boba

haha, this is one of the best things I've ever seen on ebay

Hi Jeff, nice article, and awesome photo. But it doesn't mention that "I don't think I'll ever love another" is a cover of Rock Candy on Dontee. I assume the Rock Candy version was first, as it was a group Joe Tate produced in DC. Just FYI.

some group info here: https://launch.dir.groups.yahoo.com/group/spectropop/message/34520

sorry I haven't done this yet, I have been super busy and it's crazy late right now and have to go to sleep. Will scan and record the valaquons tomorrow. here is the current fran-cettes listing in soul harmony singles. will try to investigate more tomorrow. I also don't have that sleeper 45 but it appears to be the same as the wolfie release, which I do have. FRAN-CETTES, THE (fg) (Los Angeles, CA) Frances Gray (lead), Debra Dion, plus unknown members. ** Besche 100 Cradle Love / Late In The Evening (62) Sleeper 201 I'm Leaving You / He's So Sweet (63) Wolfie 104 I'm Leaving You / He's So Sweet (63) Kentone 101 Won't Somebody Want Me / Anything Baby M.M. 010 He Once Belonged To Me / Two Timing Lover (64) Challenge 59255 Nothing To Write Home About / Young Daddy (7/64) (below as The Francettes) Valiant 718 I Know Him Well / Wham (6/65)

is there a webpage or book that explains the different scenes that I can look at so I don't bombard you all with a bazillion questions? because I still don't have a clear picture of what was going on.

these all sound like "rare groove" to me, was the rare groove sound different?

Also, related to your comment, was the scene pretty racially mixed? Were there differences between the scenes with respect to this? Was there a general age range of people who went?

Monk Higgins clearly produced the record (and possibly owned the label). Backing singers on this probably are the rest of the specialties unlimited, basically making this a specialties unlimited record. The specialties unlimited were Mamie Galore, Alex Brown, and Clydie King. Higgins used them as backup for his productions -- for example, I know they sing on a 3 sounds album. Also, why didn't you try to find someone in Japan to buy the record for you and ship it to you?

Thanks to everyone who responded so far. One thing I'm confused about is the jazz-funk scene. Can someone give examples of what was being played on the scene? Just because a lot of 70s jazz funk (e.g. mizell bros productions) are rare groove classics (at least in my experience, don't know the specifics of the UK scene). Did the Jazz Funk scene play harder jazz funk (e.g. more early 70s) or was there this overlap. If this was the overlap, I don't really understand the difference at all between the scenes. Overall I don't understand why the scenes were so fragmented when there seems to be so much overlap in the music. Also, was there a specific "2-step" dance that people did?

you people all have nice cars

Did you read the article? Nobody even knew where she was in the US or where she was really from.

I get a lot of records in the mail and sometimes it takes a week or more to play one.

Oh yeah, my favorite "rare groove" LP that is listenable all the way through is "Those Sexy Moments".

Branching off my milton wright thread, I wanted to create a general thread to dump some questions into. 1. When did the "rare groove" and "two step" scenes in the UK start? Were they mostly in London? What was even the difference between the two scenes -- did the "rare groove" scene just play some funkier material that the two step scene didn't and the two-step scene played some smoother material than the rare groove scene did? 2. Were these like rival scenes? It seems like the same people would be interested in both things. Why were there two (or even more than 2?) scenes? Was there also a separate "modern soul" scene? And a separate "jazz funk" scene? 3. What types of events did these scenes have? Were they mainly soul nights at night clubs and bars? Did people mainly hang out and drink or did they actually dance? 4. What does "2-step" even refer to? It's weird because in Chicago there's a "Steppers" scene of mainly older folks doing sort of complicated dances to music that heavily overlaps the "2-step" scene. I think their biggest records are Jeff Perry "love's gonna last" and Lowrell "mellow mellow right on". But they play a lot of modern stuff to. 5. Did all the scene focus more on LP cuts than 45s? Did one of the scenes focus on one more than the other? 6. Do these scenes still exist? Also, totally unrelated, I have been getting some nice rare groove type sounds recently (partly because I've been buying a lot of random major label numbers and listening to them and finding some nice material). Here are 3 random ones I pulled from the top of the pile: Mowest 5015 - GC Cameron - You are that special one / What it is, what it is. Both sides are nice, one is faster and one is slower. Obviously not as awesome as his Curtis Mayfield sounding masterpiece "no matter where" but still really nice. Mercury 73450 - Brenda Lee Eager - When I'm with you. This is a great Larry Mizell production. I feel lame listing the record just because it's now in demand after it got recognized after Fonce Mizell died (I hate buying things that are popular or that a lot of people are into) but this is a really nice, deep and dark, classic rare groove sounding track. Castle 78102 - Marie Franklin - Being in love ain't easy. Really nice subdued modern / southern groove sound also, one of my all time favorite rare groove tracks of all time isn't a single, it's this: https://www.youtube.com/watch?v=eSP3_nKX6qg Did this get any play? I wish this were released as a single.

I listened to it a few more times, I think it's better than I initially thought (listenable and maybe playable on my show) but definitely not great. I'm starting a new thread about the rare groove / 2-step scene.

I searched and didn't see this posted here, should definitely be of interest to some people: https://www.nhregiste...4c031573182.txt

lead of the vondells is lowrell simon, later lead of the lost generation

I guess those stricter requirements also contribute to the smaller availability of options and the value I guess. There is some dealer who used to come to record shows, the plate on his van was "I Buy 45s". It wasn't an Illinois plate, I forget what state he was from. I wonder if it ever got him records?

what's with all the faking numbers as letters (besides trying to get something that's already been taken)? Do plates there require 2 numbers or something?

i meant that he said it had the right sound and was rare. it's not my sound so i can't tell.

In the future in situations like this, please try to hook me up with a million or two. I promise they will be spent buying records and therefore preserving the history of soul music.

haha someone bid on this. maybe a gambler...

If this is true, why is he selling them for a monetary value?

A little off topic, but I was looking at some labels recently and noticed that this arctic label (which is unrelated to the philly label) is the same new york label that derek martin on arctic is on and is the same label as the executive four on lu-bet

that is totally true, although in this case he got lucky that he bid early as it revealed fraud by a stupid scammer who can't even shill bid well.