Billy Jo Jim Bob

Don't know anything about it, but I bid on ebay for it about 10 months ago. A well known UK DJ got it for $375 . Andy

sent you a pm

The Paul Griffin may be this guy....perhaps with a one time solo effort......he has also many credits for producing and arranging and despite what it says in the letter below it looks like most of his work was done with Black artists...only thing I could find March 4, 1999 Mr. David Hinckley The New York Daily News 450 W. 33rd St., 3rd floor New York, NY 10001 Dear David: One of our heroes is very sick. Paul Griffin, probably New York's finest studio keyboard player, needs a liver transplant. Neil Baruch at CBS, a childhood friend, suggested alerting you about this wonderful musician's dire circumstances. As you probably know, Paul began his career in the late 50s playing piano and organ with King Curtis' band. He quickly became a Zelig-like figure, playing keyboards on some of pop music's most historic and memorable moments: Bob Dylan's first "electric" records, all of Bacharach/David's classic Dionne Warwick sides and a slew of hits by the Shirelles, Solomon Burke, Wilson Pickett, Aretha Franklin, Steely Dan and many more. Think of the organ intro to Chuck Jackson's "Any Day Now"...the gospel piano behind Bob Dylan's "Like a Rolling Stone"and Don McLean's "Miss American Pie"...the tack piano on B.J.Thomas' "Raindrops Keep Fallin'on My Head" and Bob Dylan's "Just Like Tom Thumb's Blues"...Dionne Warwick's "Walk on By"...Paul Simon's "Tenderness" (There Goes Rhymin' Simon ) -- these all feature Paul Griffin at the keyboard. Last year, while collaborating with Cissy Houston on her autobiography, "How Sweet the Sound" (Doubleday), Paul's name came up as soon as we began discussing her 60s session work. A jaded, session veteran, Cissy was uncharacteristically effusive about Pau l. "Paul Griffin can play anything," she said. Of course, she was right. One on-line discography lists over two hundred albums Griffin has played keyboards on: Sixties New York pop like the Shirelles' "Tonight's the Night," "Mama Said," and "Soldier Boy." Neil Diamond and Van Morrison's first hits for Bert Berns. Folk rock albums by Eric Andersen, Tom Rush, Peter, Paul & Mary's Album 1700 and Late Again ; Judy Collins' Judith . Debut albums by John Denver and Carly Simon. Bonnie Raitt's Streetlights . Jazz records by George Benson, Quincy Jones, and Nina Simone. Albums by John Lennon, Yoko Ono, Stephen Bishop and Blues Traveler. His warmth came through right over the phone. "I'm in awe of what you guys [writers] do," he said even as I gushed about his contribution to Dionne Warwick, Steely Dan's "Gaucho," Donald Fagen's "Kamakiriad" and Dylan's first rock'n roll records; Bringing It All Back Home , Highway 61 Revisited and Blonde on Blonde . He seemed grateful to be acknowledged but shied away from the praise with an "aw, shucks" bashfulness. "We made a lot of music back then," he finally confessed. "We didn't realize the importance of it until years later." While we spoke, I discovered that Paul lived just three blocks from where I was working in Riverdale. A few days later, I met him on the sidewalk outside his apartment building. The first thing you noticed was the smile, a big elastic one which rarely left his face. "He was always in a positive, humorus mood," says Hugh McCracken, another legendary New York musician who played guitar alongside Paul on hundreds of sessions. "He never had an attitude with anybody. A lot of musicians had an attitude with those who didn't play as good as they did. Paul would always acknowledge or flatter a player on something that was worthy. And he always was very insightful about other musicians; very sensitive...always a gentleman." Small and wiry, wearing jeans, sneakers and a sweatshirt, he looked much younger than sixty-three. Only the few specks of gray that dotted his close-cropped afro and the old black aviator frames reminded you that he already had close to forty years in the music business. He led the way to the building's basement where he unlocked a room usually reserved for dusty old bikes and baby carriages. The right side of the room was still filled with cobwebs and old boxes. But the other side was a mad musician's lair of carefully