New Member - Lorraine Chandler

[lorchand]

Hi Lorraine, fantastic to see you conversating to such a degree on the site....I have a question...In the 60s and early 70s from where the bulk of the records that we treaure hail from, the artists singing on them clearly came from a generation where a hell of a lot of them had learnt to sing in Church...In fact it seems like there were literally thousands and thousands of 'Soul' singers trying to make it in the 60s, the vast majority of whom were steeped in Gospel singing as part of their youthful creative development...

I personally and I am sure many others agree, feel that this was a crucial aspect in terms of the high quality vocal skills which are so apparent on 60s Soul records....Having spent a fair bit of time in the USA over recent years, it is clear that the Church, as in commnon with the church here, does not contain it it's ranks the same large amounts of young people that would have been filling the pews, say, back in the early 50s, pre-doo-wop...Religion on the whole is having a lesser affect on young people and one of the products of this, I feel, is a notablly deficient overall level of Gospel flavoured vocal skills amongst young American singers today...Don't get me wrong, there are still some fantastic younger R'N'B vocalists out there....But not in the huge swathes that were apparent in the 60s when on even obscure tiny labels, records featuring artists that remained unknown and unaknowledged forever (unless it was on our UK Northern Soul scene that is!) you could find absolutely awesome vocal performances...

Even on a lot of the top artists today however, there is a kind of smoother, blander approach which does not quite cut it in the same way as those 60s Soul vocalisations...

Obviously, in a contempoary time frame, Hip-Hop and rap has accompanied this development (lack of gospel influence) and these styles demand very little in terms of Soul/Gospel style vocal ability...

In the long run, do you see the Gospel/Soul vocal style as something that that is going to diminsh even further and if so, will at some point in the future become something that is risking being lost from Black American and American culture in general?....For instance in 60 years time, just how many people will be coming through the churches and carrying the vocal abilities to match those levels attained in the 1960s?...

Would truly appreciate your thoughts on these aspects...

Richard Chorley

Hi Richard,

In my most humble opinion, a person is gifted with a unique sound or not. The gospel sound found in some churches and past down through generations in choirs usually had two or three people with a voice that could tear up the church. It was a voice that ripped into your soul and did some serious cleansing. I'll try and keep this short.

Singing in the choir and flipping over to sing in the 'world' had consequences. Remember, in the 50's, rock and roll and rhythm and blues was considered the music of the devil. Thank God, he intervened. He opened the door and showed us the path through such artist as Ray Charles, Little Richard, Sam Cooke, Aretha Franklin, Jennifer Holiday, Jennifer Hudson, Fantasia, and Patti LaBelle just to name a few.

Now that gospel music has its own niche in the music business (finally) and gospel performers are getting paid big bucks over here, there isn't the need to cross over. If you don't listen closely to the lyrics, you can't tell if you are finger popping to a religious or secular song. Sometimes it's a blend of both. But remember, its the voice that's God given.

When that voice comes along, you can't touch it. Many may sound like it and imitate it. But 'it' is it. How many Mahalia Jackson's have we had? As long as we have good gospel choirs (and directors), you'll have the singers. But how many will break through and be successful in the music business is another issue.

The 60's was just the beginning, not the end. How the 'gospel' sounding singers will effect us in 60 years is anybody's guess. I went to a gospel concert with groups from all over the world. When I closed my eyes, I couldn't tell the difference between a white or black group, a renown choir over a start up one or the Asians from the Latinos. And that included the lead singers! I was blown away.

So what does that tell you? Hope I kinda answered your question. You all are getting a little deep here!

Lorraine

Edited November 1, 2011 by lorchand

[lorchand]

Hi Lorraine

Just dug out my 45 "The Ring"/ "I Feel A Song" on Buddah260 after seeing this post..........was this the 1st recording of "I Feel...." before Gladys version ?

I can only echo previous posts concerning your fantastic contribution to the soul music scene..........can only add...thanks for all the years of musical pleasure you have given us

Cheers Paul Woosnam

Hi Paul,

To be honest, I don't know if Sandra's was before or after Gladys'. Because Sandra sounded so close to Gladys, she did demos for her to learn new songs while on the road.

It has been my pleasure to entertain you. Thanks for the support and the reply.

