Hi All,

I'm currently listening to and really enjoying the first installment of RCA - Rare, Collectible and Soulful. I have to get volume II yet, but will soon.

Is anyone aware of any plans for a volume 3 or any more collection of soul on RCA?

Many thanks, everyone!

Hi All,

I'm currently listening to and really enjoying the first installment of RCA - Rare, Collectible and Soulful. I have to get volume II yet, but will soon.

Is anyone aware of any plans for a volume 3 or any more collection of soul on RCA?

Many thanks, everyone!

Championed these 2 CDs many a time on here - IMO the best "Northern" comps ever to have been released. Worth getting for the unreleased Sharon Scott tracks alone - one of the reasons CDs should be allowed to be played at venues !!

Championed these 2 CDs many a time on here - IMO the best "Northern" comps ever to have been released. Worth getting for the unreleased Sharon Scott tracks alone - one of the reasons CDs should be allowed to be played at venues !!

Disc 1 alone has 12 unreleased tracks out of the 24 tracks on the disc....

i read an article in record collector a few months back where ady said there was definatly gonna be a vol 3.

i read an article in record collector a few months back where ady said there was definatly gonna be a vol 3.

The Upsetter,

Cheers for this! Most excellent news.

Tim

Hi All,

I'm currently listening to and really enjoying the first installment of RCA - Rare, Collectible and Soulful. I have to get volume II yet, but will soon.

Is anyone aware of any plans for a volume 3 or any more collection of soul on RCA?

Many thanks, everyone!

It's definitely in the pipeline, and it's to be hoped that it'll be out sooner rather than later - all that's holding it up is the clearance procedures that all compilations have to go through on the way from our heads to your CD players...

What I'd like to hear is I'll Always Need You by Dean Courtney - but with the vocal removed - I've always thought that this would make the best instrumental of all time.

It's funny because I said that at the time when I reviewed them and I still say now, I thought all the unreleased stuff was overrated except for You Only Live Twice. Obviously I am alone here.

That Cavaliers track that James Trouble has been playing is fan-bloody-tastic....thought it would have been out by now.....I was shown a track listing months ago.

thought it would have been out by now.....I was shown a track listing months ago.

I'm afraid that there's no magic wand that we can wave to make compilations appear 'justlikethat'. Licensing can often be a tortutous process, one where at times you almost have to prove to record companies that they own repertoire. It can be particularly difficult when the repertoire was not originally released, as you can't use the old 'it must be yours, you put it out on (insert label and catalogue number here) in March 1967' gambit as leverage.

The average gestation time of a project that is comprised solely of licensed repertoire (as RCA 3 will be) is a year, perhaps more. Sometimes the licensing can move along quickly, but sourcing of acceptable masters can delay things to a massive extent. To give you an example of this, the Freddie Scott CD that we have just put out on Kent this month was actually cleared within a few months of our applying for it, but sourcing original stereo tapes for many of the tracks that were released in stereo on vinyl albums was a huge problem, for a long time.

It's probably taken well over two years for that one to come out from when Mick Patrick, Rob Hughes and I decided on our track listing and Ace's licensing gal Liz first applied to Sony BMG for it.

It isn't just as easy as "thought it would have been out by now", y'know!

What I'd like to hear is I'll Always Need You by Dean Courtney - but with the vocal removed - I've always thought that this would make the best instrumental of all time.

It's funny because I said that at the time when I reviewed them and I still say now, I thought all the unreleased stuff was overrated except for You Only Live Twice. Obviously I am alone here.

Some of the unreleased tracks didn't do it for me too at the time when I bought the CDs. I never liked you only live twice, the strident chorus spoils it for me and LC's voice seems to be a bit off key at times.

Will dig out volume 1 and 2 tonight, maybe the unreleased RCA stuff is like a good wine and needs maturing

I think both CD's are excellent.

The Sharon Scott and Cavaliers unreleased tracks are superb.

Definitely not keen on the Willie Kendrick unreleased track - "American dollar" which must have some of the worst lyrics ever.

What I meant was that although the unreleased things were good, they weren't any better than the stuff that was finally released by those artists.

