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maslar

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Everything posted by maslar

  1. No accounting for taste. I think its a great into : "Love is a many splendored thing". Maybe it was an inside joke.
  2. I thought that came out in 67. before the Detroit stuff? One thing about Track is it's fairly difficult to find a decent discography for such a small label/output. I did start to collect it some years ago due to the Bolan connection but then stopped. Interesting label though. and of course contains one of the great UK rarities: John's Children's Midsummer Night's Scene - only around 25 copies and given away free at a concert after Bolan left JC. Guaranteed to sell for over £5000 and probably a lot more.
  3. I thought on the single it was wrongly credited as Holland Dozier and Holland. On the Liquorice Allsorts LP it's credited to Ware and Terry
  4. From what I know of Track they started of with big intentions regarding soul output but seemed to fall flat pretty quickly. The was an the initial gusto at the end on 1967 and the announcement of the planned release the Revilot catalogue (maybe this was just hype). But then in 1968 there was no soul output at all. Three singles were released in 1969-70 and two of these were re-releases and one was non-Detroit Only the Debonaires was fresh. I don't have the Backtrack but I have the later Liquorice Allsorts which contains some of the same tracks. It's clear Track had the rights to the Parliaments' "Don't Be Sore At Me and All You Goodies Are Gone since they appear on both compilation LPs. - Although AYGAG is for some reason titled Let Love Put You IN The Losers Seat and has composer credits listed as "Unknown". Why these were never released as a single I don't know but probably down to some blocking following the breakup of Solid Hitbound.
  5. He (Nick) ought to make a short documentary - 10 mins maybe - explaining the general history of the record and its various releases and then the story behind and importance of this find. Stick it on youtube. That way its always "his" history. Maybe Mojo would be more interested in doing a feature than RC?
  6. Going from memory (might be a bit out). the deal with Ric-Tic and Polydor was a set deal/contract covering a time period of a few years which is why TM couldn't release these tracks in the UK after their firs tRic-Tic aquisition. . The deal between Solid Hitbound and Track (Stamp and Lambert) was separate and nothing to do with Ric-Tic/Polydor. At the time (1967) it was announced in the press that Track were going to release the whole Revilot catalogue but obviously this never happened. By the time Motown acquired The Fantastic Four the Ric-Tic/Polydor contract time span was over.
  7. You sure? I went to the official last one in September and I definitely went to the Tommy Hunt one - It's the only time I've ever taken a camera out with me and I got some shots - including me having a cringeworthy moment shaking hands with TH while he's singing. - generally pretty bad photos though due to the crap camera. If it is true they were two different nights then that's really thrown me but in a way it makes sense - esp if the Tommy Hunt was on a Friday because I always vaguely associated it with going after work and I didn't work Saturdays - so that bit didn't make sense if you see what I mean - because I always remembered it as a Saturday.
  8. Not counting "You Got What It Takes" which was stolen from Bobby Parker who wrote and recorded it earlier in 1957. The first information I ever got about early Motown releases came via the British publication Record Collector July 1980 (which i still have). it stated the four London singles as the first Uk Motown although I later discovered that this information is only partly correct: Paul Gayton - The Hunch 8998 Nov 1959 an Anna release so, as you say, not really Motown Barrett Strong - Money 9088 April 1960 - Originally Tamla but released on London as an Anna recording. The Miracles - Shop Around 9276 - Feb 1961 The Miracles - Ain't It Baby 9366 - June 1961 But as previously mentioned the first UK Motown was Come To Me (Tamla 101) which pre-dates all these
  9. Seeing as Darrell Banks has been mentioned a couple of times I'm going to go with: Parliaments - (I Wanna) Testify - I Can Feel the Ice Melting
  10. I've got to admit I know very little about OS. I haven't really given them much attention. Which are the more interesting ones eg previously unreleased, or in any way more collectible than the rest?
  11. I would say that Gene McDaniels was a jazz singer first and foremost and a soulful jazz singer at that. He also wrote one of the greatest (soulful) protest songs of all time - Compared To What - the message of which is still very relevant today. Class is class. You've either got it or you haven't and Gene McDaniels obviously had This clip recorded less than two weeks before his death. aged 76.
