Tlscapital

No if the record was pressed but then something came up and they decide not to go along with it further, then no copies would be sent out to radios and musical press for promotion. There are few and about records from semi and major labels that went through such faith. Bobby Bland November 1967 and Bobby Hebb May 1966 (corrected thanks to the Yank !).

The picture on Datcogs looks totally convincing to me. It's not a "montage" I mean. 45cat.com have one member confirming to have his copy 'IN HAND' while typing. Maybe see for that with him there.

Cheezy à Go-Go but sooo Cool. I picture the damp and sweat of New-York's summer. Love Little Anthony & the Imperials evidently. Although it's the only Willie Bobo record I'll ever own it's also one I'll never part with.

To stream or download only ?

Canadian release...

FWIW logically Andre Williams release was first (not by much but still first) and enjoyed expectedly better sales. But what I ONLY see now too is that Frank Brown was actually already involved as co-producer with that dangerous rhythm. Which makes sense with what followed...

Now that I can finally view and read (thank you for that) the lovely WJMO survey from October 7th 1968 I see that it's referencing 'It Ain'y No Use' Valtone #102 and not 'Determination' / 'The One Alone' Valtone #101 ! Which was bothering me and urging me to reach out to you. Because indeed Valtone #101 should predate by few months (like 45cat.com gives March 1968) all the following releases issued then in a rather short time frame. Putting the Fabulous Apollos 'Determination' on Valtone #101 (ZTSC127076) more closer in time following Andre Williams own 'You Got It And I Want It' on Rice-Tic #124 release (ZTSC125794) sharing the same backing track theme.

Congratulation. Ever allow yourself to lay your ear on Jimmy Hugues LP only (though) version ? For someone like me who never liked this Art Freeman version that sounds more like a 'beat' record it proved a very nice discovery a first time around.

That's a bit of a lazy attitude statement for anyone passionate (for a not beginner at least) about his records if you ask me 😉 Only hoping not to be fooled by crooks trying to 'steal the bank' with 'not in known' customer fools. evidently. On the contrary IMO it's even one of the drive in this trivial (in regard of other life and death matters) but of serious (for freaks like us) interest beyond the music itself. Like the record's pressings variants and the playback gear to enjoy them on.

The Discogs styrene screams evidently 'alert !' as it uses the SP pressing plant label (vinyl) but the other entry if ever a variant pressing (or the same as it's "open sourced" for new entries) don't say much in regard of material (vinyl or styrene) and matrix sadly. The 45cat 'open sourced' entry is not much more enlightening on the matter FWIW. https://www.discogs.com/release/6446854-Art-Freeman-I-Cant-Get-You-Out-Of-My-Mind-Slippin-Around-With-You https://www.discogs.com/release/8982467-Art-Freeman-Slippin-Around-With-You-I-Cant-Get-You-Out-Of-My-Mind- https://www.45cat.com/record/nc549239us

Yes I got that. And we both agree as to why there. Said the same in an earlier post. While others seem to really prefer 'some good in everything bad'. That I totally respect. But I was wondering if for some it was not more to do with an accustomed 'muffled down' playback rendition of it due not only to the mix and mastering job but also to the styrene versus vinyl pressing factor. Rather than the composition and / or the singing only. Anyway love to have been remembered through this post that the Fab Apollos consisted of Joe Matthews and Tony Daniels. Although Tony is a really good smooth tone based singer Joe Matthews is that iconic figure that shared path with many other iconic fellow Detroit 'soul heroes'. Whose distinctive voice and few singles I couldn't live without. Hearing the lead on 'the one alone' even without knowing that before just won my heart.

You mean 'better produced' as in sounding better ? Or just better balanced and mixed ? Could the styrene (more prone to high frequencies distortions factor) be at stake here ?

The Nankie publishing likely belonged to Frank Brown father and / or son Valery (-ie) of Bel-Val, Boss (the one predating the Sir-Rah, Sport related one) and Valtone records. But what Four Holidays 45 on Markie is that you're referring to ? All I've seen are Massa Pub. Side note : I've just discovered while digging that Reggie Lamont 'how lonely' on Blue Rock would actually be Tony Daniels ! Some 2 years prior the Sport release. Under that pseudo he would have a last 45 on the Mamie's label. A small outing subsidiary of Bamboo.

OK, so played by Ady on a carver a year or so before the Kent birthday giveaway 45. As I said the Towanda Barnes was dubbed from the 1976 Ohio Players 16 Greatest Hits Trip LP that sounds good.

Let's agree to disagree here 😉 'the one alone' is quality with rarity unmistakably. Rawer, sharper Oh ! and much more soulful lyric wise as singing wise with vocal gimmicks echoing the Tempts. And I love those 'give it all you got' efforts. But then am only happy with my preferences and never try to convince the world on such matters unless it's a 'topic' as such... Maybe time to restart the versions pole thread from few years ago ? Joe Matthews am a sucker for too few of his releases that I love like a LOT !I hear him the gritty shouter on 'Determination', 'ain't no use' and their last 'what's so good tou you'. The moaner in 'the one alone' maybe but in 'some good in everything bad' that is Tony Daniels. Making the connection again with the Sir-Rah / Sport / Boss label connection with the aforementioned problematic Sport 103 labelings of Tony Daniels 'how lonely'.