Lorraine

Edited November 1, 2011 by lorchand

[Guest]

Hi Richard,

In my most humble opinion, a person is gifted with a unique sound or not. The gospel sound found in some churches and past down through generations in choirs usually had two or three people with a voice that could tear up the church. It was a voice that ripped into your soul and did some serious cleansing. I'll try and keep this short.

Singing in the choir and flipping over to sing in the 'world' had consequences. Remember, in the 50's, rock and roll and rhythm and blues was considered the music of the devil. Thank God, he intervened. He opened the door and showed us the path through such artist as Ray Charles, Little Richard, Sam Cooke, Aretha Franklin, Jennifer Holiday, Jennifer Hudson, Fantasia, and Patti LaBelle just to name a few.

Now that gospel music has its own niche in the music business (finally) and gospel performers are getting paid big bucks over here, there isn't the need to cross over. If you don't listen closely to the lyrics, you can't tell if you are finger popping to a religious or secular song. Sometimes it's a blend of both. But remember, its the voice that's God given.

When that voice comes along, you can't touch it. Many may sound like it and imitate it. But 'it' is it. How many Mahalia Jackson's have we had? As long as we have good gospel choirs (and directors), you'll have the singers. But how many will break through and be successful in the music business is another issue.

The 60's was just the beginning, not the end. How the 'gospel' sounding singers will effect us in 60 years is anybody's guess. I went to a gospel concert with groups from all over the world. When I closed my eyes, I couldn't tell the difference between a white or black group, a renown choir over a start up one or the Asians from the Latinos. And that included the lead singers! I was blown away.

So what does that tell you? Hope I kinda answered your question. You all are getting a little deep here!

Lorraine

Thanks for the response LORRAINE and some interesting points...I suppose with Gospel now having it's own commercial platform, at least on that site of the Atlantic, some people who might have 'crossed over' are not going to and their voices will not be heard on secular Soul records...On the other hand, perhaps it's the influence of Hip Hop where so many people rap rather than sing, but whilst there are some great Soul singers about still, the sheer volume of Soul records highlighting that type of vocal style has certainly diminished in recent years and the bulk of what they call contemporary R'n'B records do not carry that same level of 'ripping into your Soul' that you mentioned...That aspect of the Church 'sound' can be found on countless 60s and 70s records but it is more elusive today, where as I said a lot of the records are very smooth, bordering on the bland and the singers do not seem to possess the same ranges etc...

Once again, many thanks for your thoughts, been loving your records for decades but never, ever thought I would be talking to you over stuff like this...Yeah, we are renowned for getting 'deep' on the Northern Soul scene lol!....

Edited November 1, 2011 by rich chorley

[nubes]

Thanks for the response LORRAINE and some interesting points...I suppose with Gospel now having it's own commercial platform, at least on that site of the Atlantic, some people who might have 'crossed over' are not going to and their voices will not be heard on secular Soul records...On the other hand, perhaps it's the influence of Hip Hop where so many people rap rather than sing, but whilst there are some great Soul singers about still, the sheer volume of Soul records highlighting that type of vocal style has certainly diminished in recent years and the bulk of what they call contemporary R'n'B records do not carry that same level of 'ripping into your Soul' that you mentioned...That aspect of the Church 'sound' can be found on countless 60s and 70s records but it is more elusive today, where as I said a lot of the records are very smooth, bordering on the bland and the singers do not seem to possess the same ranges etc...

Once again, many thanks for your thoughts, been loving your records for decades but never, ever thought I would be talking to you over stuff like this...Yeah, we are renowned for getting 'deep' on the Northern Soul scene lol!....

OOh i would say.... ....Del...xxxxx

[Soul Shrews]

To be honest, I don't know if Sandra's was before or after Gladys'. Because Sandra sounded so close to Gladys, she did demos for her to learn new songs while on the road.

Lorraine

I would guess that Sandras version came 1st as its very similar to Gladys and it seems strange Buddah would put it out after Gladys had such a big hit with it.

Unless "The Ring" was the plug side but that doesn't look likely to me from the numbers on the label. A shame because I think "The Ring" could well have been a soul hit.

Thanks for the info about Sandra doing demos for Gladys

Is it corect that Sandra Richardson "became" Sandra Feva ?

Cheers Paul

[lorchand]

I would guess that Sandras version came 1st as its very similar to Gladys and it seems strange Buddah would put it out after Gladys had such a big hit with it.