arranged keyboards, synthesizers and computer monitors. He laughed, apologized for the mess and offered a chair while he wheeled around on a little stool, from keyboard to computer, finishing up a children's project. Since the 80s, the New York session scene has dried up. Gone are the days when a top player like Paul could bounce from session to session covering three or four in one day. When Phil Spector was working at his favorite room, Mira Sound, in the lobby of the dumpy Americana Hotel on 47th Street. When Bacharach was recording at Associated on Seventh Avenue next to the Metropole...Phil Ramone was at A&R on 48th Street and Brooks Arthur was cutting Leiber and Stoller's artists at Century Sound. When musicians were working so regularly they could run a tab for months at Jim and Andy's, a great little bar/restaurant downstairs from A&R. The work looked like it would never end, but it did. The 70s was the last great decade; before drum machines replaced real drummers, and sequencing, sampling and Midis changed the way music was made in the studio. If you were smart, you socked something away during the good years. Few did. As you know, musicians do not receive royalties from a hit record. Record companies pay into a fund based on the number of sessions a musician has worked in a calendar year. These monies are disbursed to the musician through the union. One musician said that some years when the session work was running heavy, it was not unusual to receive checks from this fund for fifteen thousand dollars. Now, he said he's lucky if he sees a check for fifteen hundred. These days, musicians must rely on contract work, teaching and advertising jingles to get by. The shingle they hang, a memento from the good old days, is the gold record. Hanging wildly askew on Griffin's drab, gray and white walls was a gold record for Steely Dan's "Aja." That's Paul playing electric piano and singing harmony with Michael McDonald on "Peg." In the middle of the floor, atop a pile of old cartons was a framed, gold 45 of Don McLean's "American Pie" -- forgotten, amidst the rubble, as Griffin's brilliant piano playing on the record generally is. Paul displayed no bitterness for the elusive fortunes of the music business. He recalled, rather, with great fondness, his first sessions in 1961 with Cissy Houston at Scepter Records. Hearing that gospel thing in her voice, "I was instantly filled with love for her and her whole family," he said softly. Hearing her niece, twenty-year-old Dionne Warwick's voice for the first time at a session, he was so struck with its beauty, he says he forgot to play. A little disappointment did creep into his voice as the conversation returned to two of his most well-known gigs; both massive successes that barely rubbed off on him: Don McLean's "Miss American Pie" and Bob Dylan's "Like a Rolling Stone." He quickly excused Dylan for underutilizing the great band that produced this milestone; recognizing that it was more important at the time for Dylan to slow down and save his life than merely hold a band together. But he still remembers the shock and bewilderment of seeing Don McLean on national television, while "Miss American Pie" reigned supreme on the airwaves. McLean sat on a stool and strummed the hit solo -- without a single other musician. "Hey, what happened to the band?" Griffin laughed incredulously. He said he had grown up in Harlem during the 40s with no male role models "except the junkies, the pimps and the numbers runners." His mother made sure he was in church every Sunday -- up front. At Paradise Baptist on 135th Street, his regular seat for years was in the pew behind the church pianist. Paul would drift off during the service and find himself watching the pianist's hands. This went on for years. One day after church, Paul slid onto the piano bench and began doodling around on the keyboard. After a few more times, he found he had a knack for it. When the church's pianist eventually died, Paul took her place. As an eighth-grader, his dream was to attend New York's prestigious High School of Music and Art. A judgemental guidance counselor, observing either Griffin's humble station or mindful of Music and Art's high academic requirements, assured him he would never be