There were quite a lot of records reissued legally in the 70s as we all know, the phrase "to satisfy demand from the northern scene" is used frequently.

Examples are the small 45 okeh, columbia special products etc etc

I'd like to know how the situation came about for this to happen and how the record companies knew about this demand.

What I'm trying to say is that bootlegs were done by people close to the scene who knew there was demand and there was money to made.

Who would have approached Okeh for example and persuaded them that reissuing a record that was originally a flop 6/7/8 years previously would be a good idea?

Surely these big companies would have no idea of demand in a tiny section of the UK record market?

Are these releases as legitimate as we have been led to believe?

RCA issued Dean Courtney IANY as a US release and followed it with a UK one

Did any other RCA issues appear on the UK imprint?

RCA issued Dean Courtney IANY as a US release and followed it with a UK one

Did any other RCA issues appear on the UK imprint?

 

Both Paul Anka's, Beverly Ann, Exciters, Ray Paige, Peggy March, Derek & Ray, Mike McDonald...

thanks Pete,how did those compare with the US issues on the orange logo? I know Paul Anka and Lorraine Chandler were two of them.

thanks Pete,how did those compare with the US issues on the orange logo? I know Paul Anka and Lorraine Chandler were two of them.

 

Just the standard, boring orange RCA label of the time - think David Bowie singles - actually that's probably just me, I think about them all the time 

Practically ever UK major (and minor) label issued Northern Soul 45's during the boom years of 74 to 76.  I actually listed all of them once!

They certainly did Pete, but I was thinking of before then. More like 70-74. And then it really started picking up speed, as it were.

Ok the pink issues of the Carstairs.

Where did they come from ?.

Who instigated getting them pressed up ?.

When ?.

if they weren't legal "No Comment" will do.

Kegsy

Hi Kegsy

As I was responsible for the Carstairs re-press I'd like to say it was down to painstaking negotiations, trans-Atlantic phone calls and a perfectly timed sales campaign, but it was done by writing Red Coach RC 802 x 1000 on an order and sending it off to the US. simples. 

 

This was when I worked at Global in Manchester. For those who don't know about Global (not you ,Kegsy) it was an importer in Manchester owned by Ed Balbier from Philly who at the end of the 60s had a warehouse full of singles worth nothing in the US but big bucks over here. He would have liked to have sold only C+W albums  but couldn't resist soul singles . This was not done too well ,Selecta Disc did pressings better, Soul Bowl had the best originals and Record Corner quicker at new releases. However the Carstairs was one small success.

 

I would order the singles stock from the US companies, mainly  oldies from the major labels double sided hit re-issues series. These had a few northern sides , such as Linda Jones "My Heart...." James Carr, O'Jays and Motown oldies but were not done for the UK. When Ian Levine started playing 70s stuff I would try to order some titles from one of  Global's US suppliers. This was Price Rite Record Corp at Island Park N.Y. who got us the smaller label stock. One day I thought I'd order RC 802 to see what would happen. Six weeks or so later 1000 copies turned up. I don't know how Price Rite did it, I suppose they just asked Red Coach . As Global didn't have an exclusive deal on the record Record Corner and Selecta could also get it.

 

Price Rite also got the Oscar Perry Perri-Tone tracks ,Danny Reed, Lost Family, the two Nasco tracks and Tradewinds singles for us but these weren't pressed up just for the UK they were just the regular stocks.

 

As other people have said the CSP, Okeh. RCA and other records were done for the UK following requests from over here. US labels would do anything if there was a profit in it . However UK labels wanted to keep tight control of everything and the execs were scared of letting anyone show them how out of touch they were by giving Selecta Disc northern titles.

 

I think the special US re-presses were sold as exclusive to whoever ordered them but it would have been pointless to try to get them after Selecta or whoever had flooded the market. The exception to this was Jamie/Guyden who sold to everyone. Jamie did a re-press for Global of two Barbara Lynn records that we sold  to a shop in Amsterdam. I tried to get Atlantic to press up Pointer Sisters "Send Him Back" but the rights had gone to Blue Thumb, which is unusual as Atlantic rarely let anything out of there grasp.

