Corner Soul Crew are truly thankful Steve Plumb for his great article and we want strongly recommend his site if you want to buy good records...

https://cornersoulcrew.wordpress.com/2011/01/02/grapevine-2000-label-pt-1-by-steve-plumb/

Thanks mate,

Corner Soul Crew are truly thankful Steve Plumb for his great article and we want strongly recommend his site if you want to buy good records...

https://cornersoulcre...by-steve-plumb/

Thanks mate,

Just for the record it's a full review of the previously unissued 45's on the Grapevine 2000 label with label scans and MP3's of EVERY track.

There's about 40 tracks out of the 63 singles that the company issued that were either previously unreleased or released anywhere in the world for the first time on 45!

The article ends with a full label listing of all 63 singles with reference to original label, #'s etc. There's also info on the various designs of Test Pressings, Demos & Issues, including the Demo copies that never made it to Issue etc

A real anorak jobbie if I say so meself

It's about 20 pages long, so Josep has broken it up and Part 1 goes up to #117

Once all the various parts have been published by Josep, I'll publish the whole thing on my web site but that won't be for a while yet?

Hope someone finds it of interest?

Anyone who wants to send any corrections or additional information in, please do and i'll add it to the final article.

Cheers

Steve

Just for the record it's a full review of the previously unissued 45's on the Grapevine 2000 label with label scans and MP3's of EVERY track.

There's about 40 tracks out of the 63 singles that the company issued that were either previously unreleased or released anywhere in the world for the first time on 45!

The article ends with a full label listing of all 63 singles with reference to original label, #'s etc. There's also info on the various designs of Test Pressings, Demos & Issues, including the Demo copies that never made it to Issue etc

A real anorak jobbie if I say so meself

It's about 20 pages long, so Josep has broken it up and Part 1 goes up to #117

Once all the various parts have been published by Josep, I'll publish the whole thing on my web site but that won't be for a while yet?

Hope someone finds it of interest?

Anyone who wants to send any corrections or additional information in, please do and i'll add it to the final article.

Cheers

Steve

Steve/Josep

Interesting. For those also interested in further reading on the Grapevine2000 label I started a topic some 6 years ago (my God, how time flies) about the number that had been deleted early, and in particular the Percy Stone - Chained that had been withdrawn, and as to whether, in time, Grapevine2000 records might become rarities and have some potential desirability and value.

Quite a heated debate followed .

So, for anyone wanting to read the original debate, here's the link.

Brian

Steve/Josep

Interesting. For those also interested in further reading on the Grapevine2000 label I started a topic some 6 years ago (my God, how time flies) about the number that had been deleted early, and in particular the Percy Stone - Chained that had been withdrawn, and as to whether, in time, Grapevine2000 records might become rarities and have some potential desirability and value.

Quite a heated debate followed .

So, for anyone wanting to read the original debate, here's the link.

Brian

Hi Brian

I remember it well mate

At least the list of previously unreleased G2K 45's in the article can now be used as the bible for tracks that can be played at OVO venues then

Cheers

Steve

Hello,

It was a bit depressing that many of the Grapevine singles were ignored by many people - especially the previously unissued 45s (such as Eddie Holman, Al Williams, The Servicemen etc) and previously unissued CD album tracks (Teddy Pendergrass etc). It confirmed that many DJs just don't play tracks on musical merit at all.

After all the work that went into them, it was a shame they didn't sell better. A few of them weren't really expected to sell very many but at one point almost all singles were subsidised by the sales of CD albums.

I'm convinced that many soul fans still probably haven't heard some of those great singles.

Paul

It's a mystery why this wasn't an anthem in the clubs...

At least this one sold well...

The reason it was issued on a subsidiary label (and pressed in the USA) was because so many Grapevine singles were being taken for granted.

And at least this 45 did pretty well too, after a lot of advance exposure...

Just for the record it's a full review of the previously unissued 45's on the Grapevine 2000 label with label scans and MP3's of EVERY track.

There's about 40 tracks out of the 63 singles that the company issued that were either previously unreleased or released anywhere in the world for the first time on 45!