Unless "The Ring" was the plug side but that doesn't look likely to me from the numbers on the label. A shame because I think "The Ring" could well have been a soul hit.

Thanks for the info about Sandra doing demos for Gladys

Is it corect that Sandra Richardson "became" Sandra Feva ?

Cheers Paul

Hey Paul,

I haven't heard The Ring in centuries and of course I thought it was a good song too! But yes, Sandra's last name is now Feva and has been for some time.

Lorraine

Edited November 2, 2011 by lorchand

[Guest Carl Dixon]

Hi Lorraine -

Can you kindly ask John (Ex SoundExchange), as you have a dialogue with him on SoulfulfDetroit, that on their web site it says:

"If you are a featured recording artist or a sound recording copyright owner (SRCO), producer or creative contributor, you may have earned digital performance royalties for the use of sound recordings you own or on which you performed. Artists and SRCOs should register with SoundExchange as soon as possible, even if you're a member of another performance rights organization, as only SoundExchange can provide digital royalties. Registration is fast and always free. Copyright holders and featured artists (generally, the most visible person, in print or image, on the physical package of a recording) are paid through SoundExchange. Session players and back-up musicians are paid from a separate royalty fund. No matter what part you played, click your category below to find out how to get paid."

If that 'separate royalty fund' is indeed what he says being 'Recording Artist Royalties' 'https://www.raroyalties.org/index_noflash.html', we have cracked it! That means we can tweak our advisories accordingly to our featured artist and and backing vocalists and session musicians friends etc. This means in our correspondence we can cite 'SoundExchange' and 'Recording Artists Royalties' and revel in the notion that those who performed on recorded works may benefit from some residuals generated by airplay etc....let me know!

The reason I ask is because the red writing is ambiguous - it implies SoundExchange collect for backing singers and musicians, when in fact they do not, and they should have put that url on their page, if that makes sense.....

Cheers

Carl

Edited November 8, 2011 by Carl Dixon

[lorchand]

Hi Lorraine -

Can you kindly ask John (Ex SoundExchange), as you have a dialogue with him on SoulfulfDetroit, that on their web site it says:

"If you are a featured recording artist or a sound recording copyright owner (SRCO), producer or creative contributor, you may have earned digital performance royalties for the use of sound recordings you own or on which you performed. Artists and SRCOs should register with SoundExchange as soon as possible, even if you're a member of another performance rights organization, as only SoundExchange can provide digital royalties. Registration is fast and always free. Copyright holders and featured artists (generally, the most visible person, in print or image, on the physical package of a recording) are paid through SoundExchange. Session players and back-up musicians are paid from a separate royalty fund. No matter what part you played, click your category below to find out how to get paid."

If that 'separate royalty fund' is indeed what he says being 'Recording Artist Royalties' 'https://www.raroyalties.org/index_noflash.html', we have cracked it! That means we can tweak our advisories accordingly to our featured artist and and backing vocalists and session musicians friends etc. This means in our correspondence we can cite 'SoundExchange' and 'Recording Artists Royalties' and revel in the notion that those who performed on recorded works may benefit from some residuals generated by airplay etc....let me know!

The reason I ask is because the red writing is ambiguous - it implies SoundExchange collect for backing singers and musicians, when in fact they do not, and they should have put that url on their page, if that makes sense.....

Cheers

Carl

Hi Carl,

You are correct. Session musicians and background singers should go to raroyalties.com to collect. This has been a beautiful thing. I don't know how fast this process is because I'm still uploading information but it is the beginning. Thanks to you, I'm informing all that I know.

Lorraine

[Guest Carl Dixon]

Hi Lorraine...

Yes, I agree, long awaited financial recognition from a medium that was not even invented when these thousands of recordings were made. Let's hope congress passes the bill that will apply the same royalty scenario to US airplay on terrestrial FM stations, because that could be massive.....maybe! If it does, that means you would then get a royalty from UK air play...finally (we do already in the UK).

I too have joined SoundExhange and probably will RaRoyalties soon. Yes....even I have something apparently, as a copyright owner of the works. My new material which is not released yet, will feature me on a few instruments, but it is not so urgent to get registered quite yet.

[lorchand]

Hi Lorraine...

Yes, I agree, long awaited financial recognition from a medium that was not even invented when these thousands of recordings were made. Let's hope congress passes the bill that will apply the same royalty scenario to US airplay on terrestrial FM stations, because that could be massive.....maybe! If it does, that means you would then get a royalty from UK air play...finally (we do already in the UK).

