You're Gonna Miss Me press?

Sancho Panza

Sancho Panza

Ikon Class
Joined
Apr 27, 2011
I bought the "You're Gonna Miss Me" 45 last week, got it today. I know that there are many pressings of it and I'm just curious which press I have. Does anyone know?

126465465_1.jpg
 
Even tho they (elevators experts) note something like 13 different "pressings" for "You're Gonna Miss Me", these are really mostly label variations, and not all different "pressings". Things like production credits were altered during the pressing run on the labels (switched as the pressings were done), which is the case for the LH pressings of "YGMM".
You have the 1st pressing, stock copy, of IA 107, manufactured locally in Texas. The Contact label pressing is the true, 1st pressing, but since it is a completely different label - that was Tom Gorbyn's imprint - nothing to do with International Artists - I would not count it regarding the different pressings of I A 107. It should be noted that the Contact label pressing was rather large, and not a limited pressing, as copies were being released over the course of 5 months (January to the end of May 1966). By that time a deal had been worked out between Gorbyn and the board executives / cabinet team members at International Artists for I A to take over distribution and manufacturing details which commenced as June started.

I would count four distinct pressings for I A 107, which does not take into account label variations or DJ copies (often pressed during the same manufacturing run as the stock copies) :

1 - two-tone light & dark blue - includes several credit variations, several DJ copy variations - all white/no shading; two tone (white with gray shading) and the stock copy label with a DJ copy printed stamp on the label in large print size). All are noted by the LH master number, recycled directly from the Contact label pressing

2 - HBR deal cancelled solid blue label unauthorized pressings with the # 107 on it, surmized to have been done under the radar to complete the run set-up at the plant in Memphis, TN when HBR was threatened with a lawsuit for illegally manufacturing copies without a signed contract

3 - two tone yellow and green pressings manufactured in California by Rainbo Records, a deal made when the I A team decided to handle national distribution on their own as the song began to make regional airplay impact.This is by far the most common and widely manufactured pressing for "You're Gonna Miss Me"


4- the 1969 re-issue, noted by the updated "globe" label design, which exists as a white label DJ, and a yellow label stock copy.

There are several label variations for the light/dark blue I A 107 (Ken Skinner listed as producer, not Tom Gorbyn (Gorbyn Production) and the DJ copies (some white & Gray shaded, some all white with no gray shading, and some are the light & dark blue shading but were printed with a large DJ copy). These are all what I call label variations, and what several Elevators experts deem as different pressings.
 
Thanks Mike for the answer! Your knowledge has once again caught me off hand. Maybe not the best copy, but I got it cheap.
 
MopTopMike said:
Even tho they (elevators experts) note something like 13 different "pressings" for "You're Gonna Miss Me", these are really mostly label variations, and not all different "pressings". Things like production credits were altered during the pressing run on the labels (switched as the pressings were done), which is the case for the LH pressings of "YGMM".
You have the 1st pressing, stock copy, of IA 107, manufactured locally in Texas. The Contact label pressing is the true, 1st pressing, but since it is a completely different label - that was Tom Gorbyn's imprint - nothing to do with International Artists - I would not count it regarding the different pressings of I A 107. It should be noted that the Contact label pressing was rather large, and not a limited pressing, as copies were being released over the course of 5 months (January to the end of May 1966). By that time a deal had been worked out between Gorbyn and the board executives / cabinet team members at International Artists for I A to take over distribution and manufacturing details which commenced as June started.

I would count four distinct pressings for I A 107, which does not take into account label variations or DJ copies (often pressed during the same manufacturing run as the stock copies) :

1 - two-tone light & dark blue - includes several credit variations, several DJ copy variations - all white/no shading; two tone (white with gray shading) and the stock copy label with a DJ copy printed stamp on the label in large print size). All are noted by the LH master number, recycled directly from the Contact label pressing

2 - HBR deal cancelled solid blue label unauthorized pressings with the # 107 on it, surmized to have been done under the radar to complete the run set-up at the plant in Memphis, TN when HBR was threatened with a lawsuit for illegally manufacturing copies without a signed contract

3 - two tone yellow and green pressings manufactured in California by Rainbo Records, a deal made when the I A team decided to handle national distribution on their own as the song began to make regional airplay impact.This is by far the most common and widely manufactured pressing for "You're Gonna Miss Me"

4- the 1969 re-issue, noted by the updated "globe" label design, which exists as a white label DJ, and a yellow label stock copy.

There are several label variations for the light/dark blue I A 107 (Ken Skinner listed as producer, not Tom Gorbyn (Gorbyn Production) and the DJ copies (some white & Gray shaded, some all white with no gray shading, and some are the light & dark blue shading but were printed with a large DJ copy). These are all what I call label variations, and what several Elevators experts deem as different pressings.
Click to expand...

So this discussion doesn't include those copies manufactured in foreign countries. Weren't there also copies manufactured in Canada? Do these not count as separate pressing?
 
Well, if you wanna get into the Beatle-completist type ridiculousness of listing of every single release variation ever manufactured, including those done outside of the American border, be my guest.
The query posted here was related to the US manufactured pressings, which my answer was targeted at.
 