The article ends with a full label listing of all 63 singles with reference to original label, #'s etc. There's also info on the various designs of Test Pressings, Demos & Issues, including the Demo copies that never made it to Issue etc

A real anorak jobbie if I say so meself

It's about 20 pages long, so Josep has broken it up and Part 1 goes up to #117

Once all the various parts have been published by Josep, I'll publish the whole thing on my web site but that won't be for a while yet?

Hope someone finds it of interest?

Anyone who wants to send any corrections or additional information in, please do and i'll add it to the final article.

Cheers

Steve

I do Good stuff steve - always enjoy reading things like this

Corner Soul Crew are truly thankful Steve Plumb for his great article and we want strongly recommend his site if you want to buy good records...

https://cornersoulcre...by-steve-plumb/

Thanks mate,

Yes, thanks to Steve for the article - and to all those who supported Grapevine 2000 at the time. It's also honest to hear that some collectors are prepared to admit that they didn't really pay the releases proper attention at the time - we really did try to release the 'less than obvious' stuff, provided it had real quality - which most of them did, and still do.

As Paul has alluded to, Soul Junction was started as a subsidiary label because there was just so much stuff coming in that we thought merited release and because many people were telling us that the reason they weren't buying them was because they were UK releases whereas they wanted US-style releases. Grapevine 2000 was always going to remain a UK-style label - so we chose to get Soul Junction 45s pressed in the US with the larger hole. There were 4 releases on Soul Junction and all sold better than most of the Grapevine releases.

A couple of years after Grapevine ceased, John resurrected Soul Junction with Dave - and I resurrected my own previous label Hit and Run.

Both labels continue to release quality 45s - and as with Grapevine - they may not all be the obvious titles which are released elsewhere, but I think they are all pretty good and as all are limited runs you can bet that people will be looking for them in years to come.

Thanks for your support - then and now.

Garry

It's also true that most soul collectors focus on 45s, even though Grapevine was far more successful in the UK and overseas with CD albums - especially George Jackson, Phillip Mitchell etc.

There'll always be something special about 7" singles but, sadly the market for some 45s is just too small now. It just isn't viable because of the higher costs.

No doubt some of those Grapevine singles will be sought after in the future.

And at least this 45 did pretty well too, after a lot of advance exposure...

***Anorak alert everybody - Please avert your eyes now if of a squeamish nature

Hi Paul

I saw your scan of Dottie Pearson DJ copy and realised I had never seen it with a Red A before?

From my article above, I had the Red/White DJ designs down as the following-

There are three design variations of the Red & White DJ Copies

Red 'A' on both sides (#105 to #148 & #155 to #157)

NO Red 'A' on either side (#149 to #154)

Red 'A' on one side only (#158 to #162)

With Dottie being #152 all copies i've seen have no Red A on either side?

I suspect that the releases that didn't have Red A's (#149-#154) was down to printer error, having all been done in the same batch and that the scan you posted up was your original file that ended up being made with the layer containing the Red A being missed off the print run?

Please tell me this is correct then i can sleep at night?

Cheers

Steve

***Anorak alert everybody - Please avert your eyes now if of a squeamish nature

Hi Paul

I saw your scan of Dottie Pearson DJ copy and realised I had never seen it with a Red A before?

From my article above, I had the Red/White DJ designs down as the following-

There are three design variations of the Red & White DJ Copies

Red 'A' on both sides (#105 to #148 & #155 to #157)

NO Red 'A' on either side (#149 to #154)

Red 'A' on one side only (#158 to #162)

With Dottie being #152 all copies i've seen have no Red A on either side?

I suspect that the releases that didn't have Red A's (#149-#154) was down to printer error, having all been done in the same batch and that the scan you posted up was your original file that ended up being made with the layer containing the Red A being missed off the print run?

Please tell me this is correct then i can sleep at night?

:lol:

Cheers

Steve

Hello Steve,

Yes, the labels were often printed in batches covering several releases, sharing plates to save time and costs a bit. For example, printing four pairs of A / B labels rather than just one pair.

Grapevine 45s were usually issued two (or more) at a time anyway.

When the labels for G2K 45-152 (and others) were printed they missed out the red "A" on the promo copies (the "A" was on a plate of its own) so it resulted in several releases not having a red "A" on the promo copies.

