Rick Cooper

Liam I didn't see any of the invoices for customs charges but have a vague recollection that 2 or 3 hundred pounds would cover the freight and duty on an air shipment. The records I got for myself from the US by post in the 70s rarely had a customs charge, especially if they were a "gift" Rick

Liam Back in the 1970s I worked at Global in Manchester who shipped records from the US. Two methods were used depending on the quantity and value. Air freight was used for records, LPs and singles, that Ed Balbier had picked from the various warehouses in Philly and New Jersey. They were packed at his premises in Philly and taken to the Airport. On arrival in Manchester I would go to pick them up in the company VW camper van. This would take around 50 boxes of records, singles in 200 and LPs in 25 or 50 count boxes. This would have been fairly expensive but must have been worth it as the stock sold quickly. Customs duty and shipping costs were paid to the agent at Manchester airport. Two or three times a year Balbier sent over a container load of bulk stock and sometimes a mixed parcel of singles he had got from somewhere or other. These would take a month or so to arrive in the UK and then put on a lorry to delivery to Manchester. As the singles were totally random they could include some good stuff as well as rubbish, but as the shipping costs were a lot lower it didn't matter too much. Ed Balbier also packed a suitcase full of singles when he came back to England. I think other dealers probably did much the same. Soul Bowl had a lot of stuff sent by container but probably used air freight for the most expensive titles. Record Corner and Selectadisc would have used airfreight as they were bringing in titles that were needed quickly. Some collectors who travelled the US may have posted records as they found them as it was hard work, and risky, carrying hundreds of singles on the Greyhound bus. Here are pics of the Philly and Manchester premises. The building with the cross is on N Broad St in Philly and the basement windows is the Manchester place. The pavement window on the left used to have a door in it were the boxes went down a chute and the red door is where they came out . Long time ago now but happy memories.

Here's one for Valentine's day . Shouldn't cost a lot but worth every penny. Bobby Sheen - I Want You For My Sweetheart. - Dimension

The BBC filmed Root and Jenny Jackson at the Plebs Club in Halifax. Unfortunately the Youtube clip has Impressions - Cant Satisfy playing over the video but Root and Jenny on stage. Julian , were you there? Rick

Pete According to Dave Moore and Jason Thornton's excellent book, The Philly Sound, the Jamie release used Marke although it was not his real name but for the Soul City release they used Chris which is his real name. No reason is given but the writers credit on the Jamie release is C Jackson so maybe he didn't like Marke. There was a big row between Dave Godin and Chris , brief details are in the book. I've been told a bit about it but those who were there could give a fuller account. It's good to see you back on Soul Source, Pete. Rick

One from way back when records were fast and furious. Picked the instrumental , of course , but A side has Bobby telling you how to do the Whip. Pic cover has all the footwork so you could have watched Bobby on UPBEAT in 1969 and danced along. Some UPBEAT clips on youtube but I couldn't find our man. Gravities Band/Bobby Newton - Do The Whip- Mercury Rick

When I was a about fourteen I remember going ten pin bowling and a group of hip teens were on a nearby lane. They kept the jukebox going and repeatedly played Give and Take by Jimmy Cliff . This would have been as a new release in 1967 and I thought it strange that a record totally ignored by the BBC was on a jukebox in Wythenshawe. A few years later I used to go to a local disco in a pub that had a jukebox instead of a DJ . This had loads of Motown , Stax , Atlantic on it but this was when a rare soul scene was just starting up. Particularly popular was the Spinners I'll Always Love You, that must have been played four or five times a night. I suppose it's not that surprising that jukeboxes would have some obscure UK soul releases on as it was teenagers who were the main customers and they didn't want to hear the same stuff the BBC played. Back in the 60s the charts still had loads of MOR crooners ,C+W , and novelty songs so the jukebox operators would pick anything from the new releases that they thought would be popular with their customers. Rick

A record that ,whilst not the greatest, is one with special memories. I first came across it as a reader's tip in Dave Godin's column in Blues and Soul and thought with a artist and title like that it's got to be something special. The reader was, I'm fairly sure, our own Julian Bentley (JulianB on here) who I met some months later who, guess what, had copies for sale.. I can't remember it being bootlegged in the 70s as it was not a title with a big enough demand. The usual dealers such as Selectadisc didn't have it . From my time at Global Records in the late 70s I seemed to get the impression that Original Sound was a label that was still active and maintained stock for many years after first release. They also ran an Oldies series for the early rock n roll hits which were available from them direct or through regional distributors. It's possible that the record was popular in one of the various regional music scenes in the US and was pressed at different plants , which accounts for different deadwax details . Rick

The Columbia titles were legit and maybe the Eric ones. One copy of Frankie Beverley If That's What You Wanted on Sassy at £3 presumably from Neil Rushtons find. Rick