admitted. Griffin slumped out of her office and began weeping quietly in the hall. At just that moment, a teacher who had befriended Griffin happened by. "Why are you crying ?" he asked. Through tears, Griffin explained. The teacher was appalled at the guidance counselor's insensitivity. He promised Paul that he would not only reprimand the counselor but that Paul would audition for Music and Art just like anyone else. Griffin passed the audition. Four years later in 1953, he graduated from the High School of Music and Art . King Curtis offered Paul his first opportunity record in the late 50s. "Can you make the gig?" Curtis asked him. Make the what? "Can you make the session?" Curtis repeated. What's a gig...what's a session? Paul was so green he needed a translator. But he was no neophyte at the keyboard. He went on the road with Curtis and eventually cut ten albums with him. Griffin became a permanent fixture at Scepter Records sessions with players like Mickey Baker, Jimm y Lewis and Panama Francis. Beginning in 1960 with "Tonight's the Night," under the direction of producer, Luther Dixon, Griffin and company played on virtually all of the Shirelles' records (and most of Scepter's releases). Paul was one of the arrangers on "Mama Said" and Tommy Hunt's "Human." His playing on all of Chuck Jackson's early hits cemented a lifelong friendship between the two. Paul quickly became the first-call keyboard player for producers like Leiber and Stoller, Jerry Wexler, Bert Berns, Jerry Ragovoy and Burt Bacharach and Hal David. For Berns, Griffin played on the Isley Brothers' "Twist and Shout," most of Solomon Burke's hits and Van Morrison's first New York sessions. Ragovoy used Griffin almost exclusively on hits he wrote and produced like Garnett Mimms and the Enchanters' "Cry Baby," the original versions of Janis Joplin's signature, "Piece of My Heart" (Erma Franklin), "Try" (Lorraine Ellison) and "Time Is On My Side" (Kai Winding). The spell Griffin cast over Ragovoy was so strong that to this day, Ragovoy says he finds himself sitting at the keyboard still under the influence: "Oh, my God," he says, listening to himself play. "I'm Paul Griffin today!" But if any one producer monopolized Griffin, it was Burt Bacharach. From Dionne Warwick's first records; "Don't Make Me Over," "Walk On By," "Anyone Who Had a Heart" through B.J.Thomas' "Raindrops Keep Fallin' On My Head" -- if Bacharach/David wrote it, then Paul Griffin probably played the piano part. Wait a minute. Bacharach, no slouch as a pianist, gave Paul nearly all of his own piano parts to play? "Do you know why he did that?" Griffin asked. "Because Burt used to love to come into the studio and conduct. That's why he gave me those parts to play." Other musicians might have kept quiet about Bacharach's idiosyncrasies and just let their own legend grow. Not Griffin. Try to compliment him on that little organ part for Chuck Jackson's "Any Day Now" and he humbly smiles away the accolade. "A Bert Keyes arrangement," he says, proud to give credit where credit is due. The modesty isn't false. Despite forty years in the business, despite the milestones (and all those Bacharach piano parts!) he still has a sense of wonder about where he's been and the talent of others. Mention Frank Owens, another piano player on Dylan' s Highway 61 Revisited , and his voice drops to a hush. Here was a sideman, he whispers, who was so classy and so good he unwittingly stole the gig from the headliner right onstage at the Apollo. Griffin was so knocked-out by Aretha Franklin's piano playing, that he refused to play on the session for "Think." "They wanted me to play that [piano] intro she does. I said, `No way! That's her !' Then again, Griffin was playing with Aretha three years before Atlantic signed her; when Clyde Otis cut her for Columbia. If Paul Griffin's jazz/blues and gospel chops are not as easily recalled on the productions of Bacharach, Ragovoy, Wexler and Berns, his contribution to Bob Dylan's seminal mid-sixties records is already writ large in pop music history. Griffin was present at Dylan's first rock'n roll session in 1965 for the album, Bringing It All Back Home . No fluke, Dylan requested him three more times; for his next album, Highway 61 Revisited which