Still Diggin

Thanks for this excellent article on Joe's recordings, This type of informative thread certainly inspires me and i'm sure many others to have a dig around and revisit his great work.👍

Good detective work sir, I thought it was an old Gibson without really checking, so it looks as if I was wrong. It still looks a really dated style caption for later than 78, though maybe just set up to look that way to capture their favored period. However as some one else mentioned if it was a photo from the 80's then the guy holding the guitar would have been very young in 1965 asuming it is the Cashmeres on Hem.

Sorry Sebastian, I managed to get the Cashmeres on Rubbertown (different group) accredited to that 1970 date I had down, then confused that with the hubba hubba thing. And you are correct regarding the Ninandy 45, still have that somewhere, will give it another listen as that sounded a tad later than 68.

Yes, I can see your school of thought with that, however the 'Afro' black and proud hair styles never really kicked in till 72/73, hense me thinking the photo was possibly 70/71 no later. As you say it could defeat us all.

i'm now thinking the second photo looks early seventies to me, so perhaps the period when they were on hubba hubba or Ninandy. Many group acts up to and before that period are mostly seen with the bow tie and collar in suit, however there is a great clip of the Temps on youtube from the sixtees with similar wide collars. Never thought eightees ,the guitar was the giverway, not that folks in the industry did not cherish them, just not great in a promo picture. I thought to start with it could have been from the sixtees , but obviusly wrong.Thanks for that. Andy

You still seem to think they should all be young, I fail to see why..Besides does the photo above have a proven connection to the group on Hem?.

So why would they have to be in their twenties or thirties to cut this 45? they could well of been in doo wop or early transional groups prior to that, most groups or artists end their time singing at a ripe old age. If you key in 60's mens suits on the net I think you will find many almost identical to the ones they are wearing

Fantastic track, just a pitty it's taken 25 years to see a 45 release. I'm sure that will inspire more 45 releases of the bottom less pitt of quality CD tracks from the last 30 years, sadly which many failed to buy through shallow reasons only known to themselves. Well done Patrick and Mark R for raising it's profile.

Hi Neal You may get a bit more luck with Wildflower. Best Andy

And guess what? the same here.

Remember the modern nights well, that was right in the middle of that little label renaissance of the eightees, so not only were many of the now iconic modern soul records being played there as current biggies (Melvin Moor, Mother Fox, King Moses, Florrecent Smogg) There were also many great new and recent releases like The Mad Lads ' I Think i'm falling in love', Chuck Roberson 'i've got to have your love'. I remember having to wait for the heavy rockers to be chucked out before the nighter started.

The best I can do is play it really loud the next time you drop in👍

It could well of been Peace Justice and Equality that her husband was a member of, as that is the other cut of the 45. This came on Stone gold records which I had allways assumed was Goldstones logo, hense the switchig on the surname. Daniel Goldstone also cut this solo on a mini lp. There may be info on discogs regarding the members of the above group. Andy

I agree, In the thirty odd years I have been aware of this record the chances I have had to buy it runs well into double figers, too poppy too catchy, saved by the lead. So I doubt it would of been a keeper for long .I've seen far less copies in that period of True Image 'Come what may' on Flowers, superior listning pleasure IMO.

I can clearly remember John playing me the Crystal Pyramid 45 down the phone after he had turned them up, I asked him to keep a copy as I had arranged to pop up and buy a few things the next week. The first thing he said to me when I arrived was it had been his favorite play while driving around the states on his previous two trips. A few years later while having a pint at Andy Davies( who worked for John) wedding reception I said, so who is your favorite artist, he replied without hesitation James Brown. Those two examples could not be further apart, so I all ways had the great man down as real soul fan with few boundaries, However as mentioned in previous posts the harder edged, gritty and southern material was probably his first choice. I remember when the so called 'rare groove' scene emerged, he would laugh at the wants lists because most of them at the time were not actually rare.

Chosen Few 'Taking all the love I can'/ Birth of a playboy Maple white promo vg+ £100 SOLD Classic Johnny Brantley production, few very light marks, plays great. Bobby Wilburn 'I'm a lonely man' Gamble white promo vg+ £200 SOLD Hardly ever comes up for sale in any condition or format, wonderfull record, plays great. PAYPAL is fine, full refund if not happy. Andy

Judy Clay sounded top notch, nice one Phil .

Not sure what Steve g's take on it is but when I first bought the record I found it rather catchy. however the more I played it the more I lost interest, lyricly I found it repedative and musically just to twee and par for the course for the area it was from, thats why I let it go. IMO a good comparison being a poor mans Essex 1v ' My heart just cant take it' on Windmill. For sure it's a really rare record, but then there are thousands that are average ,yet seem to fetch over a $1000. Just an opinion, but given the intrigue shown I felt my thoughts may prevent an unwanted search.

When living in Guilford Ian would often come up to Norwich and either support or dj at local gigs in in Norwich, having roots in Norfolk I got to know him better when he moved back and often popped to see him and buy a few records, he would often have titles I had not seen before, some of which I have not really seen since. Ian is also into his military memrobilia, I remember joking with him and asked if he was having trouble with the neighbors, he only had this giant shoulder mounted bazooka in his hallway! he laughed whispering 'don't tell anyone'. Sort of lost touch really, which is a shame as he is only half an hour's drive away. Always looked to be inavative with the music, just how I like it. A significant contribution to the scene.

Had this many moons ago and I think John manship got about £400 for me in his auction. Typical twee philly dancer, but never really goes anywhere. Came from Soul Bowl for £30 late eightees. Andy

I am sure your info is correct Steve, however there are a few clips of the Garrison 45 on youtube which clearly cross reference pictures of the group that were on Fontana 'She don't deserve you'. This group are documented as being Margaret Ross, Dorothy Jones, Earl-Jean Mcrae. So it would appear those posting these vids obviosly have their wires crossed. Group harmony has the Detriot group as uncredited backing singers on Jack Montgomerys Barracuda 45.

The oval chips sticker seemed to appear on loads of Philly and New York distributed 45's. There is some great info both on hear and the net in general regarding Weldons prolific contribution to black music in Philadelphia.

According to wikipedia Parlaphone have owned the rights to the T.k catalog since 2013, so I assume it would have had to of been licenced from them, prior to that it was Rhino who I think did a few comps.

There are lots of examples of this variation with indie logo's in the eighties. However, why this trait exists is open to debate, I have a few idears, but nothing factual to back it up.A few examples to hand being Dynamic Uppsetters on Mega, Quietfire on Simplex, Harden Bros on H.B, Heaven Sent & Extacy on Jamieco's, Jerome Jones on Jam for life, Strictly Buisness on S.B,. These were all pressed both solid centre and standard U.S . There does appear to be less examples in the 70's. That's the first time i've seen the Frankie Crocker one.