Tlscapital

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...

That New Yorkers Tac-Full 'teared down' label with a mere Radio City stamp on it might have a story of it's own but it's only that. Memory tells me that I've it before on the net... Not a real proper Radio City labeled that many have wondered the true existance of since the pre-internet days from papers collector's price guides. Post internet JM's price guide included. To say the least a rumored record deceptive on reveal once again. IMHO.

Unless your phono rig is not that true in "revealing" all that's in the groove that is impossible. I've that heard that difference on merely mi-fi phono gear. Like the example of Chuck Wood. What is possible though is that your cartrige/stylus is so much more or only appropriate for the stereo groove that it picks up all the noise and pollution from the MONO groove. Those seventies UK reissues there are stereo groove cuts playing in MONO...

These seventies London, Brunswick, Pye... sound thin and low in output compared to their next of kin. A very recent example ; I found the 1975 French Roulette of Chuck Wood 'seven days too long' and told a friend who had the UK Pye to maybe take the Roulette to replace his Pye (both contemporary) and he played them side by side. No hesitation from his behalf... He left me with a Pye copy to sell on. FWIW never these were direct cuts from the master tapes/reels. These remained in the American vaults. They are dubbed masterings. And in this sole case the British mastering on trial doesn't stand a chance. One might like a thin sound and a low output in playback but not me. It's an ear thing so open to be subjective. And also to evolution. Especially after understanding the 'what' and comparing in direct. None physilogicaly is equal. Our ear ability, capacity and sensivity are all different. The human ear is conditioned. The room for spontaneous or acquired taste is huge. And all or most have expectations in analog playback. With good analog playback the ear/brain can rest while listening as the image is "clear" an "complete" in fluidity. With digital playback the picture is "scambled" and in constant "construction". For those whose attention is not detoured by that the 'impression' of the image/picture is the same. For others, like me or you maybe not. Feeling unatural, cold or flat even the digital conversion from analog is never graceful. No matter what it can achieve in 'restoration' of damage tapes or records. To my ears it can never achieve the dynamic, life and depth combination of good quality phono analog playback.

Truly not my experience. Never was actually. On my "now" good real MONO (no fake MONO switch on the amp) phono system even less than in the past. The mastering job most reissues go through are only terrible. I can only count so few where it's almost perfect (only not because of the almost mandatory digital phase in the process, yes my ears are that sensitive). The good old Kent compilations are acceptable but only that in real. They were the best then in the UK but it's ultimately good for 'ambiance' home playback. If you want to party the thing won't work. Especialy next to real OVO 45rpm's. Trialed that on young ears and guess the vote... But they are wonderfully compiled by a most humble gentlemen with taste, knowledge and inteligence that educated my 'young' "northern" soul ears. Never liked nor had respect for other northern soul tagged labels. The fact of working from reels (or almost that) is only that. I've heard better dub takes than 'arty' mastering jobs from reels... Actually we all have heard dubbed on 6T's UK "original" or official releases (under licence) or not :0 Much prefering to play my original records home no matter what. It's not snobbery. It's reality. What I don't have I don't play. The unreleased stuffs is something else. Look-a-like are the worst. They're "tailor" made for "fans".

Sidra 9006 use to be the 'rare' collectable for the collector's for the 'each time' (pop) side I understood back then. But I wouldn't know any better since I never liked those sides. From memory Sidra 9011 was floating around evenly both as promo or stocker before the 'return of the ugly' or 'the uprise of the hypstyer'.Where Sidra 9006 was less or not. But now with the TOP 500 tourists big spenders in the game it's the 'as long as you love me' that counts... Meaning that maybe by now if a Sidra 9006 would be offered on auction it won't exceed the value of Sidra 9011 on auction where it use to be much more valued amongst collector's and price guides if ever. Time change as well.

First white label (promo or not ?) with the black label (issue !) & instant re-press promo & stock to supply the demand and expected extra promotion with the then 'new' lined label. The promo also came out with red imprint FWIW. As for value none is much more rarer than any other. Pay more if you think else wise. Not me. Hard to come by very clean though IMHE. Hence the inclusion of the 'Embee production' on the later lined presses. The first Volumes 45 has it as well the second not. The second issues have Harry Balk credited as producer not the promos...

First because I know my records (buying, swapping and selling) for long enough. On some labels with both variants pressings sometimes prefering the styrene, other times the vinyl mastering job in playback rendition. Tricks for the noob if you have the eye ; mat stuck on label for styrene. Vinyl records can have gloss label (or not) but they're always molded-in label. Then more faintly the thiner narrow styrene groove without much visual difference in groove modulation. Finally had the bootleg and it's not looking that good. The vinyl boot is dull. My copy is the same as this one. I know it by heart. Found memory of my crate digging finds that day in the back of a record store.

That's actually a real one. The boot is vinyl. This is a styrene one. With the first white label (promo ?) run without lines like the later ones. Playing surface on this one looks very clean on top.

