Premium Stuff
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Edited by Premium Stuff
Listen here to YOU KNOW I LOVE YOU - actual copy for sale
Listen here to DON'T LEAVE ME - actual copy for sale
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Edited by Premium Stuff
SOLDSTER-PHONICS - DON'T LEAVE ME / YOU KNOW I LOVE YOU (MAS-TOK)
Offers close 20:00hrs tonight - Sunday 17 November
*** SOLD *** SOLD *** SOLD *** - WINNING BID £1,100
Classic 1965 street level Detroit soul. Amazing double-sider.
Visually graded VG but plays great. Soundcloud sound files in comments below.
Never sold on Discogs. Nothing on Popsike for over 5 years.
Open to offers until 20:00hrs on Sunday 17 November – unless I get an offer I’m happy with in the meantime.
Payment preferred by PayPal F&F [or please add fees] or bank transfer. Sent by Special Delivery [fully insured] in UK - or elsewhere at cost.
Offers by PM only please. Thank you.
Richard
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On 06/12/2013 at 14:48, Dave Pinch said:
just checked and the instrumental on eastern is the longer version thats on soul pot so maybe soul pot 1st and maybe they wernt happy with the mix and shorterned/chopped it a bit.for the eastern 45.just a theory mind
the eastern copy has archer scratched in the matrix ...sold the soul pot copy so cant comment on that now
Dave
I know this is an old thread but just had a quick look at the scans on Discogs of Eastern and Soul Pot.
The instrumental on Soul Pot is 3:59 - the same duration as the vocal.
The scans of the Eastern release show the shorter vocal at 3:45 but a longer instrumental at 4:20.
https://www.discogs.com/release/3308831-Willie-Pickett-On-The-Stage-Of-Life-
Is it probable there are two Eastern copies with different length instrumentals on the flips? 🤔
Cheers
Richard
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10 hours ago, Robbk said:
Your legitimate Golden World Studio acetate or vinyl in-house demo record indicates that Parker either took Hughes to Detroit to have Mike Terry record him, and arrange the songs, and also conduct the background track sessions, OR, tha Parker conducted Hughes' vocals sessions in Chicago or L.A., and had Terry produce the instrumentals sessions using Detroit (mainly ex- and then-current Motown musicians (moonlighting).
Lots of Motown records had their recording session split between 2 cities, with vocals in one and instrumentals and background vocals in the other, or vocals and instrumentals in the city of the artists record company, OR with everything but a few extra instruments tracks and final mixing in the other city, or everything except final mixing in the 2nd city's recording studios. I remember split sessions by Joe Hunter for Duke Records in both Houston and Detroit, and by Hunter in Detroit for Golden World, and by Bert Keyes for GW in New York. As the music sounds like Detroit's musicians, he recorded, at least the instrumentals there, and also did the final mixing there. have you heard that Fred Hughes' vocals were recorded there? Unless we see some documentation or statement by people that were there at the time, I'd still guess Parker ran the vocal sessions in Chicago or L.A.
A simple 'No' would've sufficed Robbk 🤣
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On 20/11/2021 at 23:28, Robbk said:
Regarding Fred Hughes' "Don't Bring Me Down"....... Hughes' producer with VJ Records was Chicago's Richard Parker, who ran VJ's L.A. production office, and was its main producer. He recorded some of Hughes' sessions in L.A., and some in Chicago. Parker had a Detroit connection in the mid 1960s, when he produced and recorded for Golden World/Ric Tic, I believe, as a part-time free-lance producer, rather than full time, while he still resided primarily in Chicago, but also, part-time in L.A. I always thought that "Don't Bring Me Down was recorded in Chicago, with Mike Terry travelling there, rather than Parker bring Hughes to Terry, in Detroit. However, Terry, in addition to periodically going to Chicago to record for Jo Armstead's and a few other Chicago labels, also worked heavily in Golden World Studios, on Ric Tic and Golden World sessions. Still, I think the odds are a lot greater that Parker brought Terry to Chicago, perhaps along with a few Motown Funk Brothers moonlighting musicians, to record "Don't Bring Me Down" and a few other cuts. I doubt that Terry flew to L.A. to record that for VJ. But, Chicago was a relatively short auto drive (a few hours), which Terry and moonlighting Funk Brothers and other Detroiters, like Fred Bridges, The Brothers of soul, Mike Hanks, Ollie McLaughlin, The Four Hollidays, The Funk Brothers/Andantes/other Motown Musicians, Andre Williams, and many others often made.
Do you have documentation that that song was recorded in Detroit?
On 26/11/2023 at 21:30, Premium Stuff said:I have Fred Hughes - "Don't Let Me Down" on a Golden World studio acetate.
On 28/11/2023 at 17:59, Premium Stuff said:Here's a pic I took a few years ago - just a plain GW label on it without scribbles.
Having compared, it sounds like a slightly different mix to the Vee-Jay presses - more direct and clearer than the 45s - a bit more punchy!