Steve I've not seen Big Scotty for years, how is he? Pete Sorry to hijack your question. Rick

I got one demo from Bostocks stall at Bradford market in the early 70s which was unusual as all the other 1000s of Verve records they had were issues. If there were issues I'm sure they would have had them. Rick

In the (almost) words of Major Lance- Ain't Much Sole ( In These Old Shoes) Bought these around 1972 as ordinary shoes but after a few years worn for soul nights only, as excellent for shuffling and sliding around all the major venues. Used over the next forty five years but eventually had to admit they were past their best, but couldn't chuck them away. Maybe I could get them stuck back together and polished up for one last outing. Also still got a black leather Levi/Wrangler style jacket bought second hand in 1971. Still just about fits but if I wore it anywhere I'd look like some sad old git who thinks it's 1975. Rick

Well, you learn something everyday. Not heard of Sunshine Pop before but would these count, Robert John- Raindrops Love and SUNSHINE, John Lucien- What a Difference Love Makes, Lee Andrews -I've Had It, Leroy Taylor- Oh Linda.The last three more Sunshine Soul than pop but all have that happy, bouncy rhythm. I can't see the connection to Mitch Ryder and some of the others listed, more like blue eyed soul. Ian Levine championed this type or sound from the early Mecca period , playing Spiral Starecase early 70's. Les Cockel also seemed to like this style so maybe some got late Wheel spins. Rick

Pete When Astley's Never Gonna Give You Up came out I thought the whole record sounded like The Street People on Vigor, which I'm sure Pete Waterman would have been familiar with. Controversial saying Lou Ragland sounds like Rick Astley as it's the other way round Rick

Geater Davis = Bobby Bland

Not a soul artist as such but Marilyn Moore got jazz critics in a tizzy with her singing. Sounds exactly like a famous voice that is always described as unique. See what you think.

Original recording available on CD with some tracks not on the LP. Great CD with excellent sleeve notes from Dave Flynn . https://www.cherryred.co.uk/product/would-you-believe/ Rick

Sam Cooke seems to have a few sound-a-likes, as well as James Phelps and Ovations that Nick mentions, Bobby Harris seems to have based his style on Sam, even recording a tribute single- We Can't Believe You're Gone. Often wondered if record producers forced singers to sound like someone else or it's just coincidence. Bob Brady also does a good Smokey Robinson. Loads of artists copy The Impressions , enough for Kent to issue a CD - "Impressed" Rick

Having met Keith (Prof Gildart) he seems to be making a concerted effort to produce a worthwhile study of the subject. By using primary source material I assume this is the accepted method for social history research. People's memories of events fifty years ago are not always the most reliable but are valuable as oral history so I'm sure he'd welcome articles or magazines from the early sixties. He has had all the Blues and Soul and most of Black Music and Black Echoes from way back . Maybe someone has some of the very early fanzines that he could borrow. If we want to see a thorough and true telling of soul in the UK why not support him now instead of moaning when it's too late. When the study is published it won't be locked away as ,I believe, academics have to allow the results to be available on request or on line if not published in book form. If like me you think of university professors as ancient men in tweed jackets and half round specs, Keith is nothing like that and is very approachable. Rick

Here you go, my SX 200 from 1970 Rick

I think Tony Banks discovered this when he went to the States around 1972/3 and played it at Leeds Central as well as having copies to sell.

Paul I get your point about condition as all the copies that were knocking around years ago are probably in a really bad state now. Anyway I'll probably be shouting "I don't believe it" when the auction ends at three figures. Rick

Millionaires- Never For Me . US Philips. Common?- Definately , Most Expensive?- might be about to find out as, believe it or not, Manship has put it up for auction. With over three weeks to go it's already at £71. I know it was a long time ago but this record was a regular 25p item in shops around Manchester. I assume it has been getting plays again. Rick

Nabay - Believe It or Not - Impact 1032. I think this covers the classic last release explanation from Derek and Roburt. Was it financed by Nabay or done as a favour, seem to remember Kev Roberts had a story about this, even though he hates it. Rick

Chalky Totally agree with you on this. A UK/EU test pressing is a few ( three to five copies) sent to the label to check quality before the bulk pressing.The white label was used because even if the labels had been printed it would have been too much trouble to get labels for each test press that day. There was no charge for these and no royalty or publishing due. These white label copies being sold these days would have been done after the real test pressing had been approved and no way would the pressing plant have done them for nothing. I hope any sales of these are included in the figures for fees due. I can't see why anyone would want these unless they think they are going to be worth more. I suppose the white label trend started with the advance distribution of dance/rave tracks back in the 80s/90s. Genuine test pressings from 50's to late 70s should be very rare although Decca seemed to do quite a few on each release. Rick