Tlscapital

Well I don't specifically remember any Canadian 45's dubbed from American or European 45's that sounded so problematic but I love my records American ! The European ones for their lovely picture sleeves. Not really for playback pleasure if ever and that's that. Other country of releases are not so relevant to me for 'soul' music. UK 45's dubbed from foreign 45's can be OK when the mastering job after the dub is fair. But most are just pale even then in comparison. Or actually worse very often too. My experience is similar with Canadian dub from foreign releases. But I'm relating to pre 1967 Canadian pressings mostly... Went there few times records crate digging. Later I've had only a few more 1970's to compare with and to be honest I found them also sounding a bit 'thin' rather. Like British releases actually that I don't like for the same reasons somehow. Using fairly good very silent plastic with less inner groove distortions from the mastering for a cleaner playback but that is actually trimmed down.

I think (only that because if I love 'just like the weather' as Nolan Chance for that matter I never digged 'a love reputation' nor much more Lasalle's material in general (now waiting for the 'backlash' returns 🙀)) so I think that there are even two versions on Tarpon. Yes there are at leat two mixes or takes on Tarpon (regarless of the blue or green label I remember but surely the matrixes) and that the Chess release I believe should be the same as one of the two mixes/take (once again I've tried to study some the thing but not with the actual discs in hands so it was not so conclusive or decisive if their were only different mixes or takes) I remember. But there is indeed at leat two versions on Tarpon. If not three all in all with a maybe even different version on the Chess release if ever...

February 1966 for such an atmpospheric groovy tune out of Texas that sounds more 'out of time' than many other of their gear IMHO. It has always fascinated me somhow. But I'm also very partial on this one so much I love it. Even though I must admit that I wrongly believed it to be from 1964 at first because of the Kent comp before 'tintenet'. But still...

Styrene

Yes it is. But now sold.

Otis's singstress 'protégé' Loretta expesses her hunger for her men on this stomping southern soul stomper. Flipped with a ballad well worth a listen or more if you're into that kinda soul. French release with a strong'N'loud mastering... Comes here without it's 'art sleeve'. In VG+ visual condition (going through EX) with label wear and surface marks but plays loud'N'proud. Clips with needle drop and lift with scans from actual copy offered for sale. PM me for inquiries. loretta william.mp3

J.R. Bailey a good call indeed. Not your comon singular artist or 'soul hero' but more of a versatile vocalist "renting" his vocal talent to promoters for very different work outs. His materials are rather unconsistent through his singing career showing he could "croon", 'shout' or "jive" all the same. Leaving him a good contender for this very uplifting vocal performance on 'Sadie, Sadie'. For the rest his 'soulful materials' sixties or seventies are all 5***** by any book !

To the risk of being the worst mouther on here I find both to be rare and rarer 'pop' records. Northern soul be it for the sake of it but not my 'soul' cup. That with genuine respect due to those who do appreciate them or pay for them as I do also have my 'guilty secret' or 'collector's' only appreciated records As Well 👾

Yep ! And or watch this first for a glimps into it...

Yeah OK, my bad, sorry. These Fabulous Creations are never really 'dated' (mid 1965 once...) and re-reading the whole thing I got the earlier formations named the Enchanters (how less common...) mixed-up. That would have been contemporary. But you're right then about the Globe boys name forcing the change of name for Al's gang.

The ones on Penny and Take Ten from late 1962 you mean. Or the ones on Mel-O-Dy (July 1962) from Detroit ? Obviouly not the other ones on Globe that are later from 1966 and onward became the Contributors of soul.

Heaven's something special with Lew... RIP +

Looking for a super clean copy of that variant. No others. PM me your price if ever. Thanks. Best Wishes

Without a second of a doubt the Miracles version. But the "rougher" take (flip of 'if your mother only knew') that is not only an alternate mix... And I am not a Miracles fan or even less a Smokey one. Yet on some of the early Miracles material especially I must reckon that their best tunes works so good to even age with benefits. The same goes for ALL the Marvelettes 'original' material IMO. Edwin's version is the first one I knew but never really liked. I really liked the Ric-Tic man. Not much after actually. And I've tried. Motown and all doing the other's version is still not my cup...

Yes, I'm fine with what you imply, I'm only guessing. But this at least explains how this Eddie Regan came about to be released on ABC. That through Don Costa after the dismissal of his label DCP (where it could have been release if not for the sale-out of the label) and the following migration of Little Anthony & the Imperials on Veep... Don Costa making his come back on ABC wanting his name to be the man making this possible. Indeed by purchasing the masters but not twinkering in the actual recording or even prior, that I can believe. Yet a Producer with means to make the release possible on a major label maybe hoping for big promotion but to no avail...

