Liamgp

PS, thanks for contributions.

Problem solved! I asked for more info and he said the DJ was playing tracks from 'some Philadelphia R&B' CD. Ah, not the Arctic Records compilation? I thought. A quick look on Google and it's actually this he was talking about: https://www.youtube.com/watch?v=Jv5npRJkBPk

It's not Troy Dodds although amusingly enough he's now going to buy a copy as he likes it too. At this rate he'll end up with a set entirely made up of records about looking for women as he also bought Bobby Moore's 'Searching for my Love' while trying to find this mystery record.

A friend from the US is trying to trace a record he heard on an oldies radio station. He describes it as an R&B record 'a lot like the Coasters' Searching' and the title is something like 'Searching for my Baby' or 'Trying to find my Baby'. He says the lyrics talk about getting the FBI to help find her. I frankly haven't any idea. Do any of you lot?

Under the SSW banner. Yogi Haughton certainly isn't from Scotland, he lives there but his accent hasn't changed a bit in 30 years! https://www.youtube.com/watch?v=IUYv1jRFnRk

https://www.scottishsoulfulweekender.com/lineup.php

I note that the string arrangement on both Chuck Jackson and Big Maybelle's versions was by Carol(e) King. Here she is talking about her work on another tune: "A lot of people think I wrote the lyrics for “Will You Love Me Tomorrow” because they express so eloquently the emotions of a teenage girl worried that her boyfriend won’t love her anymore once she gives him her most precious one-time-only prize. Those lyrics were written by Gerry. My contribution to “Will You Love Me Tomorrow” included writing the melody, playing piano in the studio, and arranging the string parts. I had never before composed a string arrangement. With “There Goes My Baby” as our model, I incorporated Gerry’s ideas and my melodic lines into an arrangement meant to complement the voices of the Shirelles. I tried to make my charts look as professional as the ones I’d seen on the music stands at Don Costa’s sessions by hand-copying the part for each instrument separately on music-staff paper with a steel ruler and India ink. I wish I’d known that an arranger had only to scratch out a score in pencil and a team of copyists would work overnight to make the charts look the way they did on the music stands. After many hours handwriting more than fifteen charts, I was bleary-eyed. I looked at the clock. It was 4:45 a.m. The alarm rang entirely too soon. I dragged myself out of bed, brought my daughter to my grandmother’s, then took the BMT up to Scepter Records, the Shirelles’ label. Recording the rhythm track took less than an hour. Then the string players arrived. The first time I heard the cellos play the rhythmic figure at the beginning of “Will You Love Me Tomorrow,” I was euphoric. Some composers literally hear the sounds in their head as they write; I had to wait until a session to hear what I wrote. As the musicians began to play the parts I had written for “Will You Love Me Tomorrow,” I became giddy with excitement. I was 18."

Let's say £4.99 and forget it! https://www.ebay.co.uk/itm/HOLD-TO-ME-BABY-OOH-IT-HURTS-ME-THE-CAVALIERS-/251530590819?pt=UK_Records&hash=item3a90643a63

I've known two blokes who got jobs in charity shops specifically so they could nick stuff and sell it on Ebay (not records but clothes). I'm happy to report they both got rumbled and one got his dole stopped as he was being paid to work there too. Oh dear, how sad, never mind.

The problem is that they might be able to understand the book value of something but they rarely, if ever in my experience, understand the difference between mint-excellent-very good-utterly shagged. I asked a woman in an Oxfam why they were selling a battered Rolling Stones LP with 'I love Keith' actually scratched into the vinyl grooves (!) for £40. "It's the price given in the guide book" she said. Still, I have had my moments in Oxfam including: Lots of UK soul including a mint HMV demo of the Impressions 'Woman's Got Soul'; Lots of pop/rock stuff like The Who, Small Faces, Kinks, Action, Rolling Stones, etc; Gene Chandler/Jerry Butler LP with JB's autograph 'To Lousie, yours Jerry Butler'; A&M demo 45 of Captain Beefheart's 'Moonchild' with record company letter; at least 4 copies of 'Long After Tonight is All Over' over the years; Chris Farlowe 'Air Travel' demo; French EP of Markey's 'Last Night; and a copy of Wigan's Chosen Few 'Footsee' with 'Northern wankers' and 'fuck Spurs, up the Hammers' 'written on the picture sleeve - sorry now sold.

Since it's the B side of 'It's Raining', you might have more luck looking for it under that title - that's how I got my copy anyhow.

I was told that after expressing admiration of it and it was mentioned as a 'late Searling sound' from Wigan (I think Neil McKillop said it) which he also played at early Stafford gigs. Having never gone to Wigan I've no idea either way although it would have been mentioned more often if it HAD been played there I imagine.

I and several other people I know bought a plain white label of it at Stafford circa '84 - around the same time I bought a 'Mafon' (or whatever the label was called - copy of 'Suspicion', However I was told that the first person to play it out was Richard Searling first at Wigan then Stafford.

It may well be the producer's brother - Lolly Vegas - who is featured not Mr Watson.

I've seen kids - well people under 40 - buying these things in shops that sell primarily modern dance records so I would say it's an excellent intro to the music for people that aren't actually into the scene (and who knows they might be one day). However it is a tad annoying that something you have searched for, coughed up a fair amount for and is fairly exclusive to you as a collector and/or DJ is in the hands of the great unwashed! Mind you I'm sure that was the feeling that some people had in the early 80s when I and my mates were buying boots, compilation LPs and legal reissues and playing them out too, although to be fair we did run our own events and were therefore usually skint.

I recall these from a while back. Not quite as risible but...

more info... https://koti.mbnet.fi/wdd/troydodds.htm

Wonder if anyone ever asks him if he's got any spare copies of 'Try My Love'? https://twitter.com/troydodds On a more serious note, THE Troy Dodds recorded made quite a few records for different labels, so he can't be that obscure, and 'Down in Tennessee' was even picked up by Warner Bros for release.

Elusive wants! Harvey Fuqua - She Loves Me So / (Dance) Any Way You Wanta - Tri-Phi Rotations - Put a Dime on D9 / Instrumental - Frantic Johnny Scott - Somebody Help! Anybody. Portra Paypal only please. Ta. Liam

Oh, you mean like this... https://www.rentacrowduk.co.uk/

Wasn't being tetchy, well maybe I was (Mondays)! Yes, the technology for ensuring consistency in printing has improved a lot in 20 years, never mind since the 60s. Makes me wonder if some label owners were more diligent about the quality of their product than others. You can't imagine a control freak like Berry Gordy allowing his labels to be badly made after all the thought he put into his products. I mean how many record companies actually had meetings to decide if something was worthy of release or not?

Last time I operated a Heidelberg was 1994, so I have to bow to your professional knowledge or more likely I didn't know what I was doing.

If you've ever worked with large scale offset printers, you'll notice the colours will vary as you go through a job as ink saturation will change the shade throughout the printing process. There also may be variations if you have too much blue or not enough yellow or whatever. The only way to avoid this is with gravure printing but that's way too expensive for something like record labels.

It would be so much more fun if they used this... https://www.youtube.com/watch?v=chz_spIGIx0