Tlscapital

The 'MONO' flip mp3 I believe should be a revealer too...

The opiniated (understandingily in defen$e) seller late response over his Anderson Brothers copy auctioned ; Hello Tim, thanks for your message. Styrene has very glossy and shiny grooves and it’s unbendable. On our copy this isn’t the case so that’s vinyl. This came from an old radio station collection so it’s impossible to be a bootleg or any recent repress. Like you said there are many odd and different pressings of this but that’s a 70s original. Regards Tom/Freestylemaniac-Records One copy next to another tells it all ; left his - right mine (the right one !) My reply to him + with the image ; OK Tom, thanks for a first reply. Now I do know and love both my styrenes and my vinyls. Can you give us pictures of both sides the record naked then ? With the matrix clearly visible please. Then a sample of the "MONO" flip as well. Coming from a radio... You are telling me all radio stations only had originals and no bootlegs ? Although I must admit that I know that is just not always the case. Nothing in disrespect to you but understand this is no trivial record... Tim

It is a styrene bootleg. Even the sound clip is muffled some like any bootleg out there. I can't say better because I never had a bootleg of them to listen to, but even on close up the label' bubbles an the smear on the print indicate a styrene pressing and so a bootleg. Up to now the seller didn't bother to reply to my PM. The eVilBay report I did remains "in the air" somewhere and another query with the eVilBay's (again) customer service is also still unanswered to this hour. Makes me wonder if any will comply and lose on the 'JackPot'...

Now without any seller's answer reported to the eVilBay as a "bootleg'; this is a styrene copy and the original is vinyl !!! Likely he will react by now.

Now how many hours shall I let pass by before I report to the eVillBay this fraudulous auction?

Have contacted the seller before taking further actions on this auction about this Anderson Brothers copy but what are you thoughts on it as I believe just by the looks of it that this is a bootleg (styrene) in disguise with a company sleeve... https://www.ebay.com/itm/373559053445?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649

And you're right. My memory (subjective) of this record got me wrong (objective) and my haste into the Velvet Jimmies lead me into a false assumption. At the first notes my ear memory got the notion that back then I couldn't get my head around this pop novelty number stuck between Wilson Pickett and Gino Washington. Yes he's black. Your whole Sanders, Mack & Bateman involvement makes lot of sense evidently as I was thinking exactly the same while checking the Correc-Tone credentials all over again. Only I forgot to check YT for the sound trial of both sides. Both other Jimmy Velvit & -et are evidently white dudes. Corrections will be addressed to discogs and 45cat. And so maybe James Velvet is actually James Ellis ex leader of the Satintones ... My apologies to you but mostly thank you for the correction while shedding another light on the oddest record from that little record stable that is so dear to many out there. No matter if one still don't like the record, the truth has been served ; James Velvet is black !

Had the James Velvet on Correc-Tone long ago and he sounded 'white' for what is altogether a very 'poppy' record. And he is 'white'. This Jimmy 'Tennants' Velvet is often confused with another Jimmy 'Mullins' Velvit ! Mullins had also 2 singles on Cub as well. Not helping in the confusion ! Mullins had Cub K9100 & Cub K9105 and Tennants Cub K9111 for his re-release of his Correc-Tone single. But no member of the Satintones here 😉 Same here. That double sider of Gino Washington on Correct-Tone does not sounds like it features the Supremes on backing vocals. Although I also heard 'rumors'... And those Primettes on Enrica never neither.

FWIW 1962 is the year. Where they then "moonlighting" while not being a Tamla number one act yet... Naughty girls. I still prefer them Supremes that way. Then the same goes for the following Correc-tone 'pop' tune of James Velvet 'bouquet of flowers' that is also collected by completists Supremes's fans.

The 'stop' sounds the same to the 45 release. As for the unknown title 'we never got together'... I can't say nor find anything on a quick search. What does it sound like ?

I thought of asking someone who is still on contact with him... Now I must 😉 Will report on it.

The all white (promo only) Atac was distributed by R.P.R. (Los Angeles) who had national distribution connections. It came out in August 1969 together with Jimmy McFarland 'lonely lover' on R.P.R. ! The Mala being from November 1968 it came out prior that Atac R.P.R. release. That leaves the local Atac (Gino's Detroit own) in question as to it's date of release. Before or after Mala zat is ze kwestion !

Thought about that. Yes now that you point out the fact that the Mala copie are not to be found in the Detroit area could indeed indicate that it was first pressed on Atac. There with enough local air-play it could then haven been picked-up my Mala with a closure in the deal for Gino to keep local exclusivity in sales, distribution and promotion. What triggered that little quest/querry of mine was the difference in the masterings first an mixes after. Owning a Detroit Atac for long enough I got accustom to it's sound. Then got a Mala copy to sell on for a friend and got blown away by the sound difference. Especially on the 'I'll be around' side. That clearly indicate a reel/tape mastering job. But that on it's own doesn't imply much. The last R.P.R. release seem to aim for a last chance to HIT higher allowing me to believe that Gino expected more from the Mala deal. Taking me back to my theory that the Mala was first. Gino deception in that venture outcome re-release it on his own to be picked up a second time around as 'Wheelsville1' corroborate.