The image of G2K45-152 that I uploaded earlier is from my print origination proof, it isn't a scan of what was actually printed. So there's no special rarity here I'm afraid.

With test pressings, sometimes a few were circulated to DJs for advance promotion so we had a batch of blank adhesive promo labels made for laser printing. Sometimes a small batch of labels were printed, other times they were just sent out blank or with writing on the labels. Most times the test pressings were just used in-house for quality control.

The same applies to small batches of promo acetates (and sometimes dub plates) that were made sometimes to promote forthcoming releases. They're all pretty rare because only a handful were made.

In many cases there were only five test pressings made so you can imagine how hard it will be to obtain one.

Paul

Sorry for the delay.

Second part now online..

Steve/Josep

Interesting. For those also interested in further reading on the Grapevine2000 label I started a topic some 6 years ago (my God, how time flies) about the number that had been deleted early, and in particular the Percy Stone - Chained that had been withdrawn, and as to whether, in time, Grapevine2000 records might become rarities and have some potential desirability and value.

Quite a heated debate followed .

So, for anyone wanting to read the original debate, here's the link.

Brian

That was great fun reading that back

Here's a thought, you'll probably think it's rubbish but maybe some didn't buy the releases because the label designs were so poor? Especially these, they look really cheap, especially these..I'm not saying people should buy records because the labels look nice but compare that to say even the original Grapevine label.

Edited January 12, 201114 yr by Pete S

Hope someone finds it of interest?

I surely do! Excellent article.

I collected the label and still have the whole run. I knew about the previously unreleased stuff but never knew about the alt. mixes of Tavaso, True Image, etc.

Somehow I don't think the exclusiveness of the tracks was promoted that much back then, was it? I mean, if I hadn't all 45s already I surely would try to get as many as possible after reading Steve's article.

I surely do! Excellent article.

I collected the label and still have the whole run. I knew about the previously unreleased stuff but never knew about the alt. mixes of Tavaso, True Image, etc.

Somehow I don't think the exclusiveness of the tracks was promoted that much back then, was it? I mean, if I hadn't all 45s already I surely would try to get as many as possible after reading Steve's article.

Another reason that a lot of titles weren't great sellers is because they went over the heads of a lot of "Northern" collectors (e.g. myself), a great majority were Yarmouth type records which are of no interest to me, and I'd never even heard of a lot of them, preferring their Gerri Hall, Don gardner, Magnetics, Springers releases instead.

Another reason that a lot of titles weren't great sellers is because they went over the heads of a lot of "Northern" collectors (e.g. myself), a great majority were Yarmouth type records which are of no interest to me, and I'd never even heard of a lot of them, preferring their Gerri Hall, Don gardner, Magnetics, Springers releases instead.

Well, that depends on which target group it was supposed to be wouldn't it? I see your point that many (if not most) releases didn't appeal to the 'die hard' Northern collector. But there were plenty that did. e.g. Chesterfieds - Think it over. Would be interesting to see which ones were the big sellers and which ones were the poor ones.

Well, that depends on which target group it was supposed to be wouldn't it? I see your point that many (if not most) releases didn't appeal to the 'die hard' Northern collector. But there were plenty that did. e.g. Chesterfieds - Think it over. Would be interesting to see which ones were the big sellers and which ones were the poor ones.

I'm sure the target groups bought the respective records but "Sex, "Tavasco" etc, when these came out I'd never heard of them (though after hearing them I wouldn't buy them or any other crossover and modern releases) but the releases also have to be good, which by any stretch of the imagination, the one that you mention, The Chesterfields, was not good, it was awful. So I'd guess the biggest sellers were the likes of Don Gardner, Magnetics Count The Days...top quality Northern Soul.

Here's a thought, you'll probably think it's rubbish but maybe some didn't buy the releases because the label designs were so poor? Especially these, they look really cheap, especially these..I'm not saying people should buy records because the labels look nice but compare that to say even the original Grapevine label.

Yes I thought that was a dreadful design too. It's subjective of course but I thought it just didn't work.

When I got involved it was quickly replaced with a new logo design and colour scheme. Even that was a rush job but at least it was a more traditional style. The difficulty was trying to please everyone (i.e. both Garry and John) and that usually ended up with a sort of midway "compromise".

