Funky 4 Corners

Hi Richard Just bought a 45 that might be of interest to you, PAUL TATE - FOOL FOR YOU / SAVE YOUR LOVE - JERRY O #110. It is a light weight pop / R&B number, yellow label, "A Boogaloo Production". That leaves the following gaps I think - 100, 102, 108, 109 and 112 onwards but 111 might be the last? Keith

I buy stuff regularly from the US and for the first time since the 70s I recently had to pay VAT and import duty on a 45. I can live with that but what piss*d me off was that the Post Office fee for collecting it was higher than the fee itself. And here's the catch 22, there is no other way that you can pay the fee. I phoned Customs and they said that the value of the item AND the shipping charges are all taxable. Also, second hand stuff attracts the same duty. Re stating the value on the customs sticker - it's a risk IMO to undervalue the item if you paid by paypal. They want every possible anal detail of any claim that the sender might want to make. A couple of years ago I got more help out of Fort Lauderdale County Consumer Dept than Paypal or Ebay, simply because of the smallest detail they didn't approve of. If it is none Ebay I know some folks state that it is a gift. Re the frequency of packets been targeted. I know a guy who works at Mount Pleasant, the main import place for the Post Office and he said that it is 1000's to 1 that a 45 size packet will get picked upon. Big carriers such as DHL automatically get involved with the Customs guys as a matter of course.

re Craig Moerer, he's a dead straight guy and would be very insulted if he thought someonr had accused him of knowingly selling a boot. I recently bought an Atlantic 45 from him that was issued / pressed in the late 50s but this copy was thinish vinyl and mint cond. Suspicious I thought and contacted him and he offered me a full refund immediately but as it turned out (after checking with a couple of guys in the US) it was most likely a legit copy pressed at Monarch.

Hi Dave Sorry for this long delay. I did try posting this about 10 days ago but f*cked up the up-load! Then went to Cornwall for a week. Anyhow, this is the exact wording of Martin Koppel's article that appeared in HBS magazine #52 in the summer of '77. I did read the original that he sent to Chris Savory and have retained the various spellings and other inaccuracies. INSIGHT INTO TERRA SHERMA (Martin Koppel) For many years as an avid Detroit and Northern Soul Collecor I have often wondered who or what Ernsrat and Terra Sherma was. Fortunately, a few weeks ago I was able to see a copy of the company's prospecturs of business. In the period of 1964 to 1968 when the pre-psychedelic hits of Motown were topping the charts, labels, production companies sprouted everywhere. Even larger companies tried to cash in on the boom by signing up local talent. Wand had people like Gino Washington, Masqueraderes, Timmy Shaw and Diane Lewis, whilst other labels like RCA has Lorraine Chandler, Michael & Raymond, Willie Kenrick and the Dynamics. On the of the more successful companies was Ernstrat Productions Incorporated, also called the 350 Corporation. This was organised by Ernie Stratten on the 13th August 1965. Due to the limited amount of capitol, rather than concentrating on trying to successfully start a competitive label Ernis Stratten decided to get involved in the leasing of recording facilities. Previously he had been using the United Sound Studios, then the Rainbow Recording Studios - both in Detroit. However then he built his own offices and a 4 track studio at 15305 Livernois. On March 9th 1966 the name, studios, production and publishing company was sold out and it became a public corporation. The name of the studio as changed to the Terra-Sherma Sound Studios (from the new President and Vice-Presidet's names). The chief officers of the new company were Ralph Terrana aged 24: President, treasurer and director; Al Sherman, 54 Vice-President and Director; Ita J. Jaffer, 27, Company Secretary and Director; Frederick Koterko, Director and Production Manager; and as Chief Engineer they hired Milar Bogden. As it had (possible outside of Motown) the best production facilities in the city the studios became more and more used and they increased the cost of hiring the recording studios from $20-$40 to £35-£55 per hour. Gross studio rental income rose from $1,701.25 for the month of February 1966 to $2,766.50 for July to $4,335.27 for September 1966. The problem of expansion was again hampered by lack of working capitol even tho' the company owned 4 record lables, the publishing rights to 40 songs, and had obtained 3 further lables and 6 more songs. Unortunately I was unable to determine all of the labels. At this time stockholders were found and there was a slight influx of capitol and they used monies to build a $250,000 ultra modern 8 track studio. This heavy outlay of capital seemed to be the turning point in the decline of the company. Early in 1969 the stockholders wanted answers as to why so much money was now being lost. The company went bankrupt and the lawyers took possession. Terrana & Sherman I understand went to work for Motown, Bogden started his own Bumpshop & GM labels (northern hits like Turn of the Century "Money can't" on Bumpshop, and Fork In The Road "Can't turn around no" on GM). In the summer of 1970 the studios were sold to Gold Soul at a massive loss of $85,000. However, Gold Soul couldn't meet the payments and the lawyers took it back and sold the contents of the building. Now all that is left is an empty shell. On the record scene the only record I have seen in the Ernsrat Label was the much loved "Haed and Shoulders" by Patti Young, one of the more successful records and publications they owned, which they sold on 12/29/65 to Goal Productions Incorporateed of New York. Later released on the Laurie label was the Dynamics "Yes I love you baby/Soul sloppy" which aslo came out on their own Top Ten label (there was one other release by the Dynamics on Top Ten). The names and labels associated with the Terra-Sherma Studios reads like a who's who of Detroit soul classics - Karen, Carla, De-to, Popcorn Wylie, Ollie McLaughlin, Mike Terry, Milton Right and the Terra-Sherma strings. Suffice to say that if a record came out of Detroit in the era and it was not part of Motown or Wingate then it is odds on that part of the processing of it was done in the Terra-Sherma studios.