From my experience there is about 2 blue stocker for 3 yellow promo Mala floating around. Almost an even "rarity" ratio for that national distributed Mala release. As for the later R.P.R. Atac release a stocker is yet to be found if ever it exists. The local Detroit Atac is the harder issue to come by in real clean condition... Ain't that saying a something ?

Top tune in my ever top ten... dance to it if you dig it. Rare 'soul' is that ! The uncanny. The rest is a trend, a fashion, Carnaby street or what ever ! Not a scene. Never that...

Another fantastic tune by Wendy indeed. Maybe a "first" issue as such if ever, but certainly an alternate release from another pressing plant with 'after laughter' featured as the 'B' side !!! Not a first 'trial and tribulation' from this fantastic record stable... Where a 'B' side becomes an 'A' side. If truly a first press the radios must have gone noticeably for this 'B' side. This very pressing with 'she's moving away' I believe to be from the PL (Plastic) pressing plant where the other vinyl (promo & stock) from SP (Speciality) and finally the styrene (promo & stock) from MO (Monarch).

Thanks that's fantastic info. Have just completed that on 45cat. Will do it on discogs later. This means that the Atac release distributed by R.P.R. came out last likely as I first deduced. The local Atac with the best version of 'I'll be around' still has no definitive release date given. As it might be a prior release to the Mala... But with the very different mix of 'I'll be around' likely not. FWIW the Mala copies have the strongest mastering for 'like my baby'. With more depth and 'Oomph !' The local Atac has the best take and mastering with the long guitar chicken 'picking' intro for 'I'll be around '.

With only the Mala release with a definitive release date at November 1968 the other releases variations leave us to only guess what happened there, then and when... The Washpan trio singles dating 1968 seem most plausible. If so they likely predate the 'Ill be around' Mala venture deal. Likely a tune that Gino had much hope for... Only judging by the 'few' number of stock Mala copies flying around of 'I'll be around' and their great condition it did not "HIT" as Gino would/could have expected. Would Gino then have gotten back into the studio to re-mix 'I'll be around' (much rawer than the Mala) and release it on his Atac label somewhere in the year 1969 ? Then re-releasing 'what can a man do' as a 'B' side on his following Atac label release with 'doing the pop-corn'. That got picked up by the R.P.R distribution group. After that little success (judging by the number of worn copies flying around) they decide to give another shot at 'Ill be around' (shortened "chicken' picking guitar intro). That last attempt at charting with 'I'll be around' seem to have suffer the same misfortune faith as the first Mala release judging by the number of copies flying around. The discographies to be find are chaotic or not coherent. Love Gino, crave 'I'll be around' and so I wanted to sort this one out if ever someone had some better insight...

Fitting the gold print on mauve labels before the switch to the white Okeh logo marking the CBS joint venture...

OH YES, please show us those earlier ones if you please can

Yop I agree as well. My initial preference for the Esquires have never made me pay more attention to it. But now that you made me lean my ears into it again I must admit it to sound rather like Deon Jackson than Mr. Munro...

That maybe true and to my understanding more likely right. Although on 'bigboppa's site (source I have found out to be not always correctly informing) it indicates blue Motown sleeves from 1961... Then the reds without a starting date for those. Up to 1964 for the switch for the black on white 'Hitsville U.S.A.' right after. That seems short lived for so many of those red ones (with variations) floating around...

Yev these, like the Blue Beat company sleeves have always been tough to come by as they were dressing up their 45's only for a very short time. Unlike the Pama's for example.

That could very well be... 🙃

Like many (not all I know) of you, I've alway gathered them company sleeves everywhere I went to fit my own records in. Anytime I could that is. Even gave many to friends who proposed me money that which I've always refused. Because every good record deserves a proper company sleeve if it ever got one ! And my friend's records are my record's friend... What ever that means ; stop no none-sense (I am Belgian as well) 😜 Before the internet I was happy fitting them like I preferred them. For eye match comfort. Not necessary with the contemporary one. I've had the opportunity to venture into new old stock warehouses and have seen many records with their 'proper' company sleeves and now thanks to 'bigboppa' (RIP) site we can all even adjust better the contemporary match. If ever that is ! A most vital site that is hopefully now revived. Alleluia ! Those good old days of crate digging are now long gone... The opportunity to meet those company sleeves on records in the record sales box is getting rarer and rarer. The company sleeve monkey business has gone from the rare trading 'connoisseur' community (a bit like the football/base ball card community) to the regular dealer with stacks of company sleeves for sale from $1 up to... Weak I just bought my first one : American Arts. A nice company sleeve only looks 'tops' with the record in. It's a combination. For example I love my majors like Uni (looks smashing IMO) even though it's a common 'POP' major company with only few soul releases. But they are great and look the bizz to me. Bringing found memories of my early crate digging days and musical discoveries. The rarer doesn't mean the better once again. Not so common (early blue !) yet classic I love ...