Tlscapital

CJS not GJS- you're right, MR as well I miss out on that bit and not L but a triangle for the Greek alphabet letter 'Delta'.

Of course not 😜 Reacted to that 'source' on that link you send as well.

No-no, what are those sources ? The promo is rarer and original stockers are more although only few and about. The bootleg (even though we can expect to see anything bootlegged in a yet unforeseen coat) is black print on pink.

Hi Chris, From my demo 'I know you're leaving me' side scratched-in matrix: GJS - 1002 - B (space/gap) L97367-X. Cheers, Tim

Not my favorite but worth the oddity that is... Anyone can pin point the oddity of this particular mp3 down ? nothing can stop me.mp3

Vivian singing performance for me holds the best the tune. The fact that the instrumentation is rawer must also participate some in that. Susan version is close musically (with some flourish instrumentation additions) but her singing sounds somehow less convinced/ing to me. Barbara Jean interpretation is new to me and "refreshing" to hear even if at first sight sounds a tad "light", more "poppy" and "cheesy"... 😜

For what it's worth; acquiring the long awaited Mighty Lovers issue I discovered by comparing it to the Ideals press that the mix where slightly different... With more distinctive drums roll-offs on the Mighty Lovers mix that give the tune more of a street attitude and an overall rawer feel.

If you like it then you are evidently and absolutely right. To my eye, it just doesn't match the Blue Beat logo and or label. The typo used is irrelevant and even the 'wreath of laurel' would just match better a Greek label if ever... But I believe that was kind of intended. Unless it was a confusion of genre with the Fred Perry symbol that was already big amongst the white teens of England listening to such genre of 'black' music back then 😉

Well it's a long time ago and since I've had seen the dull Blue Beat before, I didn't expect any better from Ska Beat which turn out to be even of the cheaper kind. My souvenir tells me it was like a 'stamped' blank paper sleeve or something close to that.

Yes

Yes, that's the one I was trying to "remember"...And you're right. Most likely predates the Coral issue. You're right, my bad. Thanks for that and indeed an important label for 'Major'.

There's only very few UK ska, rock-steady and early reggae company labels. From recollection there's very few Blue Beat and Ska Beat company sleeve (both cheap and ugly IMO), then there's the odd ebony and orange "lava" residue used between 1967 and 1968 for the Doctor Bird and Pyramid labels. My guess is that the Discog's seller will put it in an old Jamaican (early 7T's) Studio 1 and Coxsone lovely Jamaican sleeve promoting their best selling LP's. Those are very nice IMO anyway. Nice almost to be framed although not rare. I mean there where not when I use top collect my Jamaican sounds.

Plain white UK sleeve. Original with the top wavy open seam though.

As an anecdote taken from Wiki on Major Bill Smith; later years, he achieved some notoriety for circulating tapes which he claimed proved that Elvis Presley had not died in 1977 but was still alive... In 1983 Smith initiated a legal action against Elvis Presley Enterprises, claiming it was interfering with his ability to publish a book about Presley; it was eventually published privately as Elvis Lives. Fantastic !

It's been discussed on here before. Worth to find the link back. On my behalf, I am solidly found of the 'soul over easy' by the Hammond Brothers & Magie mix. Leaving me not bothered as a record collector not being a sixties "first edition". In regard of the other similar dark plum label and silver prints Le Cam releases more likely an early to mid seventies press. Order of release of many of his Le Cam, Charay and Zuma labels should prove difficult to date. And even more so beyond 1969. About the 'soul symphony' on Coral, that which I believe to be first issue, as a lease venture with a "major" record company, all the other versions (different mixes) and titles or credited artists seem to go all over the places date-wise. There is another "early" release of the 'soul symphony' out there if my memory serves me right still. Like on Zuma maybe... Or another small sub label of his. Often claim to be the very first local release. But that could also or rather (IMO) be an early seventies release that uses the same 'dry' with 'short intro' mix as the Sons of Moses "hit" version. The odd QCA orange label that you show here (never saw that before, nice one !) pressed at RCA (seemingly at least) uses the same typo and catalogue number as my Le Cam. Really odd release. Keep 'em coming.

Interesting but none of this is right though; He had finished the songs “I’m At The Breaking Point” and “Lonely Boy” for RCA Records. It was during this time, that Brad’s manager found out that RCA Records was being sold... What for a story is that ? ...So Brad thought that he would consult with Mr. Charles Carter and find out what he thought he should do. Mr. Carter suggested that Brad should start a label which was named Lundy Records. Brad wrote, partly arranged, produced and performed the single "I’m At The Breaking Point" with the flip side "Lonely Boy"... Seriously doubting that the 1965 Deena Johnson on Wild Deuce credits are a fraud and the date of it's actual release a "glitch". ...It became a two sided hit record which played for two years in the Bahamas and eventually it was released in the United States, the Caribbean and Europe. It became a world-wide record. Still today it is perhaps one of the biggest selling records. This is just a sample of what Brad would have done, has there have been numerous other releases. Minor local hit with USA and Caribbean independent releases, that's all.

