Tlscapital

I never knew 3 x 12" !!! First 2 track 'shake off' vocal B/W instru Second 4 tracks Third 5 tracks

Is the 12" you refer to the 5 track 33rpm sleeveless credited to Eddie Owens ? If so, "shake off that dream" is instrumental there !

4 issues for this. The first one from 1973 with the "rawer" mix on local Helpp and then for national distribution on Seventy 7 and in 1977 with the funky slapping bass both on Solid Gold (own owned label I understand) and then on Gar-Pax for national distribution. Name changes of the guy from Shorty, Eddie BILLIPS, BILLUPS or Eddie OWENS...

On the other side of "deeper" soul the show, Bobby showed his talent as he could be "versatile" in genres of music and not losing the soul touch...

On the other side of "deeper" soul the show, Bobby showed his talent as he could be "versatile" in genres of music and not losing the soul touch...

I do get your point here Dave. But Sam Fletcher 'I'd think it over' is soulful as it get. Now if they are not to appreciate those big strings production is another matter. And indeed, a lot of northern soul played and still playing are not soulful. And a lot were and still are. I do have a problem with my records not being soulful. Well even if I have to admit that like many I do have my "guilty secrets" records gathered on the "dark-er side" of record collecting/discovering/crate digging. So I like Lou Johnson but I understand one would not like him. Roy Hamilton is not my cup of tea so... But that Sam Fletcher can be called "overplayed/heard" or not to one's taste, but not Soulful; not IMHO !

Well I do understand that some prefer to collect issues in some or all case. Especially if you want your records label collection ordered in color harmony. Still with this Silky on Dearborn, that alone can't justify such price difference from simple to double IMHO. When you come to fan's records (Beatles & Co.), that works. But here it's not a label variation with a story behind to justify such gap in prices between the 2 pressings. I do love Silky 3 records and still am yet to see a fan who collects everything to do with the man/the artist here to crash simple to double on a 3 digits price tag for a label variation from a label that nobody that I know collect. I thought it was rather a record that has a lot of appeal to command it's high price. With the better the condition factor the higher the price. Too many worn copies floating around DO justify from simple to double or triple the price for the cleaner copies. And indeed in some situation some pressings demo or issues are truly rarer one way or the other. This one not I find. Myth remain from the pre-tinternt days were prices by the book made collectors overpay some records regarded as "holy grails". Now with online and open auctions, many if not most records do get a more likely realistic "street value" accordingly. Now a mint stocker of this 45 is indeed rarer than a mint demo. On that I agree and for a hard-core collector who wants to own and never take it out of it's sleeve, £1000+ for a super clean stocker can be regarded as a worthy investment indeed. The promo in similar condition nowadays easily fetches £750 and more... But stocker vg- to demo vg- sell for the same money and there seem to be more vg- issue copies than demos floating around we've now learned.

Humble and perfectionist he could/would travel through musical genres without any inconvenience. So was his imprint. This one always got me hooked. RIP David.

Hi Patto, I don't agree with the idea of a "main" opinion here. It's a later and properly re-sung version to finally grace this masterpiece of music. If the "main" opinion think different, well be it. For exactly the same reasons; the Natural Four 'I thought you were mine' on ABC being a far bettered tighten version re-recorded a year or two after it was first released Boola-Boola couldn't be played out ??? One would have to be dissatisfied with a rarer and less good record. That'd be sad I find.

Long time ago, in the days when I was still buying records I've never heard of before, I bought cheap that 45 on Loma by that dude. I loved instantly on first hearing both 'I've got a good thing' but I 'lies' remained my favorite side. To this day it still works the same for me. Drama soulfulness slice of life at it's best. Thanks Bobby and farewell.

Long time ago, in the days when I was still buying records I've never heard of before, I bought cheap that 45 on Loma by that dude. I loved instantly on first hearing both 'I've got a good thing' but I 'lies' remained my favorite side. To this day it still works the same for me. Drama soulfulness slice of life at it's best. Thanks Bobby and farewell.

