Dean Rudland
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Seven Souls - I still Love you blank ID help
Dean Rudland replied to Agrail's topic in Look At Your Box
I think we have - and probably will always have - too little information. In the above do we know that the matrix is the same or different to the released record? -
I think that the $4000 is more than likely for the work that he did for Getto Kitty Productions - there were two albums and one single for RCA by Sonny Til, Percy Mayfield and the Swordsmen, and two Nina singles and an album from Nina.
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Seven Souls - I still Love you blank ID help
Dean Rudland replied to Agrail's topic in Look At Your Box
Chalky, when I worked at Fania I had access to the archive, and one sided test presses were done on a number of releases. They were the same as a two sided test pressing but split across two discs (at Fania they usually had generic pressing plant labels, sometimes written on, sometimes not). So I don't think the single sided TP is that unusual, although the lack of label is. As I think you said Test Pressing are often done in low numbers - I do 5 for Acid Jazz - and very rarely more than twenty. So something like the above will be rare. Oddly I found a single copy of The Seven Souls in the archive - used to work out the arrangements for 'Stranger' on Joe Bataan's soul album - sadly cracked all the way through. It was a shame because there was multiple copies of just about everything else covered on the album. -
I haven't been able to get hold of the correct person at Warners, but the reason for the titles is that these are the ones that ended up being owned by UK Warners after they bought out the EMI UK catalogue in the early 2010s. Basically the Roulette catalogue and the associated (ie bought up by Levy) labels, so Calla, Port, Colpix etc. The two that were issued in 2019 came in the same packaging as all four are appearing in today. I presume that they've got a plan, and if anyone tells me what it is I will post here. Since the relaunch in 2017 there have been very few reissues, but they have included a Ray Charles Atlantic singles CD, and Nina Simone Colpix singles set, and the Candi Staton unreleased Fame tracks LP.
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eddie piller slagging off soul source
Dean Rudland replied to Fiftyboiledeggs's topic in All About the SOUL
This was about one of the Northern Soul films that came out about a decade ago, where Ed knew the producer or director as a friend, and he found out that people on the Soul Source forum was wishing death on that person. It was less against the site, than against the mindless hate that would sometimes flare up on the forum, back in the days when there was a lot more posting and people were very hot headed. He was conflating the sites forum with a certain strain of the northern soul scene. -
First northern / rare soul scene reissue
Dean Rudland replied to Joesoap's topic in Look At Your Box
This is a fascinating topic and really depends on where you draw the line for the rare soul scene. I mean obviously things were re-released on Sue because Guy saw demand for them - hence not only Night Train, but also You Can't Sit Down, whilst a lot of the 1964 Pye and Stateside blues singles were the result of mods or groups covering the records - My Babe by Little Walter, and Smokestack Lightin' by Howlin' Wolf had both been previously released on UK labels - but surely those 1968 releases were the first inspired by the new scene that was deliberately trying to track down poorly selling up-