I too have joined SoundExhange and probably will RaRoyalties soon. Yes....even I have something apparently, as a copyright owner of the works. My new material which is not released yet, will feature me on a few instruments, but it is not so urgent to get registered quite yet.

Hey Carl,

I wish you all the best on your new material. It's nice to know you are still believing and still reaching! I guess if you live long enough, good things will happen. Jeanne Sorensen sends her regards and said you have a good heart. Isn't that sweet!

Am I behind the times? Heard a rumor about EMI. Are they having trouble?

Have a wonderful day.

Lorraine

[Guest Carl Dixon]

Hi Lorraine, Nice to know Jeanne is well too. She was delightful and so effervescent when I met her in the UK...blimey that was when I was taking demos around on CD in the hope somebody would either want them or help me out....indirectly, they all did by being there and listening.

Indeed Universal are to buy EMI music https://www.bbc.co.uk/news/business-15704029 So the big labels are regrouping maybe with something in mind for the future!

I received an email last week from YouTube offering me a share of advertising revenue if I gave them permission to show adverts on my uploads on the channel. In effect, dependant on the number of hits a song/video would get for example, a pro rata share of the generated advertising revenue would be distributed. This means that any label that bothers to put up video content with one of their releases potentially could earn something for the label to offset expenses and they could, if they wished put it in the pot for more sessions, or share with artists etc. So with the SoundExchange and RARoyalties.org scenarios, rights holders and writers could be eligible for interesting payments from all sorts of directions. So, together, we should all keep an eye out for these new business models that are evolving and make sure we alert those who would benefit.

[lorchand]

Hi Lorraine, Nice to know Jeanne is well too. She was delightful and so effervescent when I met her in the UK...blimey that was when I was taking demos around on CD in the hope somebody would either want them or help me out....indirectly, they all did by being there and listening.

Indeed Universal are to buy EMI music https://www.bbc.co.uk...siness-15704029 So the big labels are regrouping maybe with something in mind for the future!

I received an email last week from YouTube offering me a share of advertising revenue if I gave them permission to show adverts on my uploads on the channel. In effect, dependant on the number of hits a song/video would get for example, a pro rata share of the generated advertising revenue would be distributed. This means that any label that bothers to put up video content with one of their releases potentially could earn something for the label to offset expenses and they could, if they wished put it in the pot for more sessions, or share with artists etc. So with the SoundExchange and RARoyalties.org scenarios, rights holders and writers could be eligible for interesting payments from all sorts of directions. So, together, we should all keep an eye out for these new business models that are evolving and make sure we alert those who would benefit.

Hi Carl,

Thanks for the info on EMI. Too bad, I like to see more in the game, not conglomerates. Takes away the soul. However, I'm glad to see you staying current with the video business end and hope it turns out to be profitable for you.

Lorraine

[Guest Carl Dixon]

Hi Lorraine

If you get chance please check your BMI/ASCAP membership on line, and see if they are asking for YouTube links for any of your written material that is being played on their service. The PRS here in the UK are, and today I registered all the links that my published and unpublished songs have generated. They do not promise a residual, but, in the grand scheme of things you never know. It could mean that fans who upload recorded works can actually start a royalty scenario for the song writers now. Let me know if BMI/ASCAP have that option, and again, we can spread the word.....

I will keep an eye on how my registrations work out. If, and a big if, I get something, this will be excellent news for all song writers, especially of the genre of music celebrated here on Soul Source as even though the songs can be up to 45 years old, they are still played, originals, covers etc. Just search one of your best tunes on YouTube and see how many different uploads there are, and total the number of plays. I do not have a clue how much YouTube pay per play, but even if it is $0.05, it could add up. I may be going up the wrong path, but....as the option is there in the PRS UK database, it could be interesting.

[lorchand]

Hi Lorraine

If you get chance please check your BMI/ASCAP membership on line, and see if they are asking for YouTube links for any of your written material that is being played on their service. The PRS here in the UK are, and today I registered all the links that my published and unpublished songs have generated. They do not promise a residual, but, in the grand scheme of things you never know. It could mean that fans who upload recorded works can actually start a royalty scenario for the song writers now. Let me know if BMI/ASCAP have that option, and again, we can spread the word.....