Likewise, I'd say some A&R decisions were probably a stubborn compromise between Garry and John. It happens with most partnerships of course but, looking back, I wish each of them had done their own thing because my personal belief is that every creative project needs to have just one boss (rather than two or three people trying to compromise).

After a while it settled down and in most cases I'd say (in general) that John had more say over 45s and Garry focused more on the album series which became very successful.

With any partnership you obviously get differences of opinions (both musical and business decisions) and I'm sure Garry and John often had very different ideas. Ultimately that's why they both ended up running their own labels again after seven years - and it's interesting that Garry has been very prolific with Soulscape and the label has had a far more consistent musical style.

I'm not saying either was right or wrong, and I was usually stuck in the middle, I'm just saying that people often can't agree on things. Partnerships can be difficult.

Personally I usually find it difficult to compromise on creative things so I'm much happier running my own publishing company and record label, although I still provide services for a few other labels - including Garry's Soulscape and Hit And Run labels and Phil Dick's Soul Intention label - and I license things to many others.

Democracies seldom work with record companies.

Sorry if I've wandered a bit off topic but I think these are interesting points.

Paul

I surely do! Excellent article.

I collected the label and still have the whole run. I knew about the previously unreleased stuff but never knew about the alt. mixes of Tavaso, True Image, etc.

Somehow I don't think the exclusiveness of the tracks was promoted that much back then, was it? I mean, if I hadn't all 45s already I surely would try to get as many as possible after reading Steve's article.

For some reason those alt mixes weren't credited and werent really publicised. I can't remember why but I think it was expected (or hoped?) that people would assume they were old unissued mixes.

It probably seemed more "authentic".

Paul

For some reason those alt mixes weren't credited and werent really publicised. I can't remember why but I think it was expected (or hoped?) that people would assume they were old unissued mixes.

It probably seemed more "authentic".

Paul

Valid point but were they at least promoted as alt mixes not available anywhere else? I honestly can't remember what the promotion for Grapevine 2K was like back then

Another reason that a lot of titles weren't great sellers is because they went over the heads of a lot of "Northern" collectors (e.g. myself), a great majority were Yarmouth type records which are of no interest to me, and I'd never even heard of a lot of them, preferring their Gerri Hall, Don gardner, Magnetics, Springers releases instead.

Hello Pete,

I don't think Garry and John wanted to issue a lot of classic 'northern' stuff (and they could have done). They were more interested in 'modern' and 'crossover' styles.

I think it would have been better if they had ran several labels, each for a particular musical style.

I suggested that but at that time they preffered everything to be on Grapevine. After all, it was all soul music.

Best wishes,

Paul

Valid point but were they at least promoted as alt mixes not available anywhere else? I honestly can't remember what the promotion for Grapevine 2K was like back then

I don't think the alt mixes were emphasised but in general the promotion of Grapevine things was pretty good, at least on the UK soul scene.

Hello Pete,

I don't think Garry and John wanted to issue a lot of classic 'northern' stuff (and they could have done). They were more interested in 'modern' and 'crossover' styles.

I think it would have been better if they had ran several labels, each for a particular musical style.

I suggested that but at that time they preffered everything to be on Grapevine. After all, it was all soul music.

Best wishes,

Paul

I realise that and I did think that was their intention, but naturally they would have sold more records issuing big Northern titles than they would from obscure crossover tracks, I was just replying as to why some were poor sellers.

I bought a couple of the Test press 45's off Steve a few years back and remember asking at the time to some of the background, runs etc, so its great to read a comprehensive guide to the releases, well done Steve, a great read.

Brett

I realise that and I did think that was their intention, but naturally they would have sold more records issuing big Northern titles than they would from obscure crossover tracks, I was just replying as to why some were poor sellers.

Well it certainly proved that some factions of the scene are very small, Pete. Probably smaller than Grapevine expected at the time.

Sometimes a "monster" crossover record will only appeal to a hundred people, that's how small it can be.

On my own labels I don't follow a demand, I just issue things I like in the hope that some others will like them too. It works for me. I could issue loads of classic northern tracks but I usually license them to other companies.

And that's not to say that I don't love all those classics by Bob Relf, Eddie Parker etc. I just find it more interesting to do something a bit different.