The information I quoted in the book about the Laurie / Ernstrat deal came from a business statement surounding the formation of Tera Shirma. Martin Koppel obtained it in the mid 70s. It went into a lot of detail which I had originally reproduced in the book but when the project was eventually collated, the page count was way over 400 and so we had to do some severe editing. If any one wants me to reproduce it on here I'd me happy to do so. Probably because I wasn't looking for it, I never saw or heard of a Laurie copy from '68 - '72 ish but I have a couple of thoughts - firstly I guess that Laurie were in the business of buying up quite a lot of material to have in their vaults that could be reissued as and when they felt it commercially viable, rather than immediately. And two, I do recall Jim Hunt who worked for Relic Records in New Jersey and possibly Martin Koppel both saying that the Laurie release was rarer than the Top Ten issue. This I think was possibly based upon the fact that no one had ever seen one?? If anyone has access to a Laurie discography, does that show anything? Regarding my Laurie release. In the 80s I was offered a lot of ££ for my Top Ten copy and so sold it and like many others, simply bought a Laurie copy for pennies. It has a delta # of 96255 which I think makes it a Monarch pressing from LA around 1973? But I don't know if it is legitimate or not. Incidentally, earlier in this thread the Drew label is mentioned. Since the printing of the book, Leonard King Jr (of Leonard King & the Soul Messengers on Inferno) was telling me about his dad's juke box business in Detroit in the 60s and mentioned that he worked a lot with a guy called Arthur Drew "who was into records as well as juke boxes".

I recently had my hall, stairs & landing decorated by an out of work gynaecologist - he did it all from outside, through the letterbox. Seriously though, this guy bought that Barbara McNair demo from me around 1979, it is stone mint. I always remember because it was by auction that ended at 8pm. He rang me several times, kept me talking over the deadline. He paid £40, quite a high price back then.

The first mass produced ones I saw were when the Torch All-nighters took off but in Manchester some kids would go to the Wheel around 1970 with something of a uniform - Brutus short sleeve check shirt with small button and turned up hem on sleeves. Prince of Wales checked trousers, wing tip black brogues and a black blazer with a customised Twisted Wheel badge. These were often lavishly embroidered jobs that they had made at those old fashioned mens tailors that did regimental badges and ties.

Many humble thanks to you guys for these kind words. It has been a very long time coming and I just hope that you enjoy reading it. Although my name is on the front, in all honesty it was written by all of us. Possibly because my under-dog complex (which has been tuned to perfection by the mis-fortunes of Leeds United), one thing I'd like is that anyone from Detroit who was or still is connected with the Soul music scene reads it realises that our love of their work is NOT just a nostalgic oldies trip that is got out on the weekend but a very long standing, deeply respectful appreciation of what they all achieved. To adjust that Sam E Solo title a bit (Detroit is not a game) It's a way of Life).

If you went to the Gold Mine, Canvey Island or the Soul nites at the Orsett Cock, Essex in the 70s you will no doubt have also gone to Stage 3 on Sheppey, Kent. It was regarded as the most technically advance disco in its era. 1000 dancers used to pack the place every Saturday night. Well, I've just read that there is a Stage 3 reunion called the Southern Soul Spectacular being held on Easter Sunday, 4th April at Strawberry Moons, Maidstone Kent. The DJ line up is fantastic- Greg Edwards, Thomas Felton, Sean French, Tom Holland, John Osborne & Paul Clark, playing Jazz-Funk and Soul. 8 til 4. Details can be found on strawberry moons website.

Re Val Shively. My comment was directed towards his subjective pricing policy, NOT him. I too was given a very warm welcome and bought lunch by him on my first visit...my point dwelt around - would he charge the same price for a 45 to a casual local as well as a UK collector who has made Val's a destination? When I asked why nothing was priced, I wasn't convonced by his rather wooly answer.

