@Vinyl Fan: Don't be ashamed. The label fonts (12 and 14 point Erbar Bold Condensed and 6 point Spartan Heavy Condensed) alone are worth having this - certainly I'd've had it if I'd seen it. But their pressings of Motown and sublabel product still used lacquers from RCA's Chicago studios, with the RCA Custom numbers stamped onto the deadwax, so it's nothing to sneeze at. (I've a few such Supremes LP's that were CRC-oriented pressings, thus I can attest.)
Also, except for a brief period in 1967 when one or more of RCA's pressing plants were on strike, Columbia didn't press any stock product (LP or 45) for Motown and its sublabels at all between mid-1965 and Fall 1970; all Columbia pressings within that period (even 45's, in the 1966-67 period) were for the record club and its customers. Evidently, at the time the Columbia plants didn't get the newer Tamla label design, hence their using an "outdated" label. But then some plants used "outdated" 45 label designs for Tamla and Gordy, which is why you occasionally see old "It's What's In The Grooves That Counts" logohead labels on some pressings of The Temptations' ground-breaking "Cloud Nine" single, and even "globes" labels for Marvin Gaye's monster "I Heard It Through The Grapevine" 45.
Wonder what the RCA Custom mono W4RM matrix numbers would be. But it's interesting that Columbia Pitman (whose type is seen here) would have put out a mono copy (all only for Columbia Record Club customers).