Tlscapital

Saw a few (like 3 or 4) in that price region this month.

Quotations on Divenus a great double sided record but £650... While it's not under-exposed anymore with copies regularly surfacing from the USA to supply further demand if ever the copies in Europe were getting too short.

OK to be more less ambiguous the RED label with 'smaller' typos is the seventies repress. AND the PINK / MAUVE label with the regular (mid sixties Class) larger typos are originals.

I too believe the original pink issue to be rarer than the white promo. But for the fools the white promo was the safe 'bet' to put one's money on if one couldn't tell appart the pink stocker from the red reissue. As for the better 'there I was' side (not found of 'can't be still') although different I still prefer Goggie's version. Am talking only subjectively here from the soul side more than the dee-jay or 'dancer' side of things. About the composer's credits Rafael Leon René, alias Googie, Vikki Jeanine (statement ?) they're all one and the same 'man'. So if on Googie René's 'there' I was' it states 'Rafael René' and 'Jeanne Vikki' on Buster and Eddie it's just a swap of aliases being one and the same person. Mind you that the Class label was his father's...

Yes. My belief is that this copy could be an Ex-Juke-Box one bearing the typical 'grey groove' (heavy pressured stylus into the groove) marking on the 'Quicksand' side only. After such a trimming job of the top layer of the record groove it does make it look "neater" if one will but also 'tiny-er' in height. Giving the visual impression for the groove to be less prominent. But it does also affect the playback some. For less gain definitely and with the bridge of medium frequencies to blend the highs with the lows gone. Giving the impression of a more messy production somehow.

Just got in a promo copy of this in and the groove surface on the 'Quicksand' side seemed to have suffered that 'trimmed' job. So would appreciate anyone insight on this from those who own a copy to confirm my beliefs on that very copy that I just got in. Could also be a common pressing flaw if ever... need to know before I complain. On playback of 'Quicksand' the silent run-in groove has a rather prominent white floor noise (Pfff) typical of trimmed groove and a slight gain weakness (especially in comparison with the flip) for an altogether not so coherent 'picture' unlike the flip. Again. Normal as the flip side looks un-trimmed or normal with few Juke-Boxes marks.

It is stated on post's 'head' offers

Two different pressing plants Dear Soul Shrews. As soul Shrews implied a quality control hazard mispress only. Odd looking but what's not to like ? 😉

Nailed it !

Although conservatively graded as VG (through EX scale) this one still retains its stunning class and WOW factor. Hopefully it still plays fine showing some scuffs on the groove surfaces and some 'snap, cracker and pop' noises during playback. Hear both sides of the actual record with needle drop and lift mp3 unadulterated recordings. The labels do bare a name but otherwise they are pretty neat still. The cover do show overall wear with corner's crease, ring wear back and front and some edge bottom light peelings. And an old Belgium francs price tag (easy to remove with lighter fluid). Still a lovely and enjoyable piece for it's strict VG to prevent from disappointment. Free Registered shipping all over the world. glays.mp3

Respect to you on that one ! Agree 'Mr Romance' is plain 'odd bad'. And 'what can I do' to each its own. While I was still playing 'what can I do' home and considering before parting with my copy although I really liked the tune composition and it's 'fill in the room' feel, Sonny's singing (dying goat) losing it constantly just got the best of me. There's something about the 'mindless' nonchalant singing and playing that I can't stand. While I love the controlled of "forced" some nonchalant singing and playing that I find even rather irresistible.

Chalky's quote on Discogs dates from today but was borrowed from Jukeboy George's quote on 45cat.com from 4th October 2021. Like you with due caution I would also guess it's a sixties record. But since I quickly fell out of "love struck" at first ear with the record I likely I never felt the need to dig into it much further... Am I confusing it with something else now since I seem to remember that there was also an instrumental version hiding on the flip of another "Northern Soul" record sharing the backing track of 'what can I do (without you)' ? That also suffers from an out of phase band and cheesy out of tune singing. Both sides 🫥

This channel separation makes it clearer ; Don't let me play this part no more. That"s what I always heard and sung-a-long to. Fits the story telling lyrics as in a theatrical "acting" re-play...

