ANYONE GOT ANY OBSCURE FOREIGN RELEASE 45'S SEEN A FEW LATELY. I'LL START IT OFF WITH A FEW I'VE GOT

SISTER SLEDGE LOVE DON'T YOU GO THROUGH JAPANESE ATLANTIC WITH WRAP AROUND PIC SLEEVE

SEVEN SOULS I STILL LOVE YOU FRENCH EPIC PIC SLEEVE

BALTIMORE AND OHIO CONDITION RED NEW ZEALAND STATESIDE

BONNIE HERMAN HUSH DON'T CRY CANADIAN COLUMBIA

SPELLBINDERS HELP ME CANADIAN COLUMBIA

METROS SINCE I FOUND MY BABY CANADIAN RCA

MIRACLES IF YOUR MOTHER ONLY KNEW CANADIAN TAMLA

TEMPTATIONS I WANT A LOVE I CAN SEE CANADIAN TAMLA

TRAMMPS STOP AND THINK GERMAN PIR

NINA SIMONE TOUCHING AND CARING GERMAN BELLAPHON

Nowhere near as expensive, though still difficult to find. Here is a Mary Wells release TD-85

ARGENTINA :

Not at home so no scans but just picked up one of me favourite tunes.

Diplomats - ive got the kind of love - CBS Israeli.

Looks nice,solid centre 45rpm.

 

Tricky

HI,JC,

          The cover may be South African,but. " Lluvia Primavera" is Spanish for Spring Rain and Hispovox Espana distributor, nice item seen area I'd say 12 euros,? So?LOL ,Johnny

 

the 33rpm south american one reminded me of this that once had

 

 

 

Uruguay !

Spanish :

 

Arrived in me letterbox yesterday morning  Filipino (that means from the Philippines) 

 

On 5/30/2016 at 00:13, Mal C said:

Currently on Evil-Bay going for silly money... does look nice though..

You kind wonder how in heavens name they get a release in these far off lands ? 

South Africa

Nolan Chance

O.V. Wright

Otis Clay

On ‎29‎/‎05‎/‎2016 at 23:13, Mal C said:

Currently on Evil-Bay going for silly money... does look nice though..

In answer to question above .... there seemed no rhyme or reason why certain cuts escaped in a foreign country or not. If a US track had a UK release via EMI (like stuff from 20th Century Fox in the 60's), this could lead to it being considered for release in numerous Commonwealth & European countries where EMI had a major presence.

Similar tracks that EMI had the rights to were even sub-licensed to other UK labels. Record folk here must have thought the Fashions 20th Century 45 (I.O.U.) had legs as it escaped twice in the UK in the 60's -- the 2nd time on indie label Evolution. Other stuff EMI had the rights to here also escaped on labels like Pama. 

EMI even pressed up 45's here and sent them to foreign branches of the company, where they got an official local release. So, UK Tamla Motown's escaped in the likes of Portugal (in locally printed piccy covers) with other UK EMI 45's being marketed in the likes of Belgium & Holland.  

Edited October 29, 20178 yr by Roburt

1 hour ago, Roburt said:

In answer to question above .... there seemed no rhyme or reason why certain cuts escaped in a foreign country or not. If a US track had a UK release via EMI, this could lead to it being considered for release in numerous Commonwealth & European countries where EMI had a major presence.

...

EMI even pressed up 45's here and sent them to foreign branches of the company, where they got an official local release. So, UK Tamla Motown's escaped in the likes of Portugal (in locally printed piccy covers) with other UK EMI 45's being marketed in the likes of Belgium & Holland.  

Publishing rights in the UK was indeed the main USA "Atlantic gate" to 'Europe' or even for the rest of the world during the 5T's & 6T's. But mind that they were not only dependent on UK CEO's taste or musi-commercial point of view.