I will keep an eye on how my registrations work out. If, and a big if, I get something, this will be excellent news for all song writers, especially of the genre of music celebrated here on Soul Source as even though the songs can be up to 45 years old, they are still played, originals, covers etc. Just search one of your best tunes on YouTube and see how many different uploads there are, and total the number of plays. I do not have a clue how much YouTube pay per play, but even if it is $0.05, it could add up. I may be going up the wrong path, but....as the option is there in the PRS UK database, it could be interesting.

Hi Carl,

Good job on the research and I will look into BMI and their internet links. I can't tell you how invaluable your information has been to me and will be to others. I owe it all to IL (won't say his name and get locked out!) and my reply. Shows you how things work.

You might not know this, but I gave up on the music world and decided to 'chillax', as the kids say. Then Prestatyn called, then John Barrowman recorded the hell out of Roses and he was so gracious it made me try to find a way to say 'thank you' to you all so I finally joined SS, (I know, it only makes sense to me, but I was reborn!) then I said my thank you's and love you's and bitched a bit and then you piped in and showed me the little money road! Whew, It might have taken over 30 years, but it was worth it.

Enjoy your day!

Lorraine

Edited December 14, 2011 by lorchand

[macca]

Lorraine, going back to what you were saying about gospel/jazz tinged vocals, if a vocalist is truly talented, don't you think he/she can 'cut the cod' in different ways, i.e. show a different side to himself/herself every time they walk into a recording booth (if the producer lets them, of course). I'm reminded of the wonderful, and until more or less recently, supremely underrated Debbie Taylor. Her late 60s and early to mid 70s recordings feature a very raw, primal, 'tear up the church' type vocal, yet on her 2011 'My Favourites' collection as maydie Myles she reveals a very sophisticated, mellow side. I love both personas. Best wishes, Macca.

Edited November 30, 2011 by macca

[lorchand]

Lorraine, going back to what you were saying about gospel/jazz tinged vocals, if a vocalist is truly talented, don't you think he/she can 'cut the cod' in different ways, i.e. show a different side to himself/herself every time they walk into a recording booth (if the producer lets them, of course). I'm reminded of the wonderful, and until more or less recently, supremely underrated Debbie Taylor. Her late 60s and early to mid 70s recordings feature a very raw, primal, 'tear up the church' type vocal, yet on her 2011 'My Favourites' collection as maydie Myles she reveals a very sophisticated, mellow side. I love both personas. Best wishes, Macca.

Hey Macca,

Debbie Taylor/Maydie Myles is one of the singers that you say, "yeah girl, sing!" She has a voice that most writers would write to that stomping side of her. Slow her down and you can hear her sing. Glad she's still singing and out there. As long as you have the pipes, you might as well use them for other than singing in the shower.

You are right about having talent. You can 'cut the cod' when you are talented. You can weather the storms and come out on the other side. Debbie/Maydie is one of them.

Good hearing from you.

Lorraine

[Guest Bearsy]

Just played your tune tonight Lorraine - I cant hold on, whilst at home feeling sorry for myself cos i cant afford to go out and oh how it cheered me up thanks xx

[lorchand]

Just played your tune tonight Lorraine - I cant hold on, whilst at home feeling sorry for myself cos i cant afford to go out and oh how it cheered me up thanks xx

Bearsy,

When two Tauruses get together, it's nothing but a party! Glad to have helped.

Lorraine

[Guest Carl Dixon]

Lorraine..it's been a while!

 

Did you have a result at all with SoundExchange? It would be nice to know and I can Facebook it for other artists and backing vocalists to pursue. Let me know. Hope all is well......

 

Carl

[lorchand]

Lorraine..it's been a while!

 

Did you have a result at all with SoundExchange? It would be nice to know and I can Facebook it for other artists and backing vocalists to pursue. Let me know. Hope all is well......

 

Carl

 

Hi Carl,

 

Yes it has been a while.  All is very well.  SoundExchange is absolutely wonderful and I am greatful that you told me about it.  I constantly tell other artist when I see them about this site and in some cases, they do not have a computer or need a lot of help in getting an application.  However, you should feel free to put it on Facebook (although I cannot speak on their privacy policies) to reach a greater audience.

 

Take care,

 

Lorraine

[Triode]

Hi Lorraine,

Could you shed any light on a group called Softouch who recorded for Prodigal?

