Tlscapital

One would need maybe to have that recording studio session sheet to know for sure but from the early days of the Vowels, then the Vows, the Sound Masters, the Attractions and finally these Rotations where the lead on 'trying to make you my own' could be Morris or his brother Ralph (similar singing but different tone to my ears) could have seen some continuous line-up inter-changes making the connections all the way through. In chronology a possibility, geographically too and musically as vocally absolutely too. So unless proven wrong I'll stick to that Chestnut theory... The Vows on VIP were ; James Moore, Ralph Chestnut, Morris Chestnut, Helen Simpson. The Sound Masters on Julet were ; David Jones, Morris Chestnut, Robert Jones, Roy Haggins. The Attractions on Renfro / Bell were ; Morris Chestnut, Helen Simpson, Ronald Saunders (?).

The 'dainty' factor of some issues versus demos (and vice versa at other times IMHO) when topped by a quote worth bragging about like with the Arabians 45 on Le Mans with the 'Jim Kemper Presents' line and here (featuring Richard Parker) makes such stocker irresistibly the press to own. But in this case is this a hint as to why this '(put a dime on) D-9' fantastic trashy 'teeny' sing-a-long 'punk-soul' kind of a tune sounds miles appart from their first bleak 'kiss and make up' HIT as the inspirations on Wand or their mediocre IMO follow up on Frantic 'a changed man' ? Is it alone worth the mention as if the Richard Parker was known and respected enough to 'promote' the record's sale expectations ? If so was he the Chicago (and Los Angeles and Detroit) guy from Vee-Jay and member of the Dutones ? If so explaining the 'D-9' unique standing-out factor ?

Have begin to make amend of that on Discogs but their procedures the last times I've tried to correct wrong entries or informations proved sometimes enduring if not nil. Have also began to compliment some of the missing gaps and links on the much more resourceful, reliable and easy to deal with site '45.com'. To be continued.

So the Wand Inspirations with their first release in April 1965 should be the same group as these '(put a dime) on D-9' guys & dolls. As this Virtue acetate shows and add water to that theory. Now could it be that they suddenly change their first name for this Frantic release by November 1965 after they realized that there was another contemporary Inspirations group (the Wisconsin group on Galaxie, Conduc, Midas...) ? No real pun on my behalf as ya'll have done the work gathering these and am merely putting it all in 'line' after doing some digging on the group and their releases while reviving this thread if ever. Exactly my ear and gut feeling too. At least at first; But maybe that most delightful 'D-9' UFO kind of a track is just too misleading to be attributed to anybody really. So could it still be them doing this fantastic trashed 'teeny' poppy sing-a-long 'punk-soul' tune ? The Inspirations 'link' with the Virtue acetate should tell us so. On another matter but of utter importance to me. Thanks for that. Although my ears and gut feeling had a hunch that it could be... Now to establish that (I'll do my digging to confirm if ever) is crucial to many I am sure.

Soulboyrecords has put up one now for sale.

Yep. Perfect Kev. And on your scan I see (at 2 & 3 O'Clock) the styrene beveled outer edge shine with the stuck on paper label. thanks a bunch.

Hi Robbk, alright so in a haste I went too fast in a hurry to state these where 'Terre Haute' pressings but not. My bad. Thanks for the correction then. Although they are Columbia (but New York). Yes the Monarch is styrene, this I know. But I have not yet seen that Columbia pressing and all the images on the net don'y allow me to visualize better. With her other 'Birthday fella( being vinyl I was suddenly wondering... So yes if you could check that would be greatly appreciated. Tim

Never had one or even less more than one in hand and so here goes my quest ; is the 'Terre Haute' (Columbia) pressing actually a vinyl or a styrene pressing ? This pressing plant did both and some releases came out as both styrene and vinyl variants so I am now wondering... Am asking now since I thought that this 45 only came on styrene in the USA. But I now see that her other UA 45 'birthday fella' came out on vinyl for this 'Terre Haute' pressing and 'don't' came out on styrene ('Monarch' pressing plant) but what about the Terre Haute pressing ? ---------Monarch styrene-------------------Terre Haute vinyl---------- --------Monarch styrene--------Terre Haute vinyl & / OR styrene ?--

Could have sold for more in the past but I don't think today's trend and demand press this sound. Indeed rarer than the purple stocker. Value maybe £150/170 ? My favorite pressings are those SP. The PL pressing (plant) and the MO styrene one are rarer as stockers and even more as promos.

