Sebastian

Clearly stated as a repress by the seller so the buyer has only got his/herself to blame in case they are disappointed with their purchase in my opinion.

Wasn't there 6 episodes? I have them here somewhere as AVI-files in case Pete doesn't come up with them.

Ofcourse it's worth something, it's a very rare 45. Psych collectors are looking for the REAL Southbound Freeway 45 on Swan and it's easier to find one that plays Tony Galla than one that doesn't so put it on eBay with a soundclip of the "Revelations" side and I'm sure you'll make something.

I read that but think there's been some misunderstanding. I think the poster who wrote about the warped record getting unwarped was talking about the LP. No 7" release of "So Rare" appears in any Just Sunshine discography that I've seen. Still might exist ofcourse, but I doubt it.

I'm really, really looking forward to this! I'm counting the days.

I just did a close comparison between the "Bell Sound" stamp on my original styrene issue copy and the photos of the bootleg/second issue that has been posted above. The stamps are VERY similar but they are different and both records can not have been pressed from the same stampers. For example: look at how the "line" in the letter "B" leans differently in each of the scans below.

I just did a close comparison between the "Bell Sound" stamp on my original styrene issue copy and the photos of the bootleg/second issue that has been posted above. The stamps are VERY similar but they are different and both records can not have been pressed from the same stampers. For example: look at how the "line" in the letter "B" leans differently in each of the scans below.

It started to appear on Ian Levine's playlists/articles in mid-2001, so was most likely pressed in 2000 or 2001. Here is what Ian Levine wrote about the record in the same Togetherness Magazine "Top 25 Rarities" article from 2001 that also featured the quote about Venicia Wilson that I posted above: 3 - DAVID RHODES - HUNG UP IN MID-AIR - CHI-CITY - CHC 1001 Very rare Chicago Mecca classic produced by Danny Leake, I had a box of 25 of these in my hands last year, and wish I'd kept some back. Never has a record so shot up in demand as this soulful Seventies gem, which was technically never even released.

I think it's superb. Much better than the Ace Spectrum version.

Yes, a 28-track collection was issued by Grapevine a couple of years ago: https://www.amazon.co.uk/Just-Loving-You-Ru...ks_all_1#disc_1

They were on Epic in the UK during the 70s. Their US LP-only "If You Were There" (which Ace Spectrum also recorded) actually got a 7" release on UK Epic.

Just out of interest, who is credited as the songwriter(s) on the Venicia Wilson track? Are the original songwriters Howard Bogess and Fred Bauer recieving any royalty payments for your restructured version?

This is what Ian Levine wrote about the tune in a late 2001 "rarest of the rare" article in Togetherness Magazine. 4 - VENICIA WILSON - THIS TIME I'M LOVING YOU - TOP-TOP - 1-007 This is my biggest floorfiller of the moment, and the record I paid the most for in my whole life. Probably white I'd guess, but almost up to Sandi Sheldon standard for pure Northern Soul, this is the kind of discovery people thought we'd never ever turn up again, and yet, larger than life, here it is. It's basically a female version of an awful pop record on Jamie by Peter Hamilton called "Hey Girl". The lyrics are similar but different in places, the backing track is similar but different in places, and whereas the gimmick on the Peter Hamilton version is that it keeps jumping up a key, doing it four times through the song, this one doesn't, and only modulates once after the big instrumental in the middle. It's got the kitchen sink thrown in... huge strings, big brass, and the most stomping sixties beatsince Nancy Sinatra made "These Boots Are Made For Walking". So while not truly an actual soul record, in fact the song is a bit like "Downtown", it's easily the BIGGEST Wigan Casino stomper that NEVER was. Despite that I love it to bits. It reigns supreme, and everyone wants it, even dyed-in-the-wool old Pete Smith.

That's a recent legal issue with an alternative version that lacks the brass arrangement.

NICE! Thanks for that. If anyone has got any other label variations of this, please post them up. To me it looks like we have scans of the demo/issue pairs for the following:

"I'm A Good Woman" was very popular at the time of release and there were at least 5 different label variations. I know of 3 demo variations and 2 issue variations. All of them are genuine original releases. Have a look at the scans below.

Superb mid-60s garage pop tune and indeed with a young Rick James on vocals. It was not issued as a single at the time of release though.

This has been on eBay, the latest one showed up just about 2 months ago.

The Side Effect version was issued on an LP from 1973 called "Effective" on the GAS label.

I think it's a great version of the Willie & The Handjives tune. Definitely not soul though and one for the 60s garage rock collectors indeed. It has been comped for that "scene" and is well known, have never seen it sell for much money though.

You are ofcourse right. Using recycled vinyl results in bad sounding records. I wrote the "AND they let you bring your own plastic mixture that you've made from old melted 45s... " with my rongue placed firmly in cheek because it's so EXTREMELY unlikely that a pressing plant would let you bring your own plastic when you want to press a record.

The only way you could do what you describe above is if you had the original "mother stampers" that the original 45 was made from. If you have that AND you're able to press it at the factory where the originals were made AND they let you bring your own plastic mixture that you've made from old melted 45s... then you will get the exact same audio reproduction and run-out etchings. Perhaps that is what has happened with the King Tutt 45 you've got? I don't know, I just think it's fascinating and would like to know how to distinguish between an original and the counterfeit. If you don't have the original "mother stampers" then you will not be able to make an exact counterfeit of a record. You might get the run-out groove etchings and run-in/run-out widths correct, but the the volume and wave form of the audio WILL differ between the original and the countereit no matter how much work you put into it. Properly mastering and cutting a lacquer/stamper for vinyl production is a dying art (and has been for about 25 years).

That is extremely unlikely to happen - if not actually impossible. And sorry for harping on about this... but proof about the difference between originals and counterfeits can usually be found by studying the info in (and the size of) the run-out grooves. You've written that the info in the run-out grooves is the same on both the originals and the counterfeit/"limited reissue" that you've sold, but I don't believe that it is written in the EXACT same way as on the original and it's almost entirely impossible to make the run-out and run-in grooves match the width and amount of turns on the originals. Would be great if you could post up this info for the "limited reissue", but I'm not holding my breath.

I just did an A/B comparison and they are the exact same recordings, but mixed and mastered quite differently as Dave pointed out. The brass is more prominent on the Maple/Canyon issue and the piano is more prominent on the Lee John issue. But all ingredients can be found in either version, they are just buried or highlighted in the mixes to different degrees.

I agree. I just wanted to highlight that they were all the same recording, not different versions (as in different vocals, different backing track etc.).