It sounds like at least 2 female lead vocals? Is one of them you by any chance sorry if this question has already been asked it's just I was listening to this record earlier this evening I presume this was after the pied piper project probably 1970? I guess.

Thank you once again for your continued knowledge and patience on the forum it is appreciated.

Kind regards

Triode

[lorchand]

Hi Lorraine,

Could you shed any light on a group called Softouch who recorded for Prodigal?

It sounds like at least 2 female lead vocals? Is one of them you by any chance sorry if this question has already been asked it's just I was listening to this record earlier this evening I presume this was after the pied piper project probably 1970? I guess.

Thank you once again for your continued knowledge and patience on the forum it is appreciated.

Kind regards

Triode

 

Hi Triode,

 

Unfortunately, I am not familiar with the group Softouch and cannot offer any information.  If you have time to post the record you are asking about or the title, something may ring a bell.  At any rate, I was never involved with the label or its recordings that I know of.  I am aware of the main players, Barney Ales, et al who worked for Motown and sold his label to them.  You are in the right place to ask a musical question regarding the 50's through the 70's.  You cannot hide anything from these Northern Soul folks.   

 

Triode, it is my pleasure to participate and communicate with you all.  My heart skips a beat when someone says "has anyone asked our Lorraine?"  Wow!

 

Take care,

 

Lorraine

Edited October 21, 2013 by lorchand

[Guest Carl Dixon]

Thank you Lorraine.

 

Time to to mention it again on Facebook etc.....

 

Carl

[Triode]

Hi Lorraine,

Thank you so much for your reply, below is a link to YouTube featuring the B side "say that you love me boy" only available on the rare stock copy,

DJ/Promo copies are double A sides featuring " After you give your all " these appear more common but this is still a great side

My data states a release date of July 1975 both sides are "Just Productions"

It sounds earlier than 1975 to me? And I cannot find any other prodigal/Motown releases by them - I hope you like it Lorraine it's my preferred side!

Kind Regards

Triode

https://m.youtube.com/watch?v=zdzlKX3mX6g&desktop_uri=%2Fwatch%3Fv%3DzdzlKX3mX6g

[Triode]

Sorry probably should of credited Brian Pinches who posted this on YouTube a man with taste........

Triode

[lorchand]

Hi Lorraine,

Thank you so much for your reply, below is a link to YouTube featuring the B side "say that you love me boy" only available on the rare stock copy,

DJ/Promo copies are double A sides featuring " After you give your all " these appear more common but this is still a great side

My data states a release date of July 1975 both sides are "Just Productions"

It sounds earlier than 1975 to me? And I cannot find any other prodigal/Motown releases by them - I hope you like it Lorraine it's my preferred side!

Kind Regards

Triode

https://m.youtube.com/watch?v=zdzlKX3mX6g&desktop_uri=%2Fwatch%3Fv%3DzdzlKX3mX6g

 

Thanks Triode for the post.  This is Jack's production with Barney Ales.  After You Give Your All has a different arrangement but was first recorded by Sandra Richardson (Feva).  I'm not featured on either side.

 

Hope this helps,

 

Lorraine

[Triode]

Thank you Lorraine,

Still can't get my head around asking questions addressed to the legend that is Lorraine Chandler!

I will try to dig out Sandra's version.

With kind regards

Triode

Edited October 21, 2013 by Triode

[Shinehead]

Hi Lorraine,

Could you shed any light on a group called Softouch who recorded for Prodigal?

It sounds like at least 2 female lead vocals? Is one of them you by any chance sorry if this question has already been asked it's just I was listening to this record earlier this evening I presume this was after the pied piper project probably 1970? I guess.

Thank you once again for your continued knowledge and patience on the forum it is appreciated.

Kind regards

Triode

Triode Could this be the same group who recorded a self titled lp and featured Candice Ghant  who later became a member of the Mary Jane Girls interestingly it was produced by Motown staffer Henry Cosby.

[Triode]

Interesting could be I suppose,

I noticed the LP you refer to on YouTube and it sounded pretty good.

Triode

[Guest DeeJay]

Wow welcome to Soul Source Lorraine, I've still got my three RCA Victor Demos you kindly signed for me at the Stafford gig with Eddie Parker way back in 1983, love you to bits.

Regards - Mark Bicknell.

Me too! same gig-amazing