Ady Potts

Hi Phil, The Palmer one, strange, but true. Just double checked them again to make sure. It's louder & clearer. Ady

John, with the greatest of respect, but I can't believe you've just said that. That's not what you said round at your house that time! Your exact words were "Let me auction the Palmer copy for you, it's far more exciting than the LaBeat". By the way, I put the Palmer on one deck & the Labeat on the other, I didn't realise how much difference there was in the two recordings sound quality wise

Hello John, The numbers on the Rouser were factory stamped, not scratched, with the factory stamp as well. The markings only became scratched in when they turned it over to "Bell" for a national release, hence the Bell markings in the Fairmount copies. pottsy

Hi Cliff, It's Ady, the younger looking one of the two Good to talk to you at Burnley mate. Re Mr. Lucky, always reminds me of Leon Haywood - It's got to be mellow - Evejim/Decca, it's that intro, almost the same. Cheers Ady.

By the way Maverick, great thread !

John, You know the the Rouser has F1017AA stamped in the dead wax, as it was I that passed that info onto you when we last discussed this subject. Master plates were very expensive, as you well know, & I don't think Fairmount would lay out the funds for something they knew they were not going to use. All they had to do was listen to the mastertape. Here's what I would say is more likely. Frankie had got a release with Fairmount, "She kissed me" / "Don't cry little sad boy". He then writes (or may have written it some time before) "Because of my heart" / "I want to feel i'm wanted". Remembering the year was 1967, when uptempo numbers were going out of fashion. My gut fealing is Fairmount were not interested, probably because of the tempo. But rather than ditch the project Beverly goes to Tommy Rouse to fund & produce the record. Why did he go to Rouse in DC? Money, something that Frankie didn't have. Rouse then goes to Fairmount, after he'd done the production work on it, in an attempt to push the song to them. I would lay odds on, it was at this point when Fairmount were most likely not interested that Rouse put his hand in his pocket & shelled out for a release, a custom press. White label test presses & "x" amount of labelled release copies. What made Fairmount decide to go with a release? Perhaps Rouse managed to get some local air play. But there's no getting away from the fact that by 1967 to have a raunchy pounding number with a tiny sax break was very out dated. So this was when they opted for a cleaner more up to date sound to release. All good fun pottsy

Sounds an interesting theory John, but it's just that i'm affraid. You're honestly suggesting they would put out a high quality refined recording with a sax break of over 12 seconds first. Then later on put out a less refined sound with a tiny 6 second sax break? That sax break sounds silly in the context of the record, anyone can listen to it & hear it was a f**k up. Sorry John, cant see it.

worse than Eric Mercury Ted?

Ah, shoot...shame about the sweet side. So in that case it may as well come over to the uk then, as you dont collect Northern

Blimey Bob, nice one. Fantastic record, both sides. Did you find it in a junk/thrift shop, or was it from someone that knew what they had? Hope you dont mind me asking.

Nice records there Helena. What country is he from? oops, just read it again, he's from NYC.

The cut on Rouser is a different take to the Fairmount one, for instance the sax break on the Rouser is tiny, it's only 6 seconds long. Fairmount is over 12 seconds long. A lot more bass & punch to the Rouser. It seems that when they decided to go for a release with Fairmount they had to be more in keeping with the fashion of the time, hence the longer sax break & a slightly more refined sound. I managed to get that one off ebay that time, it was a gamble as the guy didn't know anything about records, so he couldn't put a proper grade on it. Luckily when it turned up it was in real nice condition, & the dirt on the label (see AWAKE502's picture) was just sitting on the surface, so a light wipe over with damp cotton wool had it looking good as new.

Really? I dont think it's ever been that available, or around in quantity.

Yes, it was less than that to start with. I got one of the first two that were found, & to be honest when it arrived & I had a listen to it I stuck it on the shelf for a couple of years, didn't think it was that good. Meanwhile it was being played elsewhere as the Philadelphians c/up. It was only when I heard it in a large hall that it hit me how good it was, records can sound so different in a big hall compared to your front room. Only problem was, meanwhile i'd swapped it with my mate. Good news was he let me have it back again. Great record, but a touch played out now.

Very true Mark. Mind you, i'm not saying there's anything wrong with the Joe i'm a Mexican Jama, a very pleasing hum along type of a number. I'm told the white guy in the photo of the Tranells only used to make the coffees oh, & put the cat out after rehearsals

Sorry, not group, sounds more like a trio.

Yes, may be wrong, but that sounds very much like a west coast Chicano group to me.

Check your pm's Mark, got a white demo if you want it.

George is still around, he called me recently. He's helped me compile a Cenco number listing...everyone should have one Top bloke is George.

The SA-SHAYS flipside "BOO HOO HOO" is a real nice track. It was a big sound on the East LA Lowrider scene in the late 60's early 70's.

Nice record, they used the same catchy backing track as The Phonetics - What Good (am i without you) - Trudel.

That's nice Blake, looks clean as well. Talking of Sandra Phillips on West Coast, i've got a "You Succeeded" on an issue.

There's a Darrow Fletcher here, ending shortly...... https://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...88122%26fvi%3D1

At £740 I thought that was a lot less than they've made in the past. Mind you, it was only vg+ I suppose. Brilliant record, must remember to stick it in the play box for Burnley...