  12. Yes trophyism - an essential feature of of record collecting - or any type of collecting. Look at the price that Beatles UK demos fetch compared to standard issue.
  13. If a record regularly sells for £500 then it's a rare record. Obviously terms such as "rare" carry a degree of subjectivity but in record collecting terms both can be safely placed in the "rare" category. .
  14. Plentiful on ebay? Well there's always a few copies but most are either boots or in less than ideal condition. You can get a top condition copy from a dealer for about £40.00. That makes it "rare" in my book. Not super rare or mega-rare but it is a rare record in anywhere near mint condition. Of course you can go down the elitist route where the only things that are "rare" are so rare no one's seen them and anything else is scoffed at, but that's neither here nor there. Why would anyone want to spend £10 to £20 for "styrene VG or VG+" for such an iconic record? It's always going to be worth forking out that little bit more for a nice copy There might be a few copies on ebay but how many top condition originals pop up over the course of a year? Not that many..
  15. This doesn't really make sense. Are you saying DB isn't a worthy soul record? I think the TY is ok but to suggest its a better soul record than Revilot 201 or that TY is a better soul singer than Darrell Banks is in my opinion a little much. I know there's no accounting for taste but come on...
  16. I've always thought COTB had a hard edge that most people don't associate with them. Finders Keepers reminds me of earlier stuff like Tricked and Trapped, although like you says its taken one step further. with their later work. and collaboration with Pfunk musicians,
  17. Sounds like a trick question? Is there any reason it wouldn't be recorded at Tower Theatre? I know Dennis Coffey played on Finders Keepers and with regard to Invictus I've only seen him make reference to Terra Shirma and Tower Theatre.
  18. Ah right. I think I got the white label bit mixed up with something else. I know the person who he swapped it with claimed there was at least one other copy so that ties in with what you say about there being a few in existence.
  19. Ben E King ICBTNTM? Wasn't that a white label test pressing? I know the person who owned it and that's what it sounded like by how he described it. I know he swapped it for a certain UK tamla demo he needed to complete his collection.
  20. Reply to both Pete S and Paultp I understand what you're both saying but from a collecting point of view it raises a number of issues. Especially with a release such as this. As soon as you start splitting it up you're removing the record from it's packaging. In effect it becomes incomplete - not just the set but also the individual record. That's true even if it's in pic sleeve but even more so if the outer packaging is prominent. There's an association between each particular record and the packaging or "box". Even if each record has a value of its own the sum is still usually greater than the parts. The Motown release is an historic release. That makes the "completeness" issue it even more relevant in my opinion.
  21. Why would you split them? A box set is a box-set. That's why it's called a box set. It's a set of records in a box.. I suppose if they all get split up the next logical step would be to collect all the box-set records and then maybe acquire a box to put them all back into. A sort of reconstruction after the deconstruction.. If it's issued as a box set it should stay as a box-set from a collecting point of view. I don't think in any other sphere of record collecting would anyone advocate splitting up a a box-set.
  22. Colette Kelly - City Of Fools. The strangeness (quirkiness) of the lyrics, compounded by the phrasing. The Masqueraders The Grass Was Green - a homicidal love song? I'm Your Pimp?
  23. maslar replied to a post in a topic in All About the SOUL
    I think I only bought three, maybe four, soul packs. All advertised in Black Echoes The first was reissues with a lot of dross: Bellboys, Belmonts etc. The best of this bunch was the Carlettes I'm Getting Tired which I think is a legit second issue. The last pack I bought was mainly 70s and all originals. The pick of the bunch was Quinn Harris I'll Always Love you. In between was the one that was the best value to me. All original Detroit including Ric Tic - Little Ann. Al Kent, a few Fantastic Four and Golden World, Adorables Barbara Mercer .etc. Nothing of tremendous value but in terms of musical quality worth every penny I paid for the pack
  24. If I had to choose just one to take on a desert island it would be the Four Tops' Reach Out. For nostalgic reasons as well as well as it's quality.
  25. Don Gardner Cheatin Kind - every riff just about. The Artistics- Girl I Need You - where the strings kick in near the end

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