Paul

Well it certainly proved that some factions of the scene are very small, Pete. Probably smaller than Grapevine expected at the time.

Sometimes a "monster" crossover record will only appeal to a hundred people, that's how small it can be.

On my own labels I don't follow a demand, I just issue things I like in the hope that some others will like them too. It works for me. I could issue loads of classic northern tracks but I usually license them to other companies.

And that's not to say that I don't love all those classics by Bob Relf, Eddie Parker etc. I just find it more interesting to do something a bit different.

Paul

I agree with your manifesto, and the Bob Relf's and Eddie Parker's have been done so many times, but Grapevine did put out a few good Northern things not previously pressed or bootlegged (Gerri Hall was very welcome, the alternative version of You Can Split was an a amazing find) so I think they could have done it if they wanted to - just chose not to.

I agree with your manifesto, and the Bob Relf's and Eddie Parker's have been done so many times, but Grapevine did put out a few good Northern things not previously pressed or bootlegged (Gerri Hall was very welcome, the alternative version of You Can Split was an a amazing find) so I think they could have done it if they wanted to - just chose not to.

Exactly.

By the way, what did you think of the unissued tracks by The Servicemen, Eddie Holman, Al Williams etc. I thought they should have been more popular. Maybe they will one day?

Exactly.

By the way, what did you think of the unissued tracks by The Servicemen, Eddie Holman, Al Williams etc. I thought they should have been more popular. Maybe they will one day?

The Eddie Holman tracks are nice but pretty clear they were demo takes and therefore sound a bit 'empty'. Al Williams is really a great track. Shame it was the very last release. Was this ever properly issued or demo only? Will give it a spin at our do next week. Worst one IMHO was the Barons - You need love

I certainly sported the corner for Grapevine 2000 when I was presenting for Solar/Starpoint as Gary was kind enough to always send me advance promo CD's and all the 45's as they were released, still have the whole run upstairs in one of the boxes and cheerish them as much as the rest of the collection, remember when he sent me this sample CD which included The Servicemen, Eddie Holman etc. blew me away and got plenty of advance airplay on my shows, I reckon in time the 2000's will be as collectable as the 70's Grapevine 45's, some wonderful releases from guy's with a real feeling and passion for the music, thanks guys.

Regards - Mark Bicknell.

Exactly.

By the way, what did you think of the unissued tracks by The Servicemen, Eddie Holman, Al Williams etc. I thought they should have been more popular. Maybe they will one day?

I think I only heard the Eddie Holman, was it Hold Me In Your Arms? It was nearly as good as Hurt / WINW, except I think the modern mastering killed it a little, it was just TOO high quality, if that makes sense!

I certainly sported the corner for Grapevine 2000 when I was presenting for Solar/Starpoint as Gary was kind enough to always send me advance promo CD's and all the 45's as they were released, still have the whole run upstairs in one of the boxes and cheerish them as much as the rest of the collection, remember when he sent me this sample CD which included The Servicemen, Eddie Holman etc. blew me away and got plenty of advance airplay on my shows, I reckon in time the 2000's will be as collectable as the 70's Grapevine 45's, some wonderful releases from guy's with a real feeling and passion for the music, thanks guys.

Regards - Mark Bicknell.

I'd have to agree, they will become very collectable.

The original Grapevine label - you couldn't give those away in the 80's - John A sold 10,000 demos to Ken Cox, think he sold them for £1 each, now look at them!

The Eddie Holman tracks are nice but pretty clear they were demo takes and therefore sound a bit 'empty'. Al Williams is really a great track. Shame it was the very last release. Was this ever properly issued or demo only? Will give it a spin at our do next week. Worst one IMHO was the Barons - You need love

I thought Eddie's 'Hold Me In Your Arms' was quite strong, although raw.

Yes, Al Williams was commercially released but I don't remember if it sold well. Garry will remember.

The Barons was withdrawn because the audio source was so bad it was impossible to improve it very much. And from what I recall there wasn't a flip side for it anyway. I think the promos were done to see what the reaction would be but I never expected it to be issued commercially.

I thought Eddie's 'Hold Me In Your Arms' was quite strong, although raw.

