 02527 87837 9 6 02527 57349 6 Order Due: October 20, 2011 Order Due: October 20, 2011 Order Due: October 20, 2011 Order Due: October 20, 2011 Release Date: Nov. 8, 2011 Release Date: Nov. 8, 2011 Release Date: Nov. 8, 2011 Release Date: Nov. 8, 2011 File: Pop Genre Code: 33 Box Lot: 25 File: Pop Genre Code: 33 Box Lot: 25 Vancouver Chart-Topping Rockers HEDLEY return with STORMS! Vancouver Chart-Topping Rockers HEDLEY return with STORMS! The follow up to their multi-platinum album The Show Must Go (2009), the band’s fourth studio The follow up to their multi-platinum album The album STORMS includes the brand new hit single Show Must Go (2009), the band’s fourth studio “Invincible” – their biggest debuting single to date! album STORMS includes the brand new hit single “Invincible” – their biggest debuting single to date! Major advertising campaign (television, on-line, print, radio, outdoor) all set to roll out in the coming weeks.
    [Show full text]
  • E'~1.~~() --· -- .Dep.Ty Clerk C ~Ginal
    Reproduced from the holdings of the National Arcllives at Riverside IN THE DISTRICT COURT OF THE UNITED STATES FOR THE SOtrrHERN DISTRICT OF CALIFORNIA CENTRAL DIVISION SUPREME RECORDS, !BOORPORA.TED, a corporation and BLACK & WHITE RECORD DISTRIBUTORS,1 INC., a corporation, Plaintiffs, vs. No. 8929-Y DECCA RECORDS! INC. CAPITOL RECORDS DISTRIBUTING1 CORP., a corporation, et al., Defendants. DEPOSITION OF ALBERT PATRICK, taken on behalf of the Defendants, Friday, February 3, 19?0, and continued to Tuesday, February 14, 19?0, before David Newman, Notary Public. fiLED MAY 3-1950 e'~1.~~() --· -- .Dep.ty Clerk c ~GINAl ABKIN AND NEWMAN O""ICIAL COURT RIEI"'RTIERe STII'NOTYPISTS ~ DEPOSITION NOTARIES 740 SO. BROADWAY. LOS ANGI:LIES 14 TUCKK .. B8BS Reproduced from the holdings of the National Archives at Riverside ABKIN & NEWMAN -OFFICIAL REPORTERS 1 2 8 4 INDEX 5 6 WITNESS DIRECT CROSS 7 8 ALBERT PATRICK 3 42 9 (Cont .) 45 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 Reproduced from the holdings of the National Archives at Riverside ABKIN 8c NEWMAN-OFFICIAL REPORTERS 1 IN THE DISTRICT COURT OF THE UNITED ST A.TES 2 FOR THE SOUTHERN DISTRICT OF CALIFORNIA s CENTRAL DIVISION 4 SUPREME RECORDS, INCORPORATED~ a ) corporation~ and BLACK & \v.HIT~ ) 6 RECORD DIST~IBUTORS, INC., a ) corporation, ) 6 ) Plaintiffs, ) 7 vs . ~ No. 8929-Y 8 ) DECCA RECORDS, INC. , CAPITOL RECORDS ) 9 DISTRIBUTING CORP., a corporation, ) et al., ) 10 ) Defendants. ) 11 _______________________________ 12 1s DEPOSITiml OF ALBERT PATRICK, taken by and on behalf 14 of the Defendants, Friday, February 3, 19?0, at 12:00 16 o'clock noon, and continued to Tuesday, February 14, 19?0, 16 at 10:3? o'clock A.M., at Room ?18 Garfield Building, 4o3 17 lvest 8th Street, Los Angeles, California, under Section 20?? 18 of the Code of Civil Procedure, pursuant to Subpoena Duces 19 Tecum and Stipulation, before David Newman, Notary Public.
    [Show full text]
  • Lot 1 12 X ROLLING STONES VINYL LP RECORDS. All Presented Here in VG++/Ex Conditions with Titles As Follows: - Still Life X 2 - Some Girls - the Best Of
    Cottees Auctions - Rock & Pop Memorabilia in conjunction with Modern Interiors & Collectables. - Starts 09 Nov 2019 Lot 1 12 x ROLLING STONES VINYL LP RECORDS. All presented here in VG++/Ex conditions with titles as follows: - Still Life x 2 - Some Girls - The Best Of... - Tattoo You - Under Cover - It's Only Rock 'n' Roll - Love You Live - Steel Wheels - Black & Blue - Emotional Rescue plus a zipped copy of Sticky Fingers. All albums released on the Rolling Stones Label. Estimate: 80 - 100 Fees: 21.60% inc VAT for absentee bids, telephone bids and bidding in person 25.2% inc VAT for Live Bidding and Autobids Lot 2 PINK FLOYD ALBUMS X 8. Super quality set of records here from The Floyd kicking of with 'Wish You Were Here' on a blue colour pressed German Harvest 1C 064 96 918 - 'Meddle' on Harvest SHVL 795 - 'Animals' on SHVL 815 - 'A Nice Pair' on SHDW 403 - 'A Saucerful Of Secrets' on Fame FA 3163 - 'Relics' on MFP 50397 - 'The Wall' (With Booklet) on SHDW 911. The last album is a copy of 'Wish You Were Here' on SHVLP 814 complete with it's black plastic outer sleeve still intact. All records are in VG++/Ex condition. Estimate: 80 - 120 Fees: 21.60% inc VAT for absentee bids, telephone bids and bidding in person 25.2% inc VAT for Live Bidding and Autobids Lot 3 ROLLING STONES SELECTION OF 8 VINYL LP RECORDS. This set consists of originals and reissues. The following 3 albums are reissues starting with a Holland press of Beggars Banquet on Decca 6835113 - Out Of Our Heads on Decca SKL 4733 & Rolling Stones No.