Many countries had sole escaped out of the USA releases as this thread shows. That many a times  without mandatory EMI UK consentement. Even the Mixed Emotion had an "official" EMI Belgium release of 'gold of my life' without the original members of the group knowledge... EMI copyrights ?

This peculiar example just to show how such an official major label can even "invent" copyrights. And this is not a case of 'London's Darrel Banks' Publishing Right's ownership. It's more relevant of someone out here faking it all for the love of it only and not caring on cashing in.

Sales of that Belgium EMI release were likely as spectacular as the self distributed USA release... As it's often the case. Can you imagine yourself in 1967 in Buenos Aires sipping a morning coffee dropping a dime in the dinner table 33 rpm juke-box for 'I've got to find me somebody'... Should be the best coffee ever !

No offense, but since the 5T's the UK was not doing the mandatory "direct USA filter" for the outside world. Even if for instance Tamla Motown Trade Mark in the 6T's was indeed a UK launch that had Holland and Germany "subsidiaries" following up as a Trade Mark but not necessarily for the selection.

That is a fact. And indeed, CBS was build the same way in and outside the UK. But many smaller "independent" "World" labels had "cherry picked" leases not passing through the "chUnnel" at all. Once independent USA records "representatives" in the world were supplied directly, the UK channel could be by-passed.

The story of the road to India... And never dissing the UK people in and for the music for their love, geekiness and focuses on American musical enlightenment as done nowhere else, is at the same time to be vividly underlined. Regards. Timmy, the Belgian !

I wasn't trying to imply that soul only escaped around the world via EMI's connections ... but if EMI was the UK licensee for a US label, that meant not only did stuff escape here but (many times) in numerous other territories too (Jamaica & Barbados are two others I didn't mention in my earlier post). Of course, many US labels would just license EMI to handle their product here in the UK and they would seek other reps across Europe or in Australia, New Zealand, Sth Africa, Nigeria, Rhodesia, etc.

BUT, with many US labels having no directly employed overseas staff, using a company like EMI (which had global reach), was many times their easiest option to get their product out across the world. Berry Gordy was more than happy with EMI's efforts on his label's behalf for over 10 years.

Edited December 3, 20177 yr by Roburt

Some of the foreign releases put on this thread are truly amazing ,especially the S American and Lebanon records, so does anyone know for sure how the record companies got the records and decided to issue them in their country.

Roburt has pointed out EMIs worldwide influence for US label representation. So would EMI receive a copy or tape of every release issued by the labels they had a deal with, i.e Capitol, UA, Uptown, Liberty,Minit,Tower,Motown, Musicor, Amy/Mala, Okeh and others. Ditto RCA, CBS, Decca, Pye,Polydor . If so this must have amounted to hundreds or thousands of 45s and LPs every week. Would every other country with a similar set up also get  samples of all US issues? Also would publishers get a record or just the sheet music.

The other scenario is that the US labels picked the records they wanted the foreign companies to push and recommended them for issue. This doesn't seem likely except maybe when an artist was touring overseas or had a built up a fanbase in certain countries. 

In one of John Broven's books he relates how UK Decca had US based representatives on the lookout for new releases to issue in the UK. Did other companies do the same? Maybe this is how the Velvets got issued in Argentina. I suppose we'll never know for sure but maybe someone has some answers.

Rick

picked up a South African ; Dorothy Berry - You Better Watch Out - Dot

9 hours ago, Rick Cooper said:

Some of the foreign releases put on this thread are truly amazing ,especially the S American and Lebanon records, so does anyone know for sure how the record companies got the records and decided to issue them in their country.

Roburt has pointed out EMIs worldwide influence for US label representation. So would EMI receive a copy or tape of every release issued by the labels they had a deal with, i.e Capitol, UA, Uptown, Liberty,Minit,Tower,Motown, Musicor, Amy/Mala, Okeh and others. Ditto RCA, CBS, Decca, Pye,Polydor . If so this must have amounted to hundreds or thousands of 45s and LPs every week. Would every other country with a similar set up also get  samples of all US issues? Also would publishers get a record or just the sheet music.