Am no liker of the said record so I've only been following the talk on here from far but that info arose my interest. And so I took my first little dive on it as I am sometimes drawn and astonished to see major labels with little twist stories like that... Taken (copy & pate) from discogs as well; DCP International was started by Don Costa after leaving ABC-Paramount in 1964. United Artists Records purchased the label in 1966 and the name was changed to Veep. Could it be that Don Costa produced that Eddie Regan 45 scheduled for an up-coming DCP release then this UA deal came along and the Veep change had no room for Eddie Regan. Don Costa could then have brought the reels with him back to good ol' ABC that he left 2 years prior. Could it be ?

There's a whole story behind this odd and unusual first top left copy and the later Grand Land & Amy-Mala-Bell pick-up for (inter) national distribution... With few months appart between the releases. And ever since to my ears the striking resemblance between the People's Choice's 'easy to be true' with Al Greene's 'back up train' and his 'don't leave me' with theirs 'savin' all my lovin'' is so there. Here's an excerpt from a 2014 OP on here in regard of my odd & unusual pressing. Turns out to be the first small run press whith the later Grand Land local re-press next to the Amy-Mala-Bell one. One of the first groups that Grand Land Records signed People’s Choice, which featured lead singer George Lowe. The group was signed to a 2 album per year record deal and released their first single entitled “Hot Wire” in a studio in the basement of Phil Robert’s dad’s basement. With 2000 records pressed, the song was introduced to a local black station and received immediate and constant airplay. The group was off to Detroit to record their second release, written by Palmer James, “Saving My Lovin”. New doors began to open, including a gig at Detroit’s famed Twenty Grand Club. All of the upcoming and major stars played the Club. Unfortunately, half way through the groups tour schedule, George Lowe decided return home to Grand Rapids, to be closer to his wife and family leaving the group without a lead singer. Curtis called Al Green and asked him to stand in as lead singer; Al agreed and finished out the tour with the group. “The best thing about working with Al Green is that he did what he was suppose to do and that was it,” Rodgers said. “He is a tremendous artist with a smooth as silk voice.” After being invited to officially join the group, Al Green decided to be a solo act and signed on with Hot Line Music Journal, a label under the umbrella of Grand Land Records. His first single on the label, “Back Up Train”, was written by Curtis Rodgers and Palmer James. Palmer also wrote a song on the flip side of record entitled “Don’t Leave Me”. To their disappointment, radio was not as kind to the label as they had hoped. “We tried to get the radio stations in Grand Rapids to play “Back Up Train” but they refused at first,” Curtis added. “Palmer wanted to give up, but I took the record WCHB in Detroit and within a few months, it had shot to number one, right of above Marvin Gaye’s “Heard it Through The Grape Vine”. What Curtis Rodgers is not telling here (read that story elsewhere but where...) is that he stood on Detroit's main streets next to phone booths giving coins to bums willing to call the radio stations requesting them to play 'back up train'. And that forced the air-play to find it's way to the ears of Amy-Bell-Mala executives. Few months later. Within those few months the young Al Green thought he gave it his best shot at it with a fabulous record that no radio would even push...When he was just about to throw it all away that Amy-Bell-Mala deal came up. Once that little "success" bulb burst out he got to meet Willie Mitchell for another leap into another music business realm...

Not funny. Even you're dog thinks your humor is killing this very serious thread ! 😉

My favorite side but the problem remains the same somehow. The lead singer is still barely humming the tune (to great effect none the less) into the mike with that little reverb effects. All this making it even harder for anyone to hear more envidently who he is if he's known at all for example... Not pushing the voice beyond recognition if he could sing louder that is. And now if he would be black I would search on the crooner or cabaret side of artistry. But if white in the pop/rock/soul singer category. Yet he could also be a second rate or almost unknown back-up studio like artlst...

Agree with Robbk. That Jimmy Beaumont theory is a no-no. By the names, time & label it could have been a possibility but by the performance not to these ears of mine. Loving the Stoppers I mean that is. If the Stoppers harmony vocals could be white and/or black, the high pitches choruses are more stereo-typical of the 'latin' or white group of the time while the front leader's 'rich & deep' vocal could be either. Yet more likely he would be white too. But I have no clue or even 'hint' like Robbk to be familiar with or have even heard that voice before. And I'm less acquainted with 'white' vocal groups than others... 🤠

How High ? Will my scanner will be able... What's the prize ? 😉

OK Snoopy 😉 but vocally I can't hear the 'house party' guys on either sides of the Jibilee record. Can you ? Or are your long dropping ears impairing you ? 😜 Or are they that versatile artists ?

Never liked Shirley's original of 'soul time' but this dreadfull thing is indeed very repulsive to say the least...

Much more I would say. All NOS minties suggests one whole big batch by the numbers sold on the eVilBay since 10 years or more...