Luther Ingram - Hurdy-Gurdy - DNMRB

Towana & The Total Destruction - Romark - 261

Charlene & The Soul Serenaders - Volt - 1300

The Four Sights - Shy-Soul - 1100

Syl Johnson - Special Agent - 350

Margie Joseph - Volt - 165

Judy Stokes - Soul Power - 820

Clarence Reid - Wand - 460

Talmadge Armstrong And The Escotts - Spindletop - 1200

Eddie Whitehead - Black Jack - 1850

Barbara Hall - Tuska - 750

Delrays Encorporated - Tampete - 780

Lewis Clark & The Explorers - Tigertown - 300

Kitty Lane - Ru-Jac - 415

Arthur Freeman - Jumbo - 360

Maurice Williams - Deesu - 450

Talmadge Armstrong has crept up and up in value. Love the give it up side. First heard when frank giacobe put it on a tape for me. Managed to get 2 copies but both long gone.

I always thought baby I’m lost was harder but not as good.

Talmadge Armstrong got to be the best double sides ever. I booked Nige Brown for the Boat Club as he has one, sadly he didn’t play it. 🤦🏻

I agree with the comments above but Gigi really does it for me. Snagged the issue for about £100 decades ago then bagged the demo more recently on eBay. Not surprised the value has rocketed in recent years with hot competition for the few copies that have surfaced for auction. Two sides that have had limited exposure due to rarity.

The third Barbara hall must be almost impossible I’ve seen it listed once on a sales list. It’s a shared 45 she has 1 side and richard marks has the other.

I enquired about it but it had sold.

Mentioned by tim in this listing not the actual 45 being auctioned.

Edited 12 hours ago12 hr by Dylan

<< Charlene & The Soul Serenaders - Volt - 1300 >>

I love the varied soul sounds that Stax Records committed to tape, however this track was an 'outside recording' (cut in a basic Muscle Shoals studio) picked up from a little indie label for release on Volt.

To me it's a very messy track with below par lead vocals (on this side of the 45 at least). As this sale was of the Volt version, not the Paradox 45, can't understand why it goes for so much money ( & I know it's a NS dancer but it 's far from being one of the best of the genre). Guess it has to be cos many Volt copies out there are SS demo's which don't feature this cut. I'd buy a Volt demo as "Love Changes" is a very classy example of deep soul.

Edited 9 hours ago9 hr by Roburt

1 hour ago, Roburt said:

<< Charlene & The Soul Serenaders - Volt - 1300 >>

I love the varied soul sounds that Stax Records committed to tape, however this track was an 'outside recording' (cut in a basic Muscle Shoals studio) picked up from a little indie label for release on Volt.

To me it's a very messy track with below par lead vocals (on this side of the 45 at least). As this sale was of the Volt version, not the Paradox 45, can't understand why it goes for so much money ( & I know it's a NS dancer but it 's far from being one of the best of the genre). Guess it has to be cos many Volt copies out there are SS demo's which don't feature this cut. I'd buy a Volt demo as "Love Changes" is a very classy example of deep soul.

It sounds like an unfinished demo to me. It could have been so much better with some strings to fill out the sparse arrangement.

1 hour ago, Quinvy said:

It sounds like an unfinished demo to me. It could have been so much better with some strings to fill out the sparse arrangement.

Guess they didn't have the money for a more full backing PLUS the studio was quite a basic set-up ....

. . . . . BACK GROUND INFO ... Quin Ivy opened his own studio, Norala. Ivy recalled “I had a total investment in that studio of $7,000, It was put together on a shoestring.” His new studio's fortunes changed in late 1965, when Ivy and Marlin Greene cut “When a Man Loves a Woman” (Percy Sledge) there. “We cut [it] in mono on a little two-track machine with me engineering… With the money that track made, Ivy was able to build a larger, more modern facility at 1307 Broadway and he moved his newly rechristened Quinvy Recording Studio in there in mid-1968. In 1969, Ivy sold his old studio on 2^nd Street to Billy Cofield (who had played saxophone on “When a Man Loves a Woman”). Cofield and his partner, James Thomas, then reopened the facility as Paradox Recording Studio. They started their own PARADOX RECORDS as a vehicle to release tracks cut at the studio. Their ventures were however short-lived and in 1973, the Muscle Shoals Sound Studio team took over the building and converted it into a writer’s workshop and demo studio.

Edited 5 hours ago5 hr by Roburt