I understand that Deena Johnson (a young Jo Armstead) on WILD DEUCE is first circa 1965. A New York project that only saw the light in the USA and got little success. Even if I know of a French acetate on Pyral that we still doubt went to be commercially issued...

Then the tapes with the backing track found their way into another studio to lay Brad Lundy's silky voice some time later (date unknown to me but by the look of the label I'd have thought late 6T's or early 7T's) and while at it they changed all the credentials on the JULMAR label.

The later self labelled LUNDY pressings even add the involvement of a Kenny Ballard on it... Anybody knows better or more about the hows and the whys on this fabulous tune with such different credentials at different times ?

Edited May 17, 20169 yr by tlscapital

My mate has the red label Lundy one. Horrible sound quality from what I recall. Maybe it was dubbed from disc. Could both Lundy presses be pressings done because of local demand?

Another strange thing is that on the blue label copy, the publisher is now Sherlyn which is associated with the T.K. group of 

labels (Cat, Drive, Alston etc. etc.) 

Only got the solid blue copy. But looks like some confusion regarding the credits.

Edited May 18, 20169 yr by still diggin
crap spelling

10 hours ago, Benji said:

My mate has the red label Lundy one. Horrible sound quality from what I recall. Maybe it was dubbed from disc. Could both Lundy presses be pressings done because of local demand?

My understanding is that they are not made for local demand really. They are 7T's issues with Brad's "old" 'breaking point' hit stuck on the B-side as a remember me ? You might have heard me singing '(I'm at the) breaking point'...

The BLUE issue one on Lundy has a real nice 7T's tune called 'I want to share' which makes it worth owning. I don't know the "A" side of the RED one though called 'I love you'.

My original quest was more about the different credentials between the Deena Johnson and the Brad Lundy even if there are some variations with the later presses like the "sudden" involvement of Kenny Ballard...

Or how can someone like Jesse Herring let something like that happen ? His composition and his tapes for the backing track ALL with new credentials and not his !

Good question about Jesse Herring. The original Deena Johnson is listed as April 65, which would have been just before Jo Armstead went to FloMar (as a writer).

My understanding and I can't remember where I heard this was that Brad Lundy, apart from being in NY for a while, was from Bahamas and worked cruise ships and that might go some way to explaining the Bahamas re-presses of Breaking Point. In true John Smith internet search posting style, this might help fill in a few gaps: https://www.jango.com/music/Brad+Lundy/_full_bio

Edited May 18, 20169 yr by Steve G