included Paul's tasty work on "Like a Rolling Stone," and the sessions that included "Positively Fourth Street," "Sitting on a Barbed Wire Fence" and "Can You Please Crawl Out Your Window?" Dylan also tapped him years later to overdub organ on Blood on the Tracks . But Paul Griffin's most extraordinary -- and often uncredited -- work with Bob Dylan occurred on January 25, 1966. There has always been some confusion about the players on this first New York session for Dylan's Blonde on Blonde . Because the album was finished a few months later in Nashville, the album lists only the Nashville musicians. The two New York sessions, the first of which produced "One of Us Must Know (Sooner or Later)," are frequently credited to members of the Band . Rick Danko and Robbie Robertson might have played bass and guitar on one of the New York sessions. But just a single listening erases any doubt about who played piano. Al Kooper, who played organ at the session, remembers Paul well. "The piano playing on "One of Us Must Know" is quite magnificent," Kooper told writer Andy Gill. "It influenced me enormously as a pianist. It's probably Paul Griffin's finest moment." Griffin's playing on "One of Us Must Know (Sooner or Later)" is reminiscent of what he would play five years later on Don McLean's "American Pie" -- but even more brilliant in its intensity and improvisation. The song is an emotional confession of misconnects and apologies from the singer to some woman who has tragically slipped out of his life. Griffin gives the song its tragic depth -- and height. He picks his way sensitively through the verses; but at other times, he prowls beneath the words with Judgement and an ominous gospel lick that he stokes until he has climbed to the verse's peak. At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard, half Gershwin, half gospel, all heart. The follow-up, a killer left hand figure that links the chorus to the verse, releases none of the song's tension. Then, on the last chorus, not content to repeat the same brilliant part, Griffin's playing is so breathtaking, so completely embodies the lyric, that he enters into some other dimension. For several seconds, on one of Dylan's best songs, Griffin makes Dylan seem almost earthbound. "It's great, two-fisted, gospel piano playing," Kooper says, "played with the utmost of taste." Paul Griffin doesn't remember it. He's momentarily bewildered, almost apologetic for not recalling something others hold so dear. The part was probably something he'd heard in Paradise Baptist church at least a hundred times before. But do not mistake an isolated, fuzzy memory for a moment that he is unaware of. He is well aware of this music's significance -- in Paul Griffin's life. "The sound that you hear is the sound of gratitude," he says simply. "If it wasn't for music, I don't know what would have become of me. I'd had a lot of jobs -- I was a cutter in the garment district, I delivered groceries for a supermarket -- but nothing with any kind of future. So, what you hear is the sound of being thankful...for being able to play...for being tapped to play on a session [Dylan's] like that...thankful...as if I'd been saved from something horrible. " Several months after this conversation, Paul came down with pneumonia. Over the last year, he's been in and out of the hospital. Then, a few weeks ago, doctors told him he needed a liver transplant. After a lifetime in music, "something horrible" yet threatens to overtake Paul Griffin. Doctors do not comment on one's suitability as an organ recipient. Your name goes into a computer and the doctors try to get you ready if and when a replacement organ becomes available. Meanwhile, Paul and his family wait. Would it not be fitting and wonderful if some of the artists, musicians and executives who so appreciated Paul while his smile lit up a session and his playing lit up their hearts, could now raise up as one and help him. Even the listening public -- anyone who remembers all those Shirelles records, Chuck Jackson's "Any Day Now," "American Pie," or the first exquisite twenty seconds of "Just Like Tom Thumb's Blues." Anyone, in fact, who, like Don McLean, can still remember how that music used to make them smile. Sincerely, Jonathan Singer