R
RobbK - hope all's well with you.
Just wondered if my reply answered your question re documentation it was recorded in Detroit. It was your original query about evidence that encouraged me to say I had this on GW acetate.
Cheers - R
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Edited by Premium Stuff
On 27/11/2023 at 13:10, Wilxy said:Hiya Richard, Awesome ....I don't suppose you could upload a pic of it by any chance could you?
On 27/11/2023 at 13:17, Wheelsville1 said:I second that.
Here's a pic I took a few years ago - just a plain GW label on it without scribbles.
Having compared, it sounds like a slightly different mix to the Vee-Jay presses - more direct and clearer than the 45s - a bit more punchy!
R
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On 20/11/2021 at 23:28, Robbk said:
Regarding Fred Hughes' "Don't Bring Me Down"....... Hughes' producer with VJ Records was Chicago's Richard Parker, who ran VJ's L.A. production office, and was its main producer. He recorded some of Hughes' sessions in L.A., and some in Chicago. Parker had a Detroit connection in the mid 1960s, when he produced and recorded for Golden World/Ric Tic, I believe, as a part-time free-lance producer, rather than full time, while he still resided primarily in Chicago, but also, part-time in L.A. I always thought that "Don't Bring Me Down was recorded in Chicago, with Mike Terry travelling there, rather than Parker bring Hughes to Terry, in Detroit. However, Terry, in addition to periodically going to Chicago to record for Jo Armstead's and a few other Chicago labels, also worked heavily in Golden World Studios, on Ric Tic and Golden World sessions. Still, I think the odds are a lot greater that Parker brought Terry to Chicago, perhaps along with a few Motown Funk Brothers moonlighting musicians, to record "Don't Bring Me Down" and a few other cuts. I doubt that Terry flew to L.A. to record that for VJ. But, Chicago was a relatively short auto drive (a few hours), which Terry and moonlighting Funk Brothers and other Detroiters, like Fred Bridges, The Brothers of soul, Mike Hanks, Ollie McLaughlin, The Four Hollidays, The Funk Brothers/Andantes/other Motown Musicians, Andre Williams, and many others often made.
Do you have documentation that that song was recorded in Detroit?
I have Fred Hughes - "Don't Let Me Down" on a Golden World studio acetate.
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Edited by Premium Stuff
The clue appears to be in the copyright wording around the edge The Gramophone Co Ltd.
https://en.wikipedia.org/wiki/Gramophone_Company
R
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I knew this just from visiting John a good few years ago now when he played the me Puff record and we discussed that it could be Dena Barnes' first recording - and we spoke about such discussions with other collectors.
John's previous auctions have referred to the first Dena Barnes record.
The Puff record is not that easy to find.
Cheers
R
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No sorry Andy - I meant eBay - just saw on my recent alerts
Here's an example on eBay:
https://www.ebay.co.uk/itm/114871441198?epid=11047501193&hash=item1abedf172e:g:SQUAAOSwCdtg20DF
Cheers
R
2 minutes ago, Andy Rix said:Decided not to be so lazy but couldn’t find it on Discogs .... found it on Juno
https://www.juno.co.uk/products/the-greatest-thing-rare-classic-60s/830766-01/
A
Juno cheaper mate
R
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- Popular Post
1 hour ago, Martin Phillips said:John did his usual sneaky trick and extended the end time of the auction by several minutes.I thought the whole point of a timed auction was that you adhered to the quoted cut off time!!!
1 hour ago, Martin Phillips said:Part of John's strategy is to count the clock down and then restart it again hoping to whip up a frenzied bidding flurry!
There's nothing sneaky about it at all Martin and there's no trick - far from it
John's auction is automated and has been for around a couple of decades - it's run by the software
If a couple of people are bidding against each other, the auction automatically extends for blocks of two minutes until there's a winner
It's pretty standard for how auction houses work all over the world - i.e. the auction goes on until there's the highest winning bid - just like Sotheby's etc.
Suggest you read the "How the auction works" section on the Raresoulman website here:
https://www.raresoulman.co.uk/how-auction-works/
Give that a read and you'll be better informed
Cheers
Richard
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50 minutes ago, Kjw said:
I think it's just a second press Richard, the first one also had a beveled outer edge
Cheers Kev
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On 19/03/2012 at 17:06, Pete S said:
On the two I put up above, the lower case title has an Audio Lab stamped matrix, the other has a weird squiggle matrix.
Just looked at a copy here ... red/white label with the lowercase title text
Audio Labs on the a-side matrix only
Don't know if this what people are describing as the "stamp" though
Sorry, not the best pic - but tricky one to photograph
Anyone confirm please?
Cheers
Richard
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Looking for Frenchy and the Chessmen on Temple please
M/M- copy
PM only thanks
Cheers
Richard
JMAuction - 30/04/2025 - Results!
in All About the SOUL
Hollidays was VG+ vinyl and E label Eddie