Makes sense. I would also tell the Be-Val and Celebrities / Joe L Boss releases appart from the Sir-Rah / Sport other Detroit related label. At this stage anyway. So the Valtone label would then succeed that short Boss operated label with Joe L. Valtone's release for what ever reason being release on both but with a Valtone catalog number. There are few other sixties American Boss labels but the significantly better known and most prolific one is a Kentucky mid sixties focusing on local garagy bands. Brown father & son were funny characters as they even 'borrowed' that other Kentucky Boss label logo for the second Celebrities record as this clearly shows.

Hence Val Brown involvement as co-Producer on Andre Williams Ric-Tic's 'you got it and I want it' (using the for the first time the original backing track theme of the Fabulous Apollos 'determination') dating from May 1967 where the Funk Brothers involvement was notoriously a common thing. So we could deduce that on Valtone 101 dating from March 1968 (? 45cat.com open source date ?) it could still be them Funk Brothers on a second lease for that brilliant backing track. But maybe not (to ears not) them anymore on Valtone 105 and on the Clarence Jackson 1974 release. Back on the label complicated or problematic label catalog numbering system hence that Valtone 106 (Vickie Royal) & 107 (Fabulous Apollos) numbers supposedly dating from 1968 were re-attributed to both Clarence Jackson's successive releases from 1974 & 1975...

Would you know what time of the year in 1998 that was ?

Facts worth checking with Ady indeed. Although the Kent 19th Birthday 45 only got given away in September 1998 at the 100 Club. If it was dubbed to make the Golden State 45 then it would have to have travel fast to the Nevada desert in Las Vegas to be released in 1998 as Trev Thomas on here states that he got his Golden State copy in 1998 from that seller while in Las Vegas. Plus the Golden State 45 has a B-side attributed to the SF TKO's too. That I've never heard FWIW. Could the Golden State predate the Kent actually ? Wait and see... As for the Towanda Barnes (Ohio Players) 'love slips through my fingers' 45 I must admit that the friend who I bought it for then was rather disappointed in regard of it's "quality". While we compare it the Trip Ohio Players LP I was in awe as to how 'tiny' the Towanda Barnes sounded in comparison. With low gain in playback and so no bass, weak mids and sizzling highs. Even though its was obviously dubbed from the Ohio Players LP.... Poor to no mastering job there. I can't say for his other 'bootleg' materials so would care to know how the SF TKO's sound in comparison the the Kent releases. As for the Frederick Hymes I think it sounds rather good if ever it was 'manufactured' by 'them'.

He had NOS multiples in variable quantities of originals and bootlegs that seemed rather recent then. Most of those bootlegs were poor sounding and looked kinda cheap. But not all aimed to the soul market with some doo-wopp and harmony vocals in there too. More aiming at an American market somehow.

Believe me or not way before knowing the rarity or demand factor of any of their releases only 'the one alone' ever did it for me. To my great disappointment as I'd have prefer to hear other such fine tunes by the group... Although not bad their 6 months later following releases still do sound M.O.R. to me. Likely the involvement of Don Storball and Mike Terry changed their game enough to meet better sales but with a less sharp edge.

Valtone 101 is the only good worthwhile single on the label IMO. LOL sorry but true for me. Now I don't have the answer as to what happened to release 104. Still from what I can read Valtone was apparently independently operated. But could Joe L on both Valtone and Boss releases sharing the same catalog number of 103 tell a hidden story ? Boss was related to Sport and Sir-Rah. Was Valtone also somehow related to those or was the Joe L. a one shot share deal ? Could the simultaneous releases of the Joe L. same 45 have triggered a 'glitch' in both their catalog numbering system ? Johny Dixon Boss 103 from February 1968, Joe L. Boss 103 from September 1968 like Valtone 103 is echoing the Appreciations Sport 111 from February 1968 and the Four Sonics Sport 111 again from May 1968 where the confusion could be explained due to different offices at work simultaneously in this Sport example. Or could the double use of number Boss 103 somehow have them dropped Valtone 104 ? Anyway both labels seem to be prone to cataloging misfortune somehow. Or was Valtione 104 attributed to another label release related to Valtone but yet to be linked ? LATE ADDITION ; Sport 103 (damned number ?) also had an issue in regard of the credits where the first press only got the singer credit of the flip instrumental side and the supposedly corrected pressing got the backing band credit on both sides... Again.

Not worth getting bent out of shape over. BUT FEW WORDS WORTH WE AGRE Everyone has thier own NS story and differing points of reference depending when they first got into it, for me early 70s Manchester very different culturally than the 90s and by the time Levanna got into it 2014 the genie was well and truly out of the bottle. YEAH OK The disinterest demonstrated by the presenter was evident when Levanna spoke about beat ballads and popcorn the presenter never asked what that was it's not normal parlance in everyday speech. THANK THE LORD FOR THAT AS IT WOULD HAVE PROVEN NOT ONLY UNINTERESTING AS IT WAS BUT ENDURING TOO The media have never understood or represented the scene propperly and never will this was evident with the Proms and various documentarys THAT'S WHAT UNDERGROUND SCENES ARE FOR Levanna and her Mum are doing no more damage LANGUAGE USE HERE ! THEY ARE DOING SIMILAR DAMAGES... NOT WORSE I AGREE BUT STILL MORE JUST BY ADDING... than some of the big name DJs that feel the need to promote the scene and OR THEMSELVES co-operate with the media. The scene has historically gathered its own momentum I AGREE VANITY FIGURES WERE THERE ALREADY WAY BACK in spite of interference will survive.

Unless you have proof of that I have never heard or seen that Las Vegas pressing before 2000 +. The SF TKO's was due on a Kent CD compilation (?) after it got it's release on the Kent 45 in 1998. On 45cat.com it states 2001 for that Golden State release. Along with the other pink Golden State...