Here's a titbit from Badcat.... "I've never seen it, but there's supposedly a fourth and final non-LP 45: 1968's 'Don't Slam The Door In My Face' b/w 'Sandy' (VMC catalog number V-717)" From Band member Mark Bird... A very complete a interesting compendium of the group. Most of the material is correct except that the single "Slam the Door in my Face" was not one of our songs. Warren and I were 16 and Tim and Chuck were 17 when we recorded the David album. We did the singles when I was fifteen. Thanks again for taking the time to write the review. I assume from this that the acetate is a different artist

There's a fella in the post above telling you he has it for sale ???

Your playing "pressings" Ted, and I thought they were carvers

OK my two pennoth for what its worth. Over the years I've had the opportunity to talk to label owners, producers, artists etc and one thing that comes across loud and clear is that amongst the small independant labels in particular, the local scene in each town or city seemed to be one of chaos. Records being pressed at different plants wherever they could get them done, artists moonlighting between groups as did producers and engineers, different recording studios used....the list goes on and on. My own feeling is there are situations where dealers and collectors are guessing or perhaps stating what they believe is some logical explanation as to pressing differences. This then becomes "fact" amongst collectors and dealers. I'm not saying its the case here, but you never know. I remember speaking to one writer / artist about 10 years ago reagrding one of his records and he couldn't even remeber he recorded it, then when I sent him a scan denied it was him, before eventually remembering he did do it after all - FFS !! One of the most recent ones was The Chandlers on Blue Rose. Dealer says the Rite pressing with block capitals for the artist is the orig and the label with poor quality printing and not Rite pressed is the second pressing. Reason given is that the Rite pressing had a quality label. When I mentioned this to someone who was involved in that local music scene at the time, he said it could have been the opposite way round. The Rite pressing could have been done second to make up for the poor quality of the original pressing. My point is we make assumptions which may or may not be valid and relying on people to remember something from 50 years ago is always going to be questionable.

No defintely no other marking on the run out. However on previous threads it said the PES is there in some and not other origs ???

OK lets recap on the Jimmy Raye My copy looks exactly like the label shown in Pottsy's scan (thanks for that). It has the S-002-B in the run out groove (as the boot guide says the orig should have). There is a small matrix stamp to the left of the 'S' but it is much fainter than Pottsy's scan - almost illegible but definitely there. I played it as Jerry suggested and the record ends with a normal fade out and no abrupt ending. So whats the conclusion chaps ?

Yes. missed you had put it was a DJ copy

Thanks Jerry I'll play it tomorrow to check for sound deviation. Andy

Thanks Hammie Unfortunately according to previous threads and JM's book there is a boot which is yellow label, red Legend and Black credits. The key apprently is in the run out matrix which has specific letters (check previous threads). The letters dont correspond to my copy, so if yours is the same as mine it may well be a boot. Andy

Got the info now on the Millionaires. The orig has a Frankford and Wayne stamp. I remember it was on my old copy. Thanks for the PM's

Thanks for the info I have the JODAX and S-002-B and to the left of the S is a very faint matrix mark. But I cant find anything resembling PES. I think I'll say original for this.

OK I've gone back through all the previous threads I can find and I'm still a bit unsure.....so bear with me. I'm going to flog these but want to be sure on originality or otherwise. They have been in a mates box for about 30 years, and I only collect originals and dont have the JM boot guide. Jimmy Raye on KKC - Philly Dog - Mine is dark blue label with KKC S-002 A on one side and Hitch N Post, JODAX (BMI) Time 2:35 on the other. Artist name at the top and title at the bottom. Run out groove is scratched S-002-B. Now Dave Thorley posted up a scan of an original and it didnt have the JODAX on there. James Trouble posted up a scan with JODAX same as mine and said it was an original from Shifty. There were also comment that the S-002-B were orig. Which is the boot and which is orig ? Millionaires - you got to love your baby - Castle. Mine is a dull blue with LP 367002 and something like Virtue C@P R scatched in the run out. I'm voting boot as I recall my orig which I sold had a much darker blue label. Opinions ? Finally everyones disputed record James Lewis The Case of Time. Mine is Yellow label with LEGEND in Red and run out grooves say L001 A - 2 (or - v ) with ZTSC 148638 - 2A and further along URM. I'm voting boot again, but your opinions welcome. Thanks for your help

