Theothertosspot

We often forget that that records were made of two types, i.e an uptempo number on one side and a more mellow side on the other, throw of the dice I would say, if one don't work the other might. A lesson picked up by the UK distributors in so much as Footse/seven days too long. One is sacrificial. Bob

Bob on John, can always rely on you for a result. Personally never liked the label but the demo looks better than the issue to me (colour co-ordination).

Hadn't heard PapBear ...... , surprised on first hearing, sounded like "rock and Roll Part 1", but then got marginally better. Only my opinion of course Bob

Ditto it would seem

Great choice, one I ain't played or heard played out in a while. Never seen one on WEE, got a VEE JAY issue that sadly don't get out the box often enough. As I was told at school - "must try harder" Been playing The Ravennettes on Josie too, had that from you (think) Bob

The one that does it or me today is "Look what you done for me" - Contributors of Soul on New Miss Records. Told by Simon it was a Keb Darge spin under those sticky labels, set you back about £8 - excellent vfm. Bob

Reminds me of the quality of the cassette recordings I used to make at venues in the 70's. Very difficult to interpret the tune. Regards Bob

Some of the MCA releases of records released "originally" on Decca have the same matrix numbers on both the label and in the deadwax which would indicate that the same pressing plates have been used (look at Joey Heatherton on both labels). Does this make the MCA press an original although pressed at a later date. If this is the case then is the original going to be the - first one, first batch, etc?

By "rule of thumb" do you mean where the pressing operator presses his/her thumb into the prefab, and if a good impression of their print is made it will produce a good pressing, and if not it needs more heat?

Is this similar to (but perhaps not in the same league as) Darrell Banks and the London/Stateside release? Will it be a future case that the two (almost) simultaneous releases of Lover will make the record hound discuss this very subject again and again? TOTP

Is this a case of copyright then? Who had the copyright?

Didn't Richard Searling work for them (Global Records) in his early days? Didn't he also have a connection with Grapevine via RCA? Is there any connection?

It should say "NO OFFERS PLEASE UNLESS IT IS MORE THAN I AM ASKING"

Didn't a lad from Northampton do that a lot when he was over our way? Nickname "Flip it over *****"

Loads of stuff including Debonnaires and other Detroit groups were released on UK labels (manage by soul buffs) and supported by the majors such as Polydor and Warner Bros (similar to Grapevine in the 80's backed by RCA). Just think on how many UK releases there could have been form Thelma, Solid Hit and other Detroit Labels. However, this perhaps accounts for later discoveries, having to obtain the records from the US instead of your local outlet.

Not sure which the rarest is (could be Martha Starr) but I do know that the UK were onto the label early on with Guy Stevens SUE label releasing Joe Matthews - Sorry Ain't Good Enough from the Thelma lable. Regards TOTP

I know, I've just bought it TOTP

Good choice methinks, also like "here come the heartaches" too TOTP

Keep Him on Arctic (and UK London) is excellent, but You Better Stop It on Arctic is, in my opinion, by far and away her best.

The one that does it for me today is Joe Frazier - The Bigger They Come (the harder they fall) on Cloverlay, what a tune. Think the label was set up by a group of American businessmen, and profits being made were to be used for funding a boxing organisation.

The O'Jays and Chuck Jackson, what a combination that would be.

Think this may have been asked by Gilly, however, what records do you know that have a certain resemblance to other records, i.e I think Stop Girl by the 7 Dwarfs seems to have a Rolling Stones - Satisfaction type intro to it. What are your thoughts? Regards

It was gaining attention when Rudzi was running the excellent soul nights in and around Leicester in the 80's/90's. There were some excellent (re)discoveries at the time, and Rudzi along with a wealth of "A" list dj's were supplying the faithful with a fitting list of tunes that are probably not played enough nowadays.

You get no reaction to DC cos no one is in the know about it, apart from yours I have only read one review on the record tipping it to go massive if only there were more available, seems that they never turned up in quantity as sometimes happens, which is such a shame and yet another obscurity is missed. Hopefully be there to hear your tunes, look in garage for DC if you have time please.

The instrumental used to get played in the 70's (didn't they all?). First heard the vocal in the early 90's at Leicester spun by Mick Smith, Simon was on too, playing he likes of Gary Sole (holding on), Vondells and the incredibly underplayed Ain't gonna cry no more by Dave Charles as I recall. Sharmo play this again please. Regards