Joe Dunlop clean copy of WP on Ru-Jac (beats the cr*p out of the Atco mastering) at a more realistic 150...

Damn those automatic spelling correctors... Apple, Peaches...Typing too fast and it fooks what you are writing while you write because it thinks it's smarter than you. Asking to carefully check what it corrected that didn't need correction in the first place.They begin by twisting your spelling then your thoughts. The Chavelles did a HIT record in 1956. The group consisted of Billy Storm, Brice, Chester and a Sheridan Spencer (?) and then later they met again in other group like the Alley Cats amongst few others. FWIW Brice and Herb Alpert also met in 1960 or before for Brice first solo effort 'Cha Cha twist' on Madison records...

If he's that correct then he should cancel the auction and re-introduce it with a word on it and an apology to all previous bidders on the matter.

A&M 774 is a catalog number missing gap (in the A&M discographies) to be allocated between July and August 1965. While Brice Coefield 45 on Omen dates from January 1966. Would his Omen release have been kept in the can 4 or 5 months after its initial allocated release on A&M that was cancelled ? It's a possibility. As the Omen 45 'B' side 'just one more time' is a Herb Alpert production in the odd Brice Coefield mould that could have been intended to be the original 'A' side for the more 'POP' orientated A&M label. Where the Omen 45 'A' side 'ain't that right' is a Chester Pumpkin 'R'nB'' product clearly destined for the Omen label.

Many examples going against that 'good sense' theory if ever Robb. Outside the USA record's executives worked else and differently than in the USA. But indeed the two sole foreign release that I know of from that Omen outlet are the 1965 release of the Wooden Nickels 'should I give my love tonight' on Canadian Reo, Australian Festival and Belgium London and the Out Crowd 'get yourself together' on Canadian Quality and Belgium London again. Because indeed A&M records then outside the USA didn't exist until the later by the late sixties. Hence why I doubt a later foreign release of that Brice Coefield 45. Don't make much sense.

Unless one was under heavy influences and/or vaguely heard 'A and M' instead of 'Omen' in a loud environnement we are yet to see one... That or an ultra rare Canadian release that is yet to be revealed... The New Yorkers 'don't wanna be your fool' on Radio City (stuck-on half label on OG Tac-Full label) or Vala Reegan & Valarons 'fireman' on Bob Crewe Productions (single sided pre-release) which both don't qualify in my books as alternative label releases. As these are aimed for specific use outside the commercial realms. So could this Brice Coefield on Omen have seen such an A&M acetate release or the idea to give it an A&M label at one time like some others did with few 'stuck-on' labels (Big Franck on Philips and Blue Rock) ?

That I got but which 'look-alikes' ? The white promos ? But aren't these styrene ? So unmistaken for what I thought to be confusing lookalikes...

Which ones ?

Or his other Look releases AKA Dave Newman 'can't take a no for an answer' (instead of the 'make up your mind' side that for some reason doesn't attract less adventurous dee-jays) or the Chekkers 'please don't go' on the down tempo soul moaner side of things that is also brilliant IMO. Especially for a farewell testimony +

OK different mix/mastering jobs then. My bad. But significantly different enough for me to be noticed for tunes that I'm not that found of. For somer reasons I seem to remember them being different takes for the little attention I paid once in comparison. But this makes better sense and follows what I heard with the Gino Washington mastering/mix difference. Guess we could expect something similar with Jim McFarland...

Nice. Thanks for sharing that. Lovely. Now would anyone know (or you Richard) if the take is the same or not ? Like for instance the Sunny and the Sunliners 'should I take you home' b/w 'if I could see you now' that was first released on Key-Lock is all together another take than the one released later on RPR. Where the Gino Washington 'I'll be around' b/w 'like my baby' on Atac (distributed by RPR) features the same takes as the local Atac release but with an overkill smoothened remix and a cut-off of the "staccato" guitar never ending intro on the 'I'll be around side'... Leaving me to wonder now on this Jim McFarland...