Record Grades Mint — unplayed or new with no signs of use Ex — very nice record with only minimal signs of use VG — used record with surface marks, perhaps label wear and some playing noise (NO deep scratches, skips or gouges). + / - will refine the grading OK I'll start with some stuff that was reserved by people but never paid for....with a price drop on a few If your interested in a few items we can work out a deal. Note: sound files are not mine and for reference only Crossover / Modern Jim Spencer & Son Rize - The blues are out to get me Armada - Ex £50 https://www.youtube.com/watch?v=owFeSbafS9w Michael Valvano - For the first time in my life - Jodi Pat WLP VG+£45 https://www.youtube.com/watch?v=mPyH1XLDyZI Audio - Do you really love me - Mote M £20 (tough on 7") https://www.youtube.com/watch?v=9s2fSYJ8rao The Trends - You sure know how - ABC WLP xol M- £25 The Ceasars - I got to know / Get yourself together - Both Sides Ex £150 (great harmony flip different take to Lanie release) https://www.youtube.com/watch?v=3sXmfKR7bbw https://www.youtube.com/watch?v=Qn6-k_d_b6E Northern Len Jewell - Bettin on Love - Fontana WD Ex- £150 Joy Leonard — Don’t feel sorry for me — Hercules DJ Ex+ £50 The Orlons — Spinning Top — Calla Ex £25 Dynamic Deadbeats Band — Movin out — Greenedeem Ex+ £60 Eddie Miller — Skate & Shuffloo — Verve DJ Ex £20 (ignore title - great NS) https://www.youtube.com/watch?v=N7xVulD0X5w Chuck Hampton — No sign of love — Royal Crest Ex- £40 (rare semi known up tempo - seen at £150 !!) Ronnie & Manhattans — Come on back — Enjoy M £20 (listed normally at £50 + ) Don Wyatt — I’ve only got myself to blame — Garpax M- £10 ( ex Cover up of a few years back) Claudine Clark — Telephone Game — Chancellor M- £10 Kenny Ballard — It sure looks good / I wanna love you — Toy Ex £10 (deep flip) The Magnificent Six — Hold On Baby — L Brown M £15 Chandeliers — Stop dragging my heart around — Loadstone Ex+ £15 Ronnie & Parlays — Am I in Love — Kerwood Ex £15 Eddie Simpson — Got to keep on Believing — Mamie M- £50 (on dealer lists much higher) Lord August & Visions — Found me a new Love — V.O.L M - £40 (rare Texas tune seen at £150) The Bluebelles — You’re just fooling yourself — Rainbow M £45 (issued as Bracelets on 20Th Cent) Roy C — Gone Gone — Shout WLP Ex vsmwol £15 Margret Travolta — I tried a thousand times — Spectacular Ex+ £20 (old Spencer c/u seen much higher) Postage : £1.50 UK first, £2.50 recorded and special and overseas at cost. Paypal prefered

I have a Val Shively catalogue from around '74, which makes interesting reading...............oh for those prices again

I think Chalkie once did a massive list of records which have been covered and then uncovered. Not sure it was on here or Dave Flynn's forum ? Chalkie, Chalkie, Chalkie..........where are you ?

It has been a well known record for years, originally on the modern scence. But as the northern crowd has become more accepting of the 70's type tune its got plenty of play over the years there also. I really dont understand why it gets the price it does, its not a rare record.

Record Grades: Mint — unplayed or new with no signs of use Ex — very nice record with only minimal signs of use VG — used record with surface marks, perhaps label wear and some playing noise (NO deep scratches, skips or gouges). + / - will refine the grading Back for another installement...sound files are for info only (not mine) Crossover / Modern Jim Spencer & Son Rize - The blues are out to get me Armada - Ex £60 https://www.youtube.com/watch?v=owFeSbafS9w Michael Valvano - For the first time in my life - Jodi Pat WLP VG+£50 https://www.youtube.com/watch?v=mPyH1XLDyZI&feature=kp Will & Sweet Sounding Tornados - Stand by be - Turret VG+ £25 https://www.youtube.com/watch?v=vzxDSiy4JUY Promises - Living in the footsteps of another girl - BRC WLP Ex+ £10 Powerful People - Little girl say yes - Epic M £15 Ritchie jones - Cant Build a fire in the rain - Fantasy Ex+ £20 (manships £75) Albert jones - Unity - Kapp VG++ Issue Copy £20 Audio - Do you really love me - Mote M £20 (tough on 7") https://www.youtube.com/watch?v=9s2fSYJ8rao The Trends - You sure know how - ABC WLP xol M- £25 Conservatives — Who understands — Ebonic M- £5 Loleatta Holloway — I know where your coming from — Aware WDJ M £5 Imported Moods — What have you done with my heart — Hi DJ Ex smwol £35 (listed at £100) https://www.youtube.com/watch?v=ZuD2ZkjT4mM The Ceasars - I got to know / Get yourself together - Both Sides Ex £170 (great harmony flip different take to Lanie release) https://www.youtube.com/watch?v=3sXmfKR7bbw https://www.youtube.com/watch?v=Qn6-k_d_b6E Post UK £1.5 first £2.5 recorded, overseas at cost. Paypal payment please Cheers