It's rare. That is certain. But not that rare IME. All Ric-Tic promos are not 'evenly' rare. Never worth £400+ IMO. A nice collector's piece all the same. But the nowadays "northern soul" prices are another subject or debate if you wlll. More than ever before I mean. FWIW I've seen more Edwin's Scotts than Rose Batiste promo for example. As for the music in it it's only a less punchier version of 'stop her on sight' with private joke lyrics. The collector's demand would be rather limited with Detroit completists (most must own it by now) and the few Edwin Starr's fans (?!). And few northern soul collectors evidently. But is it also a new "entry" in the TOP 500 to proudly splash one's money on ?

On the Sidra appearance kind of thing I had the green stocker first which seemed to me totally similar to the white demo 'upgrade' I got after. Have not got try to compare the matrix 😉 The Capitol release is not only different in regard of the strings (cut out), it's also altogether a plain an simple take. Now I can't say much better for another release out there. But there's an unreleased (seemingly) previous cut, demo or acetate variation out there on YT (like here). With "hum" throat rimming for intro... Taken from what source I can't say.

Had the pink copy for peanuts and turned down the 'pricier' white demo as I was happy enough with it. Not feeling the need to own a better playing copy (that which I wasn't aware of back then). The emergency of trivial choices with what records I must/could afford to bring home in priority left me unaware of that all that time. Until one day to close a trade deal I manage to get a white real deal copy. The pink copy instanytly went to a new home and I started to play it like never before. Both sides this time But I'm a demanding man when it comes to playback rendition. The Tom-Tom remix makes it totaly something else. Not my cup at all FWIW... 😉

I believe not. Am too young to know any better and was weary of most of them 'popcorn' people back then as their music was clearly out of any coherence to me back then to have all the differtent stories from the 7T's. It still is all too weird for my liking but I now have my wise knowledge to reassure me as to what my ears are witnessing and argue with them people in confidence. Finally. An have my few better 'popcorn' friend I believe. You had 'popcorn' stickers back then. Promoting the club. But no jackets or sport bags patches. The 'a way of life' thing makes me gringe some. Ever since. Even as a teen skinhead. Nothing can dictate my state of mind, nor what I eat or I don't know what. Even though like a 'community' who gathered free willingly with 'rites' in devotion or dedication, people got to meet the same faces over an over again with complicity in competition. Such a feeling of belonging to something special and/or peculiar should embrace most teens in rebelion without a cause. For a while if ever. But I know it's not always the case... Bless !

Just as much as northern soul was/is going from soul, pop, garage, funk, R'n'R... Popcorn music "genres" goes from 'groove' (instrumentals like 'hole in the wall') to soul, country, pop, latin, exotica, ska (instrumlentals only (WTF)) french 'yé-yé'... But it was/is a scene with venues, dee-jays, punters, collectors, dancers, drugs and thieves... No Sousan but Salamone. The popcorn is a dance for two. Not a 'music' genre as such. Like rock'N'roll but in slow-motion. Pitching the records to suit the dancers brought that specific two-time beat (like Ben E King 'stand by me') to be made that popcorn "genre". Belgium is small. England is big ! 😄 In proportion it was an 'important' underground scene here that was also commercially abused.

Going by the music publishing companies FWTW it seems that the Renee is first witn just the 'Lamaja' one where the Marc gets a 'Satterfield' as well...

But that's all talking about UK pressings only or the UK market thing if ever. The world is actually much wider. The OP LP pressing here is not a UK one. Nor necessarely pressed outside the UK for the UK market FWIW. If in the sixties UK presses were made for the export market (Commonwealth), the opposite is not necessarely true. What is very true is that the establishment of the Tamla Motown company in the UK first allowed the Berry Gordy's production sales, promotion and marketing outside of the USA under one banner. And that gave us a more coherent artistry direction in the packaging for the greater pleasure of collectors. With a lot of local colors. Bagged pressings in foreign or local sleeve that's actualy an old practice. Quote : Also the Hiatus at Hayes, caused by production issues... ...you get French DSOM's german made in Japan's, I even have an American ( yes an American !! ) Surpemes greatest hits on Tamla motown. All were pressed abroad and sold in UK in UK sleeves. There can be many resons for doing that. Not only shortage or pressing plants issues. Prince Buster's firsts UK Blue Beat LP's (compilation of 45's) re-pressed on Islam (with greater mastering) in Jamaica all in UK sleeves. First (Tamla) UK Orioles sold in Belgium w/pictures sleeves... Admittingly that OP on SH rekon it can be very tricky.

Like here/this ? And I find the OP typo pretty close of this Holland 1973 pressing here below. I believe to remember at one time that they went on to have one pressing for this first 'mini europe' of 3 countries (Benelux). I don't like them looks, mastering and pressings so I can't be certain as I don't own any of those post 1970 Belgium or Holland or Be-Ne-Lux pressings to attest that theory. But it's a memory thing like it was told to me by collectors or something.