AI's practical uses in sciences are numerous. In utter worthless everyday "monkey business" too... In our Devil worshipper consumerist world I'm afraid that only Man can prevail, forbid and fight that. Humanists, liberals and other authoritarian democratic sects praying 'freedom' will stand in the way. Purists (seeking the rare and genuine) were always the fewer. Intentionally wrongly qualified as 'elitists'. God bless them. The right fight is not always the won one. And so the righteous will again have to endure.

Be indulgent with the young kid in you You were only 8 ! Don't trash 'him' like you trash others later when you were thinking high and mighty of your self realizing that you were ABOVE because you thought you had it all wrapped up right in your head and felt part of that underground 'society' no one could understand... That was not you I am sure. Joke aside it's often the problem with many elder on such scenes infiltrated with stupid elitist as*oles. The very exclusive mod scene (not the 'hard' mod one for example) was very much that too in my memory. The northern soul scene at times too. But today bullies are rolling on every front. So not only elders towards youngsters but the other way around too. But hopefully I was most of the times weary enough of the bad characters and well cared for by other elders on all those scenes I strolled into as a young teen. What I never had was such friends my age as a teen. Always preferred the mature company. And especially their knowledge and respect. Not confusing knowhow for knowitall. But I hear that many have find it good with their as young peers to share and live experiences while growing together a time on a same path sharing adventures and all. Which is another way to bound and learn. But my aim was music & records. Sticking with my school pals in that regard would have not thought me as much and as fast as it did with the elder mods that introduced me with the right bases for me to then quickly move up onto my 'cloud'. And the youth clubs in my neighborhood in the mid 1980's were only filled with troubled kids not one bit into music. Hopefully with the time changes we are seeing new generations coming over with positive attitudes. Now begging for the elders to welcome them with respect and hopefully most of them youngsters in humility will respect them in return and learn some and not just toss them thinking they know better with arrogance. I mean not only in regard of the 'crumbles' of what's left of "the scene" (not underground anymore nor the die hards of the 1990's) but in 'society' in general like in towns, countrysides and the geographical Western Europe. It's always good to witness such youth. But even more one that's craving on a passion in "artistry". FWIW I've been a social workers with teens for a long while before hanging up my coat after quitting my work unhappy of the political changes and recuperation (lefties all the same) so I'm also compelled to see it from such an angle. Professional induced distortion in my point of view. Sorry about that. Have Faith. Peace !

Johnny is Johnny Moore and Jack is his brother Jack Moore. A Jack Daniels production (Love It !) for a double sider of pure chicagoan Rhythm'N'Soul power pack gritty groover in the 'duo' vein popularized mostly by Stax icons 'Sam & Dave'. Johnny Moore being the most respected Chicago figure, singer and composer we all know. Here for sale (sound and pics from copy) this first edition of 1967 with its 'B' 'it’s a mess I tell ya'. That was also published as a split 45 on Blue Rock in 1968 and a last time with this 'A' side on Philips in 1969. This copy comes complete in it's birth company sleeve in real MINT condition as it's a NOS copy that was slept all those years. johnny & jake.mp3

The conservative passionate amateur of my soul music that I am is already sensitive to digital process of analog recordings like for reissues or previously unissued materials and so I doubt that I shan't be sensitive to such mediocre mockery of musical "creation" if ever. But if my household should be safe from such harm still heaven help us because not all are going to beware and some might even find it a 'joy ride' that's going to pollute even more the playlists of youngsters and youngsters wanna bees again like dee-jays and punters...

