Steve G

It IS definately the same label Nev, just an earlier record.

No Robb it's from the Carolinas (same label as Mixed Feelings) - don't let the youtube picture put you off. I think a couple of the guys down there had it a few years ago, I saw it on a radio show list I seem to recall - Jason or someone similar. The first person I heard play it was Mark. The label is a bit like a Decca / Coral multicolour label and it's a "proper" 45. I love his voice, I think he's trying to sound a bit like Stevie Wonder.

Simply the most in demand record of the moment.

Amazing price for Eddie Parker. I was tempted to have a punt on that, but at that price i wouldn't have won it (my bid would have been lower). It's a fabulous record and pretty rare so well done whoever got that.

We talked about this on another thread; Tiger Lilly was a Morris Levy tax scam label. Press up a few copies don't distribute them and then tell the tax man you pressed up loads. Nice to see it out on a 7"!

Dunno probably 500 -600 each. There's hardly a week goes by when I don't see a Timi Yuro somewhere. There must be hundreds of them.

Looks like I fired the gun too quick. Much too my horror there isn't a copy on my shelves. Sorry Ady, someone else will have to loan a copy. I might even start a new thread "Records you think you have but you don't actually have" !!

Well I guess so if something is genuinely and truly rare yes I probably would draw the line there. Trouble is plenty of records that 'pass for rare' aren't really rare at all and those are the ones if I needed them I'd wait for a centred copy of. It's laughable that people think things like Darrell Banks on London and Timi Yuro are rare. There's loads of 'em about. If I didn't have minters and wanted them those types of things I'd wait for a good copy. Make sense?

I remember when james hamilton's records came up for auction, so sad to see all those uk 45s with nc's. and scratches on the label to increase the grip on the turntable. :roll eyes: I'd still wait for a nice minty demo with a centre to turn up, looks like I am in a minority of one.....there' no urgency with collecting UK records today like there is with 'in demand' US records.

I almost certainly have, will check tonight and pm ya.

No. I'd bide my time until one with a centre came along. Having said that I do seem to have amassed a few Sue's and Mercurys over the years without centers!

Do you mean The Work Song?

With my UK collector hat on, I wouldn't even bother looking at a record with 'nc' unless it was a label that routinely didn't have centres.

Jean Terrell pretty good too as I recall.

Interesting thanks for posting.

Finess very nice, forgotten how good the vocals are on that.....off to the record room to find it! Yes Lars on. What happened to George?

Very sad to hear about this. Our thoughts and condolences go out to his family.

Hi george, yes Karma was Sam's label and he was behind all the releases on it. Sam's partner has promised to come back to me with detail before the end of the month. Steve

I've only ever seen one fast one and it took me ages to get the mid tempo one. I think the faster version is slightly harder than the mid tempo version. But it's all relative - try finding any copy is not easy.

I remember doing one do at Stamford in the early 80s and a rival promotor turned up and nutted one of the Stamford promotors bang smack on the nose, bloody mary's all over the dancefloor.

Yes he moved from there in 68 Gareth. He also sued John lennon over the use of the name Karma which he claimed was his own.

No I don't really know. A lot would depend on whether the A&R / promo people sensed a hit. So initial runs could be as high as 25,000 or even more on occasions if they thought they had a hit in the making / were getting positive feedback and believed in a song, or if something was on a local label and doing well. But beyond that I don't have any hard facts on this. For a lot of majors it was single digit thousands. There weren't any standards that i know of like RCA did a minimum of X thousand - it varied. Numbers pressed though is largely academic, so I can think of a song that was pressed in a five figure quantity as an issue which ultimately didn't sell a single copy. All the copies were either kept in the warehouse or returned from distributors 'unsold' or sold in the secondary (cut out) market.

They were one of Sam's groups - def Dallas not Houston. Sam's office was on Stemmons Freeway (and I have also been there which is a main drag out of Dallas) and I am hoping to get a photo via his long term partner. Mr Stemmons was a founding father that built parts of Dallas up b.t.w hence a road named after him. John - The Kent LP names A&S as writers - but Dave and myself are saying highly unlikely.

Sam bought the backing tracks after the record had been used for The Precisions "Such misery". Was discussing this with dave Thorley and probably George McGregor sold it. Ashford & Simpson were at Motown long before Stemmons was done, so doubt very much that they had a hand in it at all as they'd left FloMar. Also it's a Dallas record. I am in contact with Sam, I'll ask him.

Are you talking the Big 6 or Big Six + others like Atlantic, Motown etc? Runs were as low as 1,000, occasionally less, and obviously more as needed. Of course not all of them got out of the record company offices hence rarities....