Hmmm one of the most interesting threads I've read in some time. Just a couple of thoughts re the USA's attitude to Northern Soul. Visualise a scene in Liverpool in the early 70s - hardly anybody wanted Beatles stuff on Parlophone, let alone the Searchers or Gerry & the Pacemakers and meanwhile Japanese collectors were hoovering not only Merseyside but the whole UK dry of anything Merseybeat, all at 5p each. Let's face it, who else wanted Billy J Kramer records back then? Then, 25 years on, folk in Britain see that the a fore mentioned Big 3 and Swinging Blue Jeans 45s are selling in the far east for up to £2000 each and the Japs are regarded as the world experts on the genre and some of 'em smuggly imply that our beat generation were stupid, ignorant and uncultured for allowing it all to slip through our fingers. Now as far as US Soul fans are concerned I've NEVER come across anyone with any axe to grind - like folk in Britain who allowed genres of our music to go cheaply. I recall when the late Chris Savory moved from Kent to Staffs. He gave me about 1000 Reggae 45s he couldn't shift, and neather could I so I put them in some bin bags and sold them to dealer for pence. The only sh+t I have experienced from Americans has been from dealers, in Philly the tw+t than ran Bridge records for example, wouldn't even let me in the store because of my accent - he was sh+t scared that I was going to find some treasures. Also, in that neck of the woods - Val Shively - no records are priced, I bet a British accent puts a few $$ on the bill. I have read many of Boba's post elsewhere and have great respect for him and agree with his points about our (UK) obsession with the vinyl artifact - I know, I'm the world's worst vinyl snob! I'd anyday have a VG orig 45 than a mint Ronco record. But in my experience Americans do not appreciate older Soul as much as some countries, on an average night in front of the box you can probably hear more rare Soul tracks on ads than on a juke box in the states - that Persil track from a few years ago is an excellent example of our obsession.

Woke up late one Sunday morning after a house party I had in Sittingbourne and looked in the front room. The night before, pissed, I had put several UK Sue 45s on top of a gas fire after playing them and it was obviously hot as they were all melted, hanging over the front.

Hi I did a two part Jerry O story in manifesto some time ago. The Jerry O label releases I have are - 101 Plookie McCline - The Gorilla Walk / Uncle Willie 103 Willie Logan - You Conquered Me / Say That You Care 104 Bobby Rush - Someday / Let Me Love You 105 Dukays - The Jerk / Mo' Jerk 106 Dukays - Mellow - Fezeckey After this release, Sammy Kaplan was involved and although the label was still called Jerry O, it was 100% Boogaloo and Detroit based. 111 Tom & Jerroo - (Papa Chew) Do The Boogaloo / PT2 The Sherwood Production label is also a Boogaloo off-shoot. The shit rare Jerry O related release is on ABC / Paramount 10787 - Ooly-Choo / Bacardi. It makes Frank Wilson look like a charity shop job. I have looked out for any records connected to this guy for a lifetime and have never seen #102 or any of the other `missing` numbers. Its likely that once Jerry O went to Kaplan's in Detroit, he left the label behind in Chicago but took a couple of tracks with him. Jerry O had a fan club in the UK in the late 70s, called JITS (Jerry-O Is Tops) a guy called Ady who works for Ace/ Kent was president.

About f**king time.

I was waiting for him to select `You Beat Me To The Punch` but then I realised he didn't drink.

When I lived in Manchester, the best places to get hold of Dex were the Dolphin coffee bar or Victoria Station.

Having read the various posts regarding the free postage on UK ebay with great interest my view is that they have made a mistake that is driving sellers onto other sites and media. As far as I'm concerned as a buyer - all I get now is 2nd class mail, that keeps the item in the Post Office system for longer - attracting more opportunity for damage and theft. It often arrives in flimsy packaging - again to keep sellers costs down and increases chances of damage . Under the old system, if I thought that postage costs were too high I had choices 1 - Don't bid. 2 - Ask the seller to justify the cost. 3 - Tell them you're gonna leave negative feedback unless they reduce it and 4, Leave scathing feedback if they don't.

I've just listened to the J L Brown track on Clifton #501 and it's Lee Jenning's `Keep on Loning Me` has anyone heard the flip, `Baby Baby` please and if so, is that a Detroit track too? Thanks

Thanks Dave, another to go on the list!

Thanks for all of this info guys, it is backed up in the Holidays' story on soulfuldetroit.com

A few posts back Rod said that the Dave Hall backing track on Sound was the same as Jimmy Mack - which two of the four sides are the same please?

Whilst on the topic of Detroit mysteries, can any one tell me if they agree that `Easy Living` by J J Barnes on UK Stax 130 and the same title by the Hollidays on Groove City 206 are identical AND both could in fact be by Steve Mancha, solo? When I play the J J Barnes side of the `Rare Stamps` LP, `Easy Living` just doesn't sound like him.

Thanks for these suggestions, I've now got an answer of sorts - it was most likely J L Brown - My True Love / Baby Baby - Clifton 501. Apparently a boot from around 1980. But I'd still love to see a Like label listing.

I have been informed by a very reliable Detroit enthusiast that Don Davis released a Groovesville track on Like Records by Melvin Davis BUT under an alias. He doesn't know the alias or the title, can anyone help on this one please? I'm assuming that the Like label is the Rex Garvin one but I can't even find a Like label listing.