Yes, Al Williams was commercially released but I don't remember if it sold well. Garry will remember.

The Barons was withdrawn because the audio source was so bad it was impossible to improve it very much. And from what I recall there wasn't a flip side for it anyway. I think the promos were done to see what the reaction would be but I never expected it to be issued commercially.

Is that the one that sounds like a slowed down version of Shing A Ling?

I think I only heard the Eddie Holman, was it Hold Me In Your Arms? It was nearly as good as Hurt / WINW, except I think the modern mastering killed it a little, it was just TOO high quality, if that makes sense!

Yes it makes sense but at the time it was a big improvement on the master which had been crudely de-noised in the US so it had no "air" or dynamics. I remember I had to warm it up and give it some presence but I wish I'd actually added more noise and even more reverb.

The problem was it was just vocal, drums, piano and bass. Nothing else to it.

Is that the one that sounds like a slowed down version of Shing A Ling?

Yes, that's it. Same rhythm and melody.

Yes it makes sense but at the time it was a big improvement on the master which had been crudely de-noised in the US so it had no "air" or dynamics. I remember I had to warm it up and give it some presence but I wish I'd actually added more noise and even more reverb.

The problem was it was just vocal, drums, piano and bass. Nothing else to it.

Yes, heard a few Harthon demos just the same as that. The "If you can't be true find a part time love" instrumental acetate I sold was one, talk about boring..

I realise that and I did think that was their intention, but naturally they would have sold more records issuing big Northern titles than they would from obscure crossover tracks, I was just replying as to why some were poor sellers.

Yes I agree but at the time John was interested in putting out what he saw as "quality" modern and crossover, and in a way creating the demand. Some of the records were obscure and things like ELectric Express "Hearsay", Bobby Wayne, Magnetics etc became known to a bigger audience because of the Grapevine release.

Had plenty of discussions with John on that topic at the time, and some with garry too.

Fab article Plumby.

Edited January 12, 201114 yr by Steve G

Hi Josep / Steve, very interesting article and full of suprises! I didn't know you were such an anorak Plumby! The highlights of the label for me were Johnny Moore, Dottie Pearson, Chuck Brooks and Tommy Tate as I never thought I'd own vinyl copies. I heard them all courtesy of Richard S and his fantastic Radio Show in the mid / late 90's. I was living in Oz and a mate in Manchester religiously recorded his show and sent me cassettes (Thanks Chris!). All brilliant 5 star Soul records.

I agree with Paul, I was / am still amazed the Al Williams - Try Them wasn't played out more. A proper Northern SOUL record.

The quality coming out from Soul Junction and Soulscape in the last few years has ably carried on the standard set by Grapevine, if your a Southern Soul fan probably surpassed it! Times do change and if you listen to Soul People or Soul Discovery on the radio / internet, or go to the right venues you do now hear these new releases of previously unissued material. Maybe the promotion has improved? Thanks again Steve / Josep, Cheers, Ady

The Grapevine 2000 label was full of quality and I have most of them, but it's the usual case of not buying UK releases when they come out, then paying for them when they become collectable years down the line.

Take heed and don't miss the current batch of tracks coming out on some great UK labels, many haven't seen the light of day on vinyl before and no doubt will be chased in years to come as collectables, so save yourself some cash and buy them on release.

The Grapevine 2000 label was full of quality and I have most of them, but it's the usual case of not buying UK releases when they come out, then paying for them when they become collectable years down the line.

Take heed and don't miss the current batch of tracks coming out on some great UK labels, many haven't seen the light of day on vinyl before and no doubt will be chased in years to come as collectables, so save yourself some cash and buy them on release.

Mark - This was the point I was putting forward in my original thread 6 years ago - whether, in time, some of the Y2K Grapevines would become collectable and command inflated prices. The suggestion got quite a lot of Scandavian flak, but there seems to be a realisation now that a number of the releases have disappeared into collections and won't see the light of day again unless decent money prises them out.

Fortunately I bought all the Y2K demos direct from Dave Welding (even though some of them weren't 'me') and like Mark B have them in a box somewhere in the collection vault (attic!!).

Brian

I think the Grapevine red label 12" singles from 2002 were most overlooked of all, possibly because of the format itself.

