Dean Rudland

Robb, If I remember correctly, Luther was managed by Johnny Baylor from quite an early point in his career. It is entirely possible that all of his pre-KOKO releases were arranged via Baylor's, including his 1964 Decca sessions. He would have been based in New York at the time, and the first KOKO releases from 1967 were from New York.

Looking at the credits of the that Real Thing record it looks like a Speed Records session, with all the same names involved as the 'Land Of Love' record, except Bobby Marin, who was incidentally A&R at UA Latino at the time of the Real Thing record. Morty must have gotten the tapes to the Speed label when Stan Lewis lost the rights and sold it to Maurice Levy, as I think he was responsible for most of the reissues that occurred of that catalogue down through the years. He eventually sold his non-existent rights to Tuff City who have tried and failed to exert ownership ever since.

I was wondering if anyone can help out Kent Records with a copy of Carol Lloyd's Poor Side Of Town b/w A Great Big Thing on Tower 411. We need to borrow the record to do a dub. We will provide the usual inducements, just as soon as Ady tells me what they are! Can anybody help?

Much as I thought and thank you for the reply Gilly

This might seem like a stupid question, but is the Barbara Mills really rare, and perhaps more importantly would there really be any demand for it? Only asking because I bought a copy in a car boot sale in the mid 90s - not great condition - and it has sat on my shelf ever since.

It was recorded by Quinton Claunch for Goldwax at FAME studios but was sold to Fame when Spencer signed with them, who then didn't release it.

As one of the staff at Kent I thought I'd but in here. If a record is covered up, it is one of the ways of marketing that record, building it up, making it in the world of the scene 'a hit'. The time for which it is covered up will be relatively small within its total history. When it is uncovered there will be inherent demand for that tune, it will be an attractive item to reissue. As a record company, we want to release good records, as a business we would prefer there to be a demand for them. A good, well worked cover up can create that demand.

The reason for those was because those comps were bootlegs. Exclusivity had gone as soon as they released the comps.

Maybe you could say 'well he would say that', but I think this is an incredible track. Also most definitely 1970ish. That dating in the SKM link is not correct. I can't wait to start to play this out, because I think it will go down fantastically in a variety of settings. Nice spot of Ady's is this.

I hear that the band were more than a little surprised when it appeared on Music City. Suggesting it was done as a custom pressing by Ray Dobar, and he decided to take a little share for himself. Dean

As far as I can see 114 and 118 are the two missing numbers. 114 was supposed to be Big Lucky Carter but we couldn't find any trace of its existence when we put together the Goldwax singles collection.

The Ovations original number was 314 and came out late 66 and as Dave says charted early the following year. Spencer Wiggins on 118 is a 100% bootleg. 'Love Works' was recorded 3 years after the date that 118 would have come out if it existed.

Ady often lets other DJs have cuts of his discoveries, it just depends at which point of their discovery he is asked. For instance he offered up his Voodoo Mademoiselle to several, and they passed.

Ady much as I love taking credit for this, you can actually take a least an equal part on this one. Alec & Tony copied the tape on my behalf so that we could complete this wonderful compilation. They copied so many tapes that they kind of missed - or in Tony's case hadn't actually heard - the master when it was being copied. I was then playing the masters at Ace towers but had walked out the room when this came on, at which point you walked by, grabbed me and said this one is a modern soul winner! So there you go. And of course thanks to Steve and Sean for their support in er... breaking this, as well as anyone who has played it since.

Bob I should have explained myself a little better. Beale itself is very well policed, however the area around it - Downtown - is a little less well looked after, and in the ten years I have been going to Memphis has been the only part of the city where I've ever had any trouble. That said, the trouble was no more than you would expect in any large city - panhandling, a car break in - and certainly nothing that would make you want to avoid the city. Dean

Wonderful museum. And I've had far more trouble and felt far more threatened around Beale Street than around Stax.

Another Kent Records discovery https://acerecords.co.uk/dave-hamiltons-detroit-dancers-vol-3

Whilst this is true, it would be unfair to think that there are hundreds of copies of any one title. I think we're talking about 50 copies at most and less for a lot of titles. They are basically the copies that Fame were sent as the record company, production company or publisher of the tracks. Dean

I though the documentary was astoundingly good. Along with the Otis last week, and the Muscle Shoals Film in the cinemas later this year we are really being spoiled for soul music on screen. It was painful to hear how far gone his voice is now. It was almost as if nothing was coming out at some points. I have a real problem with Bravest Man in the Universe, in that it is probably the worst album he has ever made, and now the press discover him! It has its moments, but I don't think any of them could be anyone's favourite Bobby W moments. And I say that as a person who thinks the Richard Russell produced Gil Scott Heron album was a great thing.

There were plenty of copies of the box in Rough Trade East at 3 o'clock on Saturday. I reckon a call tomorrow would secure a copy.

All the releases before and after this in the FD catalogue originally appeared with the multi-coloured label, so I think this did as well. Because it was a popular title it was reissued with the white coloured label when FD began to self distribute in 1972/3. Garth is right that the recent pressings have used the multi-coloured label. If you have a recent reissue the card stock will be white as opposed to the brown of an FD original.You can see this by looking inside the sleeve. EDIT: Just found this listing, which shows the first press original, with labels and spine. https://www.ebay.com/itm/GIL-SCOTT-HERON-PIECES-OF-A-MAN-ORIG-71-FLYING-DUTCHMAN-LP-GEORGE-PIROS-MASTER-/160973957119?pt=Music_on_Vinyl&hash=item257acba7ff&nma=true&si=X0unYfgaNRMe78xHM3bjkBfW7Co%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557

It's on the Fame Studios Story box set that we put out in November 2011, previously unreleased and found on a tape with the song title on it and versions by 'boy' and 'girl'. As Chalky says its available in the Fame Singles Box, available direct from Ace for £30, for 5 singles. https://acerecords.co.uk/the-fame-singles-box no speeding up on that sound clip.

That's actually something I hadn't put together. I always presumed the UA bit was after Fania, but perhaps it makes sense that it was a short interlude before his final splurge at Fania. The players on the Barrio Band album are basically the Fania All Stars, and that shot of Harvey from Our Latin Thing shows him as the musical director of that band. Harvey is a lovely fellow who I interviewed extensively a few years back. At the age of 76/77 he is still very active.

I think he was there slightly longer. For instance Heavy Duty was a joint venture between Fania and Harvey and he produced the first Ralfi Pagan album on Fania and part of the second. The Harvey Averne Barrio Band record on HD is from 1971. He joined the label in 1967, and co-produced Ray Barretto's 'Acid' LP. Also his Atlantic album Viva Soul was basically a Fania album licensed out.

The low thousands? I worked on Fania for four years and had reams of paperwork about pressing numbers. So I think I'm right there. Boxes of multiples that's speculation, but not sure how there would be.