For greater clarity, maybe you should've said, "there are four distinct U.S. pressings." :) I only asked because my copy, also on International Artists 107, is Canadian-made. It didn't ergo fall under any of the four pressing you refer to and, as such, I believe it reasonable to challenge your claim of, "four distinct pressing." Neither Sancho's original question nor your answer to Sancho absolutely set the discussion within a "U.S.-manufactured pressings" subset. Even the label photographed doesn't list a U.S. address.:)
 
MopTopMike said:
The Contact label pressing is the true, 1st pressing, but since it is a completely different label
Click to expand...
I thought this interesting and looked up the Ugly Things comps site to see if there were any other bands on that Contact label. The only one listed besides the Elevators are some Cavemen. From Canada! How come? What kind of label was Contact?
 
axel said:
Was there ever made a picture sleeve somewhere? Would be nice to have a band pic of the Elevators on the front. It seems they weren't really into taking band pictures...
Click to expand...

No picture sleeve I'm sorry to say. A title sleeve from Germany and a French EP with a cool photo of a guitar and a hand coming out of the darkness is the closest you'll get
 
I thought Gorbyn on the credits for production referred to Gordon Bynum of Contact Records - how exactly does he fit into the picture/why did he give up the rights to a song that had/was making some chart noise?
 
howlin' hoosier said:
I thought Gorbyn on the credits for production referred to Gordon Bynum of Contact Records - how exactly does he fit into the picture/why did he give up the rights to a song that had/was making some chart noise?
Click to expand...

Yes, my mistake.
If Mr. Brown checks this board I'm sure he can chime in regarding how this acquisition came to pass. He gave me the details many moons ago, and I edited down the main points as noted above for tbm. I believe Gordon approached them about taking over "You're Gonna Miss Me." It was selling consistently in the 1st six months, not by boxes and boxes per week, but enough where Bynum saw potential for the song to go further than just Austin and Houston. Belive me, it was hard work to make money on a single that had regional breakout potential. You had to pay expenses upfront, and you often did not get paid by distributors for months on end, if at all. Far easier to just sell the rights to a bigger operation.

In early June, "You're Gonna Miss Me" was acquired by I A and local pressings (the LH codes on the label) began to be manufactured. In the span of a few months, the song began to get regional airplay, and the execs at I A began to seek a deal with a label that could handle national distribution.

International Artists was comprised of a board of executives. Many people think Lelan Rogers ran or was in an important position at label . Rogers was working in Los Angeles as the head of A&R in mid 1966 for the Omen label, the r&b subsidiary of A&M records. When the HBR deal was bantered back and forth between the I A staff and HBR A&R man Tom Ayers, the hiring of Rogers by I A was tagged onto the verbal deal (according to Ayers), since Lelan was a good friend and wanted to head back to Texas. The Omen label as not doing well either - maybe he saw the writing on the wall. But the folks at I A did not "agree" to take on Rogers at that time, perhaps this was the reason the HBR deal was never authorized via a signed contract. Ayers jumped the gun and started the go-ahead for HBR label pressings to fill orders that were coming in from Florida and other regional south-east areas. The I A exec. board found out within the span of a few days, and issued a cease and desist order to kill the illegal HBR label manufacture of "You're Gonna Miss Me". I'm sure copies pressed that didn't make it out of the warehouse were just replaced with the solid blue I A label with the large black letter block print - bootlegs done at that time to fill orders. The matrix numbers match the HBR pressings which shows that the same plant used the same stampers for these 45s, the only difference is that the matrix numbers were "crossed out" on the stampers, in case anyone suspected illegalities. There was so much illegal business going on in the record industry in those days - the little guy or newbies were ripe for explotation by bigger and more experienced operations.

The numbering system Bynum used for his few releases ran in sequential order. There is no other Contact label release on 45 except for the Elevators. His other label names used were Geer 5267 and Matrix 9 5268(45s in '65 by the Six Pents). "You're Gonna Miss Me" followed suit, on Contact 5269 in January 1966.
Not sure how many more releases Bynum financed out of pocket.
 
TheOriginal1966BadApple said:
For greater clarity, maybe you should've said, "there are four distinct U.S. pressings." :) I only asked because my copy, also on International Artists 107, is Canadian-made. It didn't ergo fall under any of the four pressing you refer to and, as such, I believe it reasonable to challenge your claim of, "four distinct pressing." Neither Sancho's original question nor your answer to Sancho absolutely set the discussion within a "U.S.-manufactured pressings" subset. Even the label photographed doesn't list a U.S. address.:)
Click to expand...

I don't collect or note Canadian pressings of US pressed discs, but I would venture to say that any Canadian pressing would have been manufactured around the time of August, 1966, when more US pressings were done on the yellow and green IA 107 pressing via the deal with Rainbo Records in California to meet added demand.
 
Mike - thanks for adding those details in regards to the convoluted pressing history of You're Gonna Miss Me. After reading your descritption, it's not hard to understand why things involved with IA always seem screwy at best.
 
MopTopMike said:
The numbering system Bynum used for his few releases ran in sequential order. There is no other Contact label release on 45 except for the Elevators. His other label names used were Geer 5267 and Matrix 9 5268(45s in '65 by the Six Pents). "You're Gonna Miss Me" followed suit, on Contact 5269 in January 1966.
Click to expand...
A new label name for every release? Interesting concept. But probably not the easiest way to make big money...
 
Well, not taking into account the variations of credits on the local LH pressing from June'66, this would be the mass produced (easiest to find) west coast pressing for national distribution done by Rainbo Records from August '66
 
MopTopMike said:
Well, not taking into account the variations of credits on the local LH pressing from June'66, this would be the mass produced (easiest to find) west coast pressing for national distribution done by Rainbo Records from August '66
Click to expand...

Thanks for sharing your wisdom great Gandalf!
 
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