None sold very well at the time. I was disappointed with the poor reaction to 'My House' / 'Foolish' by GC Cameron (GSX 5002) and 'Must Have Lost My Mind' by King Ernest (GSX 5004).

'Must Have Lost My Mind' was a great retro track, pity it wasn't issued on 7" single.

I think the Grapevine red label 12" singles from 2002 were most overlooked of all, possibly because of the format itself.

None sold very well at the time. I was disappointed with the poor reaction to 'My House' / 'Foolish' by GC Cameron (GSX 5002) and 'Must Have Lost My Mind' by King Ernest (GSX 5004).

'Must Have Lost My Mind' was a great retro track, pity it wasn't issued on 7" single.

From what I remember the very last 12" Sheba Potts-Wright was quite nice wasn' it?

I think the Grapevine red label 12" singles from 2002 were most overlooked of all, possibly because of the format itself.

None sold very well at the time. I was disappointed with the poor reaction to 'My House' / 'Foolish' by GC Cameron (GSX 5002) and 'Must Have Lost My Mind' by King Ernest (GSX 5004).

'Must Have Lost My Mind' was a great retro track, pity it wasn't issued on 7" single.

The red series was originally conceived as a sister 7 inch label - then John decided that 12 was his preferred format - and as the vinyl was his main thing, and the CDs were my main thing, that's the way it came out.

I really liked then, and still do now, the Queen Isabella.

Edited January 13, 201114 yr by dewsburyborn

Hello Steve,

Yes, the labels were often printed in batches covering several releases, sharing plates to save time and costs a bit. For example, printing four pairs of A / B labels rather than just one pair.

Grapevine 45s were usually issued two (or more) at a time anyway.

When the labels for G2K 45-152 (and others) were printed they missed out the red "A" on the promo copies (the "A" was on a plate of its own) so it resulted in several releases not having a red "A" on the promo copies.

The image of G2K45-152 that I uploaded earlier is from my print origination proof, it isn't a scan of what was actually printed. So there's no special rarity here I'm afraid.

With test pressings, sometimes a few were circulated to DJs for advance promotion so we had a batch of blank adhesive promo labels made for laser printing. Sometimes a small batch of labels were printed, other times they were just sent out blank or with writing on the labels. Most times the test pressings were just used in-house for quality control.

The same applies to small batches of promo acetates (and sometimes dub plates) that were made sometimes to promote forthcoming releases. They're all pretty rare because only a handful were made.

In many cases there were only five test pressings made so you can imagine how hard it will be to obtain one.

Paul

Hi Paul

Thanks for the explantion

I'll add the amended TP and DJ copy printing error info to my article soon, as I've a small number of other changes to make too

Many thanks

Steve

The red series was originally conceived as a sister 7 inch label -

Hi Garry

I agree, I was definitely in the 'release 'em on 45 and not 12' camp at the time!

In time I think i'll add the 12" releases to the article too, as they were all 'first time on vinyl' and all damn good too

I think the four 'original' US style Soul Junction's should also be added to the article too, as again I think at least 6 or 7 of the sides were unreleased and first time on 45? Interesting to read that it was done purposely and in conjunction to G2K releases! Funny but I didn't make that connection at the time (doh!) although it does make perfect sense when it's said out loud

Finally, thanks to everyone who has made positive comments about the article, it's much appreciated!

Cheers

Steve

Hi Josep / Steve, very interesting article and full of suprises! I didn't know you were such an anorak Plumby! Cheers, Ady

Unfortunately my secret's now out Ady

I bet it's like most of us on here, I'm interested in stuff on artists, labels, song titles, years, producers, B sides, other versions, album it's on etc etc etc BUT i always forget to 'get milk on my way home' :D must be a different bit of the brain eh?

Cheers

Steve

I just remember there were five issues on Grapevine's Soul Junction label, not four.

I'm just popping out now but I'll upload a list later.

Edited January 14, 201114 yr by Paul

I just remember there were five issues on Grapevine's Soul Junction label, not four.

I'm just popping out now but I'll upload a list later.

You're right - I'd forgotten that Jimmy Ruffin had 2 releases - now I feel like those old geezers in the States who can't remember what happened back in the day ................