Marvin Gaye 'this old...' was not released due to a demand in the UK. It was a Motown promotional product for the members or sumthin' like da'. And Charles Diamond & the Inspirations take later release is way better than the illusive insanely rare originally first issued version (only as single sided promos), so I play my "pink" copy home and out without any shame, guilt or scare !

Marie Knight – that’s no way to treat a girl the Precisions – such misery Emmanuel Laskey – sweet lies Chuck Bernard – love can slip away the Quotations – having a good time Blood Hollins – don’t give it up the Miracles – whole lot of shaking’in my heart the Younghearts – (count down) here I come Buddy Ace – color my love Motor City Sound – I dream of you the Fabulous Jades – planning this moment

Know it for a long time. Now I own it on the French EP and play it out from time to time. Think it had better exposure on the mod scene... in Brussels at least...

Yes 'stepping out with my memory' B/W 'it's too late'. What a fantastic 2 sider. Now if the commercial issues stockers went to home buyers, many must have find their way in the 'lost zone' after being handled un-carefully and become an out of date dust gatherer. So likely the stockers surfacing today are fewer as pasts eVil Bay show. Still doubt the stocker should order bigger money IMO.

His best tune on the soul side IMHO !

Not "earlier" as in first press necessarily, but the white promo where from the same pressing plant as the black ones in this case while the blue where from another. And we acknowledge that promos where in most cases the first ones being pressed... the black ones are less common than the blue ones for sure. Value ? Same ?

the Anderson Brothers – I can see him loving you Ray Lewis – too sweet to be lonely George Wilson – here stands the man who needs you the Sharpees – go on and laugh the Jackson Brothers –I’ve got to hear it from you Larry Atkins – ain‘t that love enough Bobby Jones – lovin’ hard livin’ good Guitar Red – share your love the Symbolics – I’m gonna get you back Arnold Blair – finally made it home Bettye Lavette - stormy

A truly soulful singer

Two different pressing plant: the vinyl is an ARP (Michigan) pressing plant if I remember correctly and a styrene pressing (plant ?). Only that. vinyl & styrene

Sorry man, not anymore.

Hi Dave, just for the info there's two releases; the first local purple label then picked-up for wider distribution through Kris records on a beautiful yellow label. I never keep doubles and it was a dilemma as to which one to keep as I found the yellow sexier to the eye but the purple sitting better next to the Determinations...

Oh ! OK, sorry and thanks for correcting that.

They are the same take on "breaking point" on the Jumlar and the red Lundy (been told blue is a later re-recording) but indeed the mastering might change the sound. I don't have the 3 copies so I can't help you much there but there's a clip on youtube with the red Lundy if the guy has lift it from that very record. It's seems to be a tad less muffled than the Julmar one with the voice clearer and the guitar sharper but then with less bass presence (drums, horns...). The Julmar vinyl quality (like many small NY pressings) is poor like thick'n'bubbly hiSHHHHing ! all the way through kinda sound and "spits" a lot even when mint. Here's my home made soundclip taken from the Julmar copy: brad lundy.mp3

FANTASTIC RECORD originally hailed from NY I'd believe and very likely from 1969 that totally steals without any acknowledgement (compare all credits !!!) Deena Johnson's 1965 original version. The Julmar pressings I'd believe was Brad's first as it sounds as a Big City Sound and would then have been pressed there first. Hence the Julmar co-production ! Or less likely second if we could imagine the red Lundy label to have been a "novelty" record order produced in NY with Brad's big money and Kenny Ballard's arranger services to be pressed in the Bahamas in small numbers... then picked up by a NY label with better promotional capacities... It could be but mmh... So I'd say that both Lundy pressings where most likely later presses made in the Bahamas where Brad apparently moved and took the tapes with him. It's very hard to know exactly the what, when and the whole who's who story on the record here, but when even the copyrights changes on the 3 Brad Lundy releases... a problem into the copyright ownership and the sudden credential involvement of Kenny Ballard on the Lundy presses leads us to understand that some people might have felt left out and decided to try and cash back on it on their own... a record with bigger success potential than it had it's share off for sure...