That Cavaliers track that James Trouble has been playing is fan-bloody-tastic....thought it would have been out by now.....I was shown a track listing months ago.

Hi Guys,

Any chance of posting the probable listing?

Thanks,

Brian

I'm afraid that there's no magic wand that we can wave to make compilations appear 'justlikethat'. Licensing can often be a tortutous process, one where at times you almost have to prove to record companies that they own repertoire. It can be particularly difficult when the repertoire was not originally released, as you can't use the old 'it must be yours, you put it out on (insert label and catalogue number here) in March 1967' gambit as leverage.

The average gestation time of a project that is comprised solely of licensed repertoire (as RCA 3 will be) is a year, perhaps more. Sometimes the licensing can move along quickly, but sourcing of acceptable masters can delay things to a massive extent. To give you an example of this, the Freddie Scott CD that we have just put out on Kent this month was actually cleared within a few months of our applying for it, but sourcing original stereo tapes for many of the tracks that were released in stereo on vinyl albums was a huge problem, for a long time.

It's probably taken well over two years for that one to come out from when Mick Patrick, Rob Hughes and I decided on our track listing and Ace's licensing gal Liz first applied to Sony BMG for it.

It isn't just as easy as "thought it would have been out by now", y'know!

Tony, what you state above is probably truth for many smaller specialist music companies that want to bring the best quality music to fans everywhere. This is why any Ace release be it on Bigbeat, Kent, and associated labels are excellent and so interesting. I often buy products that I wouldn't initially look at by reading the reviews on the Ace website and listening to the sound samples provided. That's why I'd never buy any Goldmine or Marginal type cd's because they are not good value for money, you get tracks mastered from vinyl and no info at all in the cd booklets, and most importantly no money from these releases goes to the creators, more likely straight into the pockets of the people whom manufacture these cd's!. Rant over!

Edited April 28, 200916 yr by timthemod

Tony's covered it well, it shouldn't be too long now and the quality is at least as good as the other two and with every track previously unreleased even more exciting.

From a personal viewpoint I found Sharon Scott's Lock & Key and I'm Not Afraid, brilliant and better than either side of her 45 which is excellent of course, and It's Better is much better than the white released version.

Kenny Carter's What's That On Your Finger is brilliant and beats Willie Kendrick. Willie's She'll Be Leaving You is a Detroit masterpiece. Ditto for the Cavaliers Ooh It Hurts Me. I'm also very keen on the Metros My Imagination and of course Lorraine's YOLT.

The unissueds on the new one by Nancy Wilcox are miles better than the 45 and there are some more great Kenny Carters and Lorraine Chandlers plus a couple of surprises even I ain't heard yet. Can't wait!

Tony's covered it well, it shouldn't be too long now and the quality is at least as good as the other two and with every track previously unreleased even more exciting.

From a personal viewpoint I found Sharon Scott's Lock & Key and I'm Not Afraid, brilliant and better than either side of her 45 which is excellent of course, and It's Better is much better than the white released version.

Kenny Carter's What's That On Your Finger is brilliant and beats Willie Kendrick. Willie's She'll Be Leaving You is a Detroit masterpiece. Ditto for the Cavaliers Ooh It Hurts Me. I'm also very keen on the Metros My Imagination and of course Lorraine's YOLT.

The unissueds on the new one by Nancy Wilcox are miles better than the 45 and there are some more great Kenny Carters and Lorraine Chandlers plus a couple of surprises even I ain't heard yet. Can't wait!

It was certainly very exciting to be at the 100 Club when these tracks were first aired. While time has shown the quality of the archive material to be variable the highlights mentioned above have all worn extremely well I think.

I look forward to the next installment.

Regarding the relative merits of Sharon Scott versus Reggie Alexander (and I agree with your point above Ady) I have to ask if anyone involved in the production of It's Better had any personal recollections of Reggie himself? Always felt that it was an odd record to have been championed by the soul scene and have often wondered which market Mr Alexander was aiming for with the Boss 45: he inadvertently seems to have come up with one of the world's most in-demand MOR titles.