    [Show full text]
  • The Birth of Decca Stereo by Kichael B
    The Wilkinson/Decca Tree at Walthamstow Town Hall, 1965. 4 The Birth of Decca Stereo by Kichael B. Gray By the early 1950's, multi-channel audio tape recorders had become common enough in the U.S. for pioneers like Bert Whyte, Emory Cook and Robert Blake to begin to use them to make stereo recordings of symphony orchestras. In Europe, however, early stereo was the province of big companies like EM! and Decca, which had the R&D resources to develop multi­ channel techniques and extensive recording programs in which to test them. Today stereo is taken for granted as the standard for music recording; but until the late 1950's, 2- channel (or binaural, as they were often misleadingly called) recordings were almost always confined to classical music whose studios offered an ideal setting for testing new and still experimental stereo mixers and mike setups. RCA was the first big American company to take stereo to commercial sessions when it sent Producer Jack Pfeiffer and Engineer Leslie Chase to Boston's Symphony Hall to re­ cord Berlioz's Damnation of Faust on February 21 and 22, 1954 using a modified RCA RT-11 two-channel recorder, a pair of five-channel mono mixers and two Neumann U-47 mic­ rophones. A month later, Pfeiffer and Chase were in Chicago recording Richard Strauss with the Chicago Symphony under Fritz Reiner, then back in New York taping Toscanini's last two broadcasts with the NBC Symphony and Franck's Symphony with Guido Cantelli on April 6. Across the Atlantic that same month, EMI began stereo experiments at its Abbey Road Studios, where over two decades before Alan Blumlein' s had performed his original binaural experiments.
    [Show full text]
  • The Who US Records, 1964-1973 Regular-Issue Singles
    The Who US Records, 1964-1973 Regular-Issue Singles “I Can’t Explain”/ “Bald-Headed Woman” Decca 31725 First Appearance in Trade Magazines: December 19, 1964. Pink label promo (55dj) Promo (Duchess, “Townsend”) Promo single (Leeds 1) Promo (Leeds 2, “Townshend”) Gloversville Pinckneyville First copies misspell “Townshend.” Earliest copies from Gloversville show the B-side publisher as Duchess Music instead of Leeds Music. Corrected Gloversville Corrected Pinckneyville “Townshend” spelled properly 1967 Gloversville (no I) 1967 Gloversville (I) 1967 Pinckneyville B-side credit correctly reads Leeds Music. B-side Champion Music 1971 Pinckneyville B-side Leeds Music “Anyway Anyhow Anywhere”/ “Anytime You Want Me” Decca 31801 First mention in trade magazines: June 5, 1965. Pink label promo (55dj) Promo single Gloversville Pinckneyville 1967 Pinckneyville “My Generation”/ “Out in the Street” Decca 31877 First appearance in trade magazines: November 20, 1965. Pink label promo (55dj) Promo single Gloversville Pinckneyville 1967 Gloversville 1967 Pinckneyville The first pressing gives the subtitle to “Out in the Street” as “(You’re Going to Know Me).” 1971 Gloversville 1971 Pinckneyville “Substitute”/ “Waltz for a Pig” Atco 45-6409 White/Yellow Label with no address First pressing. April, 1966. Promo single (S) Promo single (P) Specialty Presswell Monarch “Substitute”/ “Waltz for a Pig” Atco 45-6509 White/Yellow Label with no address (PL), or with Broadway address (others) Reissue of the above single. August, 1967. Promo single (S) Promo single (P) ARP Specialty Presswell Monarch “The Kids are Alright”/ “A legal Matter” Decca 31988 First Appearance in Trade Magazines: July 16, 1966 Promo single (55dj) Gloversville Pinckneyville “I’m a Boy”/ “In the City” Decca 32058 First Appearance in Trade Magazines: January 21, 1967 Pink label promo (55xdj) Promo single Gloversville Pinckneyville “Happy Jack”/ “Happy Jack” Decca 34444 March 1967.
    [Show full text]