 

I don't think there's any doubt the re-presses were legal. The artists may not have got anything but probably there would not have been any monies due as the advance and recording costs were still payable 

 

Rick

Hi Kegsy

As I was responsible for the Carstairs re-press I'd like to say it was down to painstaking negotiations, trans-Atlantic phone calls and a perfectly timed sales campaign, but it was done by writing Red Coach RC 802 x 1000 on an order and sending it off to the US. simples. 

 

This was when I worked at Global in Manchester. For those who don't know about Global (not you ,Kegsy) it was an importer in Manchester owned by Ed Balbier from Philly who at the end of the 60s had a warehouse full of singles worth nothing in the US but big bucks over here. He would have liked to have sold only C+W albums  but couldn't resist soul singles . This was not done too well ,Selecta Disc did pressings better, Soul Bowl had the best originals and Record Corner quicker at new releases. However the Carstairs was one small success.

 

I would order the singles stock from the US companies, mainly  oldies from the major labels double sided hit re-issues series. These had a few northern sides , such as Linda Jones "My Heart...." James Carr, O'Jays and Motown oldies but were not done for the UK. When Ian Levine started playing 70s stuff I would try to order some titles from one of  Global's US suppliers. This was Price Rite Record Corp at Island Park N.Y. who got us the smaller label stock. One day I thought I'd order RC 802 to see what would happen. Six weeks or so later 1000 copies turned up. I don't know how Price Rite did it, I suppose they just asked Red Coach . As Global didn't have an exclusive deal on the record Record Corner and Selecta could also get it.

 

Price Rite also got the Oscar Perry Perri-Tone tracks ,Danny Reed, Lost Family, the two Nasco tracks and Tradewinds singles for us but these weren't pressed up just for the UK they were just the regular stocks.

 

As other people have said the CSP, Okeh. RCA and other records were done for the UK following requests from over here. US labels would do anything if there was a profit in it . However UK labels wanted to keep tight control of everything and the execs were scared of letting anyone show them how out of touch they were by giving Selecta Disc northern titles.

 

I think the special US re-presses were sold as exclusive to whoever ordered them but it would have been pointless to try to get them after Selecta or whoever had flooded the market. The exception to this was Jamie/Guyden who sold to everyone. Jamie did a re-press for Global of two Barbara Lynn records that we sold  to a shop in Amsterdam. I tried to get Atlantic to press up Pointer Sisters "Send Him Back" but the rights had gone to Blue Thumb, which is unusual as Atlantic rarely let anything out of there grasp.

 

I don't think there's any doubt the re-presses were legal. The artists may not have got anything but probably there would not have been any monies due as the advance and recording costs were still payable 

 

Rick

 

Thats just the type of answer I was hoping for at the start of the thread Rick Cheers.

Thanks to eveyone else who's chipped in as well

Interetsing thread Steve, and hope I'm not reducing to it to a simple "boots" point, but the second  issue / reissue nature of Columbia Special Products rosta got me thinking. The MGM SP's were boots weren't they? Or are they more complicated than that. I could never understand the Special Product motif, but was glad it was there as a clear identifier for those of us not so well informed at the time.

Interetsing thread Steve, and hope I'm not reducing to it to a simple "boots" point, but the second  issue / reissue nature of Columbia Special Products rosta got me thinking. The MGM SP's were boots weren't they? Or are they more complicated than that. I could never understand the Special Product motif, but was glad it was there as a clear identifier for those of us not so well informed at the time.

 

Those are legal represses - the blue and gold ones are anyway.  Not the yellow ones.

Those are legal represses - the blue and gold ones are anyway.  Not the yellow ones.

Forgot about the blue/gold ones Pete, that included the Velours I'm Gonna Change if memeory serves, struggling to remember others?

Forgot about the blue/gold ones Pete, that included the Velours I'm Gonna Change if memeory serves, struggling to remember others?

 

There was 

Clara Ward - Right direction

Jackie Follett - Theres a moment

Diane Brooks - In my heart

Robert banks - A might good way

can't think of any more