Fabulous Big City Sound dramatic beat ballad. Even thought the song was sung first in 1965 by Deena Johnson under the direction of Jessie Herring, Brad Lundy's vocal and rendition fit this tune so well that soul-wise it kinda beats Deena Johnson original version IMO. And even if it's kind of a Lo-Fi mastering job, once played loud (-er) it doesn't sound so bad after all. Check the mp3 here below for proof. Real nice Ex copy here and pen name written on label on both sides. For the rest only the faintest scuffs on the vinyl under strong light. brad lundy.mp3 Scans and soundclip from actual record for sale. £80 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire

No offense taken or given if I ever did. So sorry if I sounded so... Just "shortening" on the OP. And the MJ discography goes on beyond 1980 afterward. Good one !

Why we focused on the 1965 to 1967 run's of the Mutt-Jeff and Mutt & Jeff constellations in stellar link with Breakthrough was because of the criss-crossing of the consecutive releases. This in regard of the MJ releases from 16 to 19. Cal Green 'stormy' Mutt & Jeff (20) dates May/June 1969 and celebrate the resurgence of the label after almost 2 years of sleep. Likely the Sunlover's MJ (21) and Cal Green MJ (22) date also from 1969 like Cal Green LP on Mutt & Jeff.

OK, thanks. I know the others you mention but not this one. Sorted then. Cheers, Tim

I relate to all of that as well...

Well I asked because I never heard of or saw a stocker on M-G-M of the Charles Perry and thought it not to exist. Evidently M-G-M let down in order to promote the record nationally must have affected Joe Jefferson (and all involved in this project) hopes for this record. Proof of that the "common" promo copies on M-G-M. The orange Mutt-Jeff release I was just not aware of it's existence. Would you happen to have that record at reach ? 😛 As for how and what M-G-M did with their "soul" releases it goes a bit all over the place. Somehow I have always thought that they "lacked" confidence with the smaller acts or those who would not sign up for further releases. The 'one shot' leases or the more 'root' sounding materials seemed to be doomed to wander in the "dark" alleys of the unsent promo count of 25 boxes. Not Roy Hamilton, Kim Weston or the Formations...

Anybody knew the existence of this ? Seems to be made by and for the American market. Who's who on this anyone ?

Charles Perry on an orange Mutt-Jeff ! Nice. And have you ever seen stockers on M-G-M back then ?

Mutt-Jeff 16 - Charles Perry - 'move on love' (005) b/w 'how can I' (006) (November 1965) (PROMO ONLY ?) Mutt-Jeff 17 - Sun Lover's - 'my poor heart' (007) b/w 'I'll tell the world' (008) (June/July 1966) Magnum 728 - Charles Perry - 'move on love' (005) b/w 'how can I' (006) (late 1966) M-G-M 13621 - Charles Perry - 'move on love' b/w 'how can I' (November 1966) Mutt-Jeff 18 - Sunlover's - 'you'll never make the grade' (009) delta # 67031 MJ 009 (June/July 1967) b/w 'this love of ours' (010) delta # 67031-x. MJ-010 (June/July 1967) Mutt-Jeff 16 seems to have had a WLP release only... Mutt-Jeff 17 is rather rare and prove how "poor" was Joe Jefferson promotion through distribution was then. His first "breakthrough" happened through the Magnum lease but somehow totally failed commercially with MGM's lease. One can easily understand how disappointed everyone involved in this 45 must have felt. Many such story in the music business. A first act with enormous potential that couldn't get the exposure it begs for... A second medium start and when the "BIG" thing is bound to happen; it vanishes... It took that long (8 months or so) for a second venture for a new release on the label that also suffered not to have had the exposure it required. Likely the second lease of life for Charles Perry 'move on love' on Magnum gave Joe Jefferson the "kick" he needed to develop some his Mutt & Jeff project. That's why I'm led to believe these flat Mutt-Jeff logo releases predate the yellow "Disney" logo variation, that are more common. With Mutt-Jeff 18 being a "bridge" record with the new Mutt & Jeff yellow "Disney" logo. Enjoying reissues as well from his back catalog. Sometimes years later... Leaving the dates for the yellow "Disney" logo versions rather hard to place as they used the same pressing plant judging from the typos, templates and matrixes. They could be contemporary just as well if I was told that one use to see both logo variations as "new" releases on the stalls back then... Mutt & Jeff 16 - Charles Perry - 'move on love' delta # 56293 (005) b/w 'how can I' delta # 56294 (006) (November 1965) Mutt & Jeff 18 - Sunlover's - 'you'll never make the grade' (009) b/w 'this love of ours' (010) Mutt & Jeff 18 - Sunlover's - 'my poor heart' delta # 62161 (016) (June/July 1966) b/w 'this love of ours' delta # 67031-x (010) (June/July 1967) Mutt & Jeff 19 - Johnny Hendley - 'my baby came out of nowhere' (011) b/w ''I'll tell the world' (0??) Breakthrough 1001 - Inspirations - 'no one else can take your place' (01) delta # 69491 HL 01 (December 1967/January 1968) Breakthrough 1002 - Sunlover's - 'my Poor heart' - delta # 62161 MJ-016 (June/July 1966) b/w "This Love of Ours" - delta # 67031-x. MJ-010 (June/July 1967) Breakthrough 1003 - Buddy Conner - 'when you're alone' (BT 002) delta # ??? (1970)