Need this for a mates birthday prezzie (i'm sick of him asking for mine ) Anyway pm price , condition etc if you have one. Thanks Andy

Record Grades: Mint — unplayed or new with no signs of use Ex — very nice record with only minimal signs of use VG — used record with surface marks, perhaps label wear and some playing noise (NO deep scratches, skips or gouges). + / - will refine the grading Oldies Bell Boys — I don’t want to lose your love — Jamar Ex £250 (forgot I had this until digging through the boxes earlier this week- best copy I’ve seen for a while, nice clean labels for a change !) Karl Evans — Oo wee let it be me — Skyway M- £75 (probably unplayed — this was auctioned by Manship not too long ago) Orlons — Spinning top — Calla Ex £30 (very slight ring) Strangers (feat Richard Pitts) — Night winds — WB WLP M- £30 (probably unplayed in WB Co sleeve) Post UK first £1.50, Recorded £2.50, specials and overseas at cost.

Defo track 3 for me. Mmmmm....nice

Here we go with part 4 and more to come... Record Grades: Mint — unplayed or new with no signs of use Ex — very nice record with only minimal signs of use VG — used record with surface marks, perhaps label wear and some playing noise (NO deep scratches, skips or gouges). + / - will refine the grading Postage: UK first £1.50, recorded £2.50, and overseas at cost. Northern Four Gents — Tomorrow may never come — Oncore Ex- £175 The Magnificent Six — Hold On Baby — L Brown M £15 Chandeliers — Stop dragging my heart around — Loadstone Ex+ £15 Ronnie & Parlays — Am I in Love — Kerwood Ex £15 Eddie Simpson — Got to keep on Believing — Mamie M- £50 Lord August & Visions — Found me a new Love — V.O.L M - £40 (rare Texas tune) The Bluebelles — You’re just fooling yourself — Rainbow M £45 (issued as Bracelets on 20Th Cent) Roy C — Gone Gone — Shout WLP Ex vsmwol £15 Margret Travolta — I tried a thousand times — Spectacular Ex+ £20 (old Spencer c/u) Crossover & Modern Jim Spencer & Son Rize — The blues are out to get me — Armada Ex £100 Jimmy Delphs — Country girl — Eastbound WLP Ex £10 Rochelle Rabouin — This is my year — Cygnet M- £100 Delphonics — I don’t care what people say — Arista M £20 Bean Bros — Spinning around — D.I. Records M- £10 Rare Gems Odyssey — It don’t take much — Renfro Ex+ £15 Labronzo McDonald — Goody — Thrust M £10 ( remember Voices had something to do with issuing this ?) Impact — Just give a little — Full Scale M- £5 Hot Bush — tell me that you will — APA M £5

Sounds like a. He's given you the wrong tracking number (easy mistake I've had it happen to me) b. USP is routing it via Kentucky which is why its showing as that location (i've had records sent all over the US before arriving here) c. He's sent the wrong item to the wrong person. First port of call is back to the seller for an explanation. If nothing satisfactory comes back then it should go to Ebay dispute. You've not said what timescale this is. If its recent be patient, but if its been going on for some time, maybe Ebay is the next step.