[The Australian Panther]

Crash, I think you are right. The panel layouts and the lettering are very Pete Morosi.
I wonder about some of the 'Jerry Bails' and GCD identifications. They seem to be based on ' somebody recollects' 'or a witness says so, rather then the evidence of their own eyes. Somebody who is an artist like yourself or has visual art training and/or has a 'eye' for artists styles and idiosyncrasies is usually a better judge.
I would imagine, from his work at this time, that Don Heck was of the generation of artists for whom the pinnacle of ambition was getting your own newspaper strip. Which didn't happen, as that field was drying up. He was one of several important artists for whom (in the Silver Age) superheroes was all they had to work with and it just didn't suit their temperament. Heck didn't just work for Marvel as most suppose. He did some very nice work for DC, when he could get it, but some of his best Silver Age work was for Gold Key and King.
Why there exists a tendency for fans who don't know any better to despise Don Heck's work, is something I don't understand. Apparently the 80's bullpen treated him contemptibly also. But then, they did the same to Kirby.

Link to the book: Danger 09

[SuperScrounge]

I wonder about some of the 'Jerry Bails' and GCD identifications. They seem to be based on ' somebody recollects' 'or a witness says so, rather then the evidence of their own eyes.

As I understand it, what became the original version of the GCD were groups of fans trying to figure out who did what comics and passing around lists of who they thought did the many uncredited stories and discussing those conclusions. This was supplemented by fans interviewing people in the industry and being told information (some of which may have been misremembered or someone claiming credit) and other means of information (pay records, etc.)

Jerry Bails himself sent out questionnaires to still living creators and compiling the info they told him (which became Bails' Who's Who.)

Is it perfect? No. Is there bad info in it? Unfortunately. However I think it's more likely to be correct on most of those credits. And trying to get proper credits is still ongoing. If you read the GCD's main google group you will find the occasional disagreement about whether or not somebody had a hand in this issue or not.

[The Australian Panther]

Jerry Bails himself sent out questionnaires to still living creators and compiling the info they told him (which became Bails' Who's Who.)

Is it perfect? No. Is there bad info in it? Unfortunately. However I think it's more likely to be correct on most of those credits. And trying to get proper credits is still ongoing.   

I don't mean to be disparaging about the monumental work Jerry Bails and others have done. It's the methodology I see as problematic. Yes most of it will likely be correct and some of it probably never will be.
It's also made more difficult by the fact that much of it is not just the work of one artist but sometimes 2 or 3 - Pencilor and inker and sometimes a penciler, a corrective penciler and then an inker. And some inkers can obliterate the original pencilers style.
Then there is the problem of work that came out of studios, like Wally Woods for example, where a job could be worked on by multiple artists.
Mike Sekowsky, for one, is noted for his generosity to other artists, who he often ghosted for.     
Cheers!
   

[SuperScrounge]

Don't forget assistants which have been used, well I was about to say since the early comic strips, but then remembered a documentary on Hieronymus Bosch which mentioned him using assistants on "his" paintings.

I was just at the GCD linking some artists to the Binder Studio and there would be notes about what they did. Some artists apparently only did backgrounds. Two artists were listed as doing pencils and inks, but only on secondary figures. Oh, man!

Some art spotters look for details like ears to recognize an artist, but in some cases, like Dale Messick on Brenda Starr, who let her assistant draw everything but the heads, that would ignore around 75% of the strip.

You don't have to be crazy to be an art spotter, but it certainly helps. 

[Captain Audio]

I suspect its mainly the difference between an artist creating a work of art and a company producing commercial artworks.
The true artist puts his heart and soul into his work, often without expectation of reward or even recognition during his life time.
The commercial artist does the job he is contracted to do and few spend more time and effort on a project than they absolutely have to and take short cuts to meet a schedule. They usually aren't paid enough to do otherwise.