Ady Croasdell

That puts it before Lorraine's still

Nope, but it all helps!

Tricky one as the solo release is a bit of a one-off number in the Junior catalogue. Defo later than 64 as the earlier numbers are mainly 65. Another earlier number is definitely at least 67 so I'd guess it would be around then. The one billed as the Sensations is very probably 1965 and i think that is the original version of the song and sounds earlier. The flip was the Mend The Torn Pieces that Lorraine also did for Pied Piper at the same time as I Can't Change so my feeling is now that Jack Ashford and the team were re-working the songs on Lorraine that they had first cut in Philly for RCA in Detroit/Chicago in 1967.

And from the Patti interview Steve posted I'd say I'm 100% wrong on the first bit, but have it on good authority that she was in Nashville in the 90s.

From a previous interview I had her down as being from Nashville and returning there to record a CD in the mid 90s!

Its been lurking just outside my box for a year or so. Maybe an anniversary spin.

There was no original acetate I think Tony Rounce found the master tape, I got a cut of it and played it out first in the 80s, very popular. No doubt Chris King jumped on it and pressed it up later. Ady

There's a gospel record by the Undertakers! on Sign, the same label as the first Ze Majestics release, different number system but same year. Might be related.

If you mean the final mixed tape by two track mix downs, that's very close to being the record. I don't think you'll be able to seperate all the instruments and vocals as many have the same frequency and cut over each other, particularly the vocals and mid range instruments. I'm sure we'll be able to fanny about with different aspects of a recording but if it's a mixed tape or the actual record it won't be remotely as good as getting a multi track master.

I can but ask!

I thought Richard just played the 100 Club once but I could easily be wrong. It wasn't an anniversary but was just as busy. He played rare stuff for the knowledgeable 100 Club crowd and I always felt it got him back into Northern and promoting after a long lay-off when he only played modern. He did the first few Cleethorpes weekenders too before he ran the ones in the North West with Kev Roberts (Blackpool or Southport I think). He was going to do a guest spot at the 100 Club after we had the mini-crisis a couple of years back but he couldn't fit it in in the end. Maybe if Spurs pick up he could squeeze us in on a footy weekend.

Doubtful, we've had to sweat buckets to get this far.

A test pressing of a Crossover LP called Why Don't We Try Something Brand New was reputedly made but nobody has seen it since 1975. Kent have got hold of the master tapes and will be issuing it on a CD of most of his mid to late 70s numbers late September. Some great dancers on there too.

Wonderfull

Yes, assuming you can get the original master multis and not the mix down for the 45. Often they would re-use a multi once a satisfactory mix had been made for a single so it is only going to be possible on some. Also the cost of working with multis can be high so it's not something you'd do as a matter of course. If you had a good mix down you would only deal with the multis if it was very special and you had the facilities. Luckily at Ace we have and have been able to rescue many unreleased masters in this way and have found plenty of instrumentals some of which are good but a lot are mundane.

Very few records were recorded in mono by the mid 60s most put the track down first and added the vocal later, originally on two track then on to 3 and 4 track which meant that things like strings, brass or backing vocals could be added along the way if the producer wasn't happy with the sound. Ady

Frank is Harold's son and I seem to remember he was at uni in the UK when some of this was going on, I would have thought he would only have been involved in the very last releases by the labels if at all. I think he had an academic career until his father's age meant he helped out and finally took over at the helm. He would have been in the best possible position to get info from his dad of course. Ady

Ace has reissued all of their material on CD, LP and a nice 7" EP; all with great write ups on the group. Unissueds are included. I don't think the original vinyl is too rare.

Long deleted and genuinely limited so if someone wants it it should cost more than the original tenner.

From CDKEND 177, there's more about them in the booklet. We've recently found some more tracks we think are them from the late 60s. Ady 9. FALLING IN LOVE (Dave Hamilton, Thelmer 'Chico' Jones, Gene 'Geno' Gates, Rony Darrell) THE TOKAYS (P) 1999 The Tokays were an esteemed Detroit vocal group consisting of Chico, Dino, Reno, Geno and Ricardo or to put it more accurately Thelmer Jones, Billy Allen, Herbert Brown, Gene Gates and Richard Herdon. Originally named The Legends, they recorded one single as the Tokays for Chess singer Tony Clarke's Brute label. The 'Baby Baby Baby (You've Got My Hearts Desire)' side eventually became popular with Northern Soul collectors and DJs and, in conjunction with its rarity, became a big dollar item though it rarely turns up. Apart from singing backing vocals on a lot of Detroit sessions including Golden World recordings and several JJ Barnes Ric Tic dates, the group also used to hang out at the Da Da Studios. They cut several rehearsal tapes there including an a cappella version of the Appreciations' Aware waxing 'I Can't Hide It'. The track featured here, 'Falling In Love', was, however, recorded with a view to becoming a single and the backing track and vocals were put down professionally. The backing, being somewhat sparse, may have been lined up for some sweetening with strings or filling out with brass, but the song Chico and Geno wrote with Dave and Rony shows off their excellent harmonic skills.

£375, unplayed in original sleeve. Ady Now sold

i think being the first, being so long running and as Chalky says being mainly unissued prior to the single has helped the collectibility of the series. Plus the licensing thing too, anyone can press up a 45 but you need good provenance for increasingly educated collectors.

No, always the same(ish)

In terms of history you're probably right. My personal favourite double-sider is the Judy Clay/Johnnie Taylor one; it's about impossible to pick my favourite side.

A figment, it was already huge down there by the time it was pressed. Possibly people the worse for wear on what is traditionally an over-indulgence night left there's about because they were ga-ga.