OK but the Garpax promo is MONO B / W stereo versions. Although the run-out groove matrix apparently reads '4703' on both sides... And not '09' and '010' as on this 'labeled' double sided Seventy 7 dodgy press. And the Garpax is the 1977 reworked version... Sounding very different from the 1973 first release either on Helpp or Seventy 7. The problems with this Seventy 7 here is the label prints, the double sider and matrix.

OK so like in your picture even in the flesh it doesn't look right. If ever you can also compare the run-in and run-out groove counts and gap between this odd stocker (likely a boot of some sort) with your promo copy.

Stuck-on label or moulded label in vinyl he meant. That's the difference. One way to tell would be to have a "regular" stocker next to it and compare... All label print and colors, matrix, run-in and out groove, sound quality and all...

The saturated colors and 'fat' grainage here looks like a photocopy. The scratched in 09 and 010 "matrix" in the run-out groove are not right. Or are they ? Don't have that record. Shouldn't they be S7-163 C as on the label ? Such seems to be the case with all Seventy Seven 45's. And on both sides here then ?

What press was it ? UK promo or what ?

Mad !

A POP record everyday of the year. Catchy and danceable. True but POP. Played on the Northern S_ul scene amongst other garage or odd folk, jazz and what have you. With a little scarcity factor to make it a N.S. disc. The Billy Lee & the Rivieras record doesn't show the L.R. Brown credits . Brown was previously working at Fury records then co-composing for for Bob-Crewe. There the Brown connection with Mitch Ryder shows. It all holds water. So he could have been involved with that early Billy Lee alias Mitch Ryder recording although his credit are not showing (Levise). And if this Veep Elbie is Larry Russel Brown he was the 26 years old when he sang this. Likely possible.

Anyone knows who that is or have this Brighton seller's contact / e-mail ? Cheers, Tim

To me they look indeed legit (never cared to listen to verify its sound quality) and the label Class of 1974 kept on up to 1975 (?) so could have been done fully legit under Googie's operation or partially (under his nose)...

Right never noticed that before. I think... So thanks anyway. With Google's Class 1517 HIT 'Smokey's Joe La-La' first pressed-up 'localy' then picked-up by Atco for national promotion and distribution this Atco deal went on with Class 1518 with Googie Rene Combo's follow up 'Chica-Boo' and finalized with Class 1519 not worth mentioning muzak (buzz kill) to finalize the Atco deal in regard of the sales dropping in comparison. So could it be that the Buster and Eddie single on Class 1518 was already pressed up before the Atco deal with Class 1517 and few promos of Buster and Eddie were already sent out to radios and musical critics but to have a better chance at holding up to the success of 'Smokey's Joe La-La' with the Atco national promotion and distribution deal they "dumped" the Buster and Eddie and re-used the Class 1518 catalog number... The few first pressed-up stockers of Buster and Eddie were likely then left in their count 25 boxes never to be commercialized and forgotten about until some British dealer came to unload them from their warehouses. The Appreciations 'It's Better To Cry' on (indie) Sport 111 did suffer a similar fate / tale with the Four Sonics also on Sport 111 distributed by Bell. This one comes to mind but likely there are evidently other examples out there.

Had my first copy dirt cheap here in Belgium in the eighties coming from a local seventies soul and ska collector who used to put his name in big capital letters with thick marker on every 7" and LP labels and covers. But only managed to upgrade that heavy WOL copy by the first decade of the year 2000 or somewhere then when it was already about £100 so must have missed those cheap finds from the nineties somehow... As for what's to like or not about it is always something subjective but I like or even dig his loud 'shouting' teeny high pitch voice (a Howlin' Smokey). Shrilled I would not say it is. But it is predominant so if it annoys you I get you.