The other scenario is that the US labels picked the records they wanted the foreign companies to push and recommended them for issue. This doesn't seem likely except maybe when an artist was touring overseas or had a built up a fanbase in certain countries. 

In one of John Broven's books he relates how UK Decca had US based representatives on the lookout for new releases to issue in the UK. Did other companies do the same? Maybe this is how the Velvets got issued in Argentina. I suppose we'll never know for sure but maybe someone has some answers.

Rick

Not for knowing, but by deducing and understanding with time, crate digging and meeting few "ancestors", I came to the conclusion that the "over-boarder" re-releases were not done only through the "big ones" or the "elites" of the business.

The numerous independent "records representatives" around the world were receiving this and that record recently issued by the Major Records Companies owning the rights from the USA, UK or any other countries.

Sometimes at the top of the chain some records where not "supported" for the bigger scheme and where not promoted through those "link. This is generally acknowledge.

But as in all "small worlds" they were also meeting "enthusiastic" smaller projects and at times decided against all odds to push the release of a project that had the tiniest chance to breakthrough.

Since those "records representatives" where wandering in the world of Clubs, DJ's and Radios to see how a record could "work" or not, they had that "booker" snobbery attitude ! Sometimes "trendsetters" but in real most of the times trends followers.

Mind you that Beirut was a "Shin-Dig" city then. Istanbul the same and Buenos Aires... And Brussels of course LOL !!!

On 24/04/2016 at 14:06, jimmy clitheroe said:

I picked this up this morning , at came in a South African emi sleeve, so assuming South African? Paul

did you buy this on Ebay? If so it was my mates, he found it in Johannesburg.

 

EDIT: Ignore me, he bought his in 2017. Same cover though!

Edited October 31, 20178 yr by jim g
added text for edit

A few relevent snippets from the 60's music press .... sometimes an act gained a high profile in a 'strange' country coz they went on tour there (doing live shows, visiting radio stns, doing TV shows or meeting the press there). Lots of US soul / latin soul acts would play gigs in Brazil or military bases in other Sth American countries .... In the UK, a new US 45 would just about always get an immediate release here if the act was say Edwin Starr, Inez & Charlie Foxx, Ike & Tina, Ben E King , Oscar Toney Jnr ... coz those acts were always over here doing shows .... 

 

New Zealand Artistics

Why not.., Pete,  Got any other  NZ or Aussie for sale? 

Edited October 31, 20178 yr by Mal C

More NZ 45s....

13 hours ago, tlscapital said:

Not for knowing, but by deducing and understanding with time, crate digging and meeting few "ancestors", I came to the conclusion that the "over-boarder" re-releases were not done only through the "big ones" or the "elites" of the business.

The numerous independent "records representatives" around the world were receiving this and that record recently issued by the Major Records Companies owning the rights from the USA, UK or any other countries.

Sometimes at the top of the chain some records where not "supported" for the bigger scheme and where not promoted through those "link. This is generally acknowledge.

But as in all "small worlds" they were also meeting "enthusiastic" smaller projects and at times decided against all odds to push the release of a project that had the tiniest chance to breakthrough.

Since those "records representatives" where wandering in the world of Clubs, DJ's and Radios to see how a record could "work" or not, they had that "booker" snobbery attitude ! Sometimes "trendsetters" but in real most of the times trends followers.

Mind you that Beirut was a "Shin-Dig" city then. Istanbul the same and Buenos Aires... And Brussels of course LOL !!!

Thanks for your reply. It seems like loads of unusual places were really "happening".  The UK press at the time considered London was where everything in music was centered. Dave Godin famously dismissed this as London elitism but I wonder if he was aware how far flung soul was appreciated.

I wonder what happened to all the records the reps and foreign companies got from the US, probably binned.

A few more bits on foreign record & soul happenings (including Lebanon) ...

On 31 octobre 2017 at 23:11, Rick Cooper said:

Thanks for your reply. It seems like loads of unusual places were really "happening".  The UK press at the time considered London was where everything in music was centered. Dave Godin famously dismissed this as London elitism but I wonder if he was aware how far flung soul was appreciated.

I wonder what happened to all the records the reps and foreign companies got from the US, probably binned.

Second hand records shops exist for a long time now in Belgium so likely most found their way there or on flea markets. One can believe that some or more did find their way in the malignant visitors or "contributors" home. The storage condition of them is more likely relevant as to what happened to them. If they suffered from humidity or a leak, they could have binned indeed.

But those "import" records that were in the hands of "independent records representatives" were more likely well kept in boxes until the man "kick the bucket". One such famous lot (Belinda/Melinda) in Brussels found for the biggest part found it's way in different second hand shops in Belgium. The story/legend goes that some manage to end up firstly in the bin indeed...

 

More bits on US artists & their records getting foreign exposure.

Why a record company in racist apartheid ruled South Africa thought Bobby Bland & other Duke records would sell there is beyond me, but they obviously did ...  though I believe Percy Sledge's records sold well there & the likes of C L Blast toured there and even recorded there (an LP & 45's that were not released anywhere else).

Sam Baker's UK / Euro tour came about a bit by accident as Stax wanted extra Stax acts on that tour (Eddie Floyd & another on this package headed by Sam & Dave with Percy Sledge & Arthur Conley also on it) .... it seems that other Stax acts had existing gigs to honour in the US ... so Sam Baker & Linda Carr ended up on the tour (and both got releases to tie in with the tour).

Edited November 6, 20177 yr by Roburt

On 06/11/2017 at 14:10, Roburt said:

More bits on US artists & their records getting foreign exposure.

 

Sam Baker's UK / Euro tour came about a bit by accident as Stax wanted extra Stax acts on that tour (Eddie Floyd & another on this package headed by Sam & Dave with Percy Sledge & Arthur Conley also on it) .... it seems that other Stax acts had existing gigs to honour in the US ... so Sam Baker & Linda Carr ended up on the tour (and both got releases to tie in with the tour).

 

So that's why the Sam Baker record came out. 

I went to the Sam and Dave show with Eddie Floyd and Arthur Conley at the Manchester Odeon but don't remember Sam Baker or Linda Carr on the bill, maybe they only did certain venues.

On 5.11.2017 at 00:18, Roburt said:

A few more bits on foreign record & soul happenings (including Lebanon) ...

That bit about Germany is quite a surprise. I have yet to find a copy of Bettye Swann on german CBS. All continental CBS copies I ever found were dutch.....

 

This is a Taiwanese Motown LP from 1969/70. The sleeve is actually thin paper with a plastic inner and outer bag rather than being laminated, terribly printed as well.

How this ended up in a car boot in north wales I do not know!!?

We all know that many 45's got released in the UK (+ across Europe & the British Empire countries) coz of the British soul scene and it's fascination with 60's dancers ... but it seems Canada joined in with reissue mania around 1971.

The Impressions had "Senorita I Love You" out in the US on Abner in March 59, the track escaped again there on VJ in early 62 and again in October 64 ... Canada only got involved in 1971 when it escaped there on GRT ... other GRT 45's at the same time included a couple of Jerry Butler VJ's from 64 and a Wade Flemons pairing, also from VJ in 1960.  STRANGE ....

 

Edited December 13, 20177 yr by Roburt

I worked for British Rail in the late 60's / early 70's ... so got free trips on trains & BR / Sealink ferries. We used to take regular trips on the Harwich -- Hook of Holland ferry service. So back then, I got to pick up quite a few Dutch 45's .... though the initial enthusiasm of Dutch record shop workers on hearing my British accent died instantly when I asked for Tamla Motown / Stax / soul stuff ....  a Chi-Lites release (the black label was the 1971 release, no idea when the one with the coloured label followed) ...

 

Surprised when this popped up last week, someone had a good day at the Brussels record fair.

On 28 novembre 2017 at 17:14, Roburt said:

I worked for British Rail in the late 60's / early 70's ... so got free trips on trains & BR / Sealink ferries. We used to take regular trips on the Harwich -- Hook of Holland ferry service. So back then, I got to pick up quite a few Dutch 45's .... though the initial enthusiasm of Dutch record shop workers on hearing my British accent died instantly when I asked for Tamla Motown / Stax / soul stuff ....  a Chi-Lites release (the black label was the 1971 release, no idea when the one with the coloured label followed) ...

 

I'd say different pressing plants involvement...

I don t think its rare but here my Dutch copy.

Funny, I find that some of those French Atlantic look like SS boots !!!!

Here are some very nice Aussie Festival Test presses I’ve got in the last few weeks, and a couple Aussie demos...

 

Edited December 21, 20177 yr by Mal C

The W&G 45 is from the National Australian Audio archive, really nice demo and sleeve, I guess they would have had a copy of every 45 that came out, if only the chap who sold me this would come clean, I’d buy the lot in one go :-)

Edited December 21, 20177 yr by Mal C

In the mid 70's, American company ABC had local distributors in 44 foreign countries. That opens up the prospect of up to 40 different versions of 45's from the likes of Ruby Andrews, Dramatics, Clarence Carter, 4 Tops, Denise LaSalle, Carl Carlton, Lamont Dozier and more ... 

Edited January 1, 20187 yr by Roburt

Another Aussie White Test press... 

Car boot find 25p. No great shakes but Northern and the other side is a good Mod type beat track...

 

Edited February 21, 20187 yr by Soul-Slider

Hi Guys ,

Fantastico ,amazing stuff ,love em , Wierd and Wondreful !

Just picked up this:

Spanish only release, I think. Good version. I think Tony Bruno is slightly over the top.

Anyone know when the Argentinian (?) release of the Vel-Vets came out? 1960s? Or could it have been somehow prompted by the 70s uk release on Pye Disco Demand?

9 hours ago, JoeSoap said:

Anyone know when the Argentinian (?) release of the Vel-Vets came out? 1960s? Or could it have been somehow prompted by the 70s uk release on Pye Disco Demand?

I would say 60s as the same numbering sequence was used by PRODISA S.R.L. on some Tamla Motown Argentina releases before RCA Victor  took over distribution.

I have these;

Tamla Motown TD-063-1 FOUR TOPS - I CAN'T HELP MYSELF / WITHOUT THE ONE YOU LOVE - TD-063-2
Tamla Motown TD-064-1 JR.WALKER - SHOTGUN / TUNE UP - TD-064-2
Tamla Motown TD-068-1 SPINERS - TOMORROW MAY NEVER COME / I'LL ALWAYS LOVE YOU - TD-068-2

Obviously a misprint of Spinners

Plus this one already posted above from 20th CENTURY FOX RECORDS

TD-085-1 Distributed by PRODISA S.R.L.

On 30/05/2016 at 06:42, 45cellar said:

Nowhere near as expensive, though still difficult to find. Here is a Mary Wells release TD-85

ARGENTINA :

Came from the seller who sold it me, nice demo:-)

On 2/22/2018 at 12:21, Steve Lane said:

Yes the Canadian, prefer it to US Uptown !

I'll add a few that I've picked up over the last few years. I'd forgotten about the thread to be honest!

Please excuse if they've already been posted.

Sister Sledge - Japanesse

Dutch Ila Van

Australian Exciters

 

Never seen those two Kev (Exciters / Ila Van) - Nice.

10 hours ago, Mick Holdsworth said:

Never seen those two Kev (Exciters / Ila Van) - Nice.

Hi Mick, thanks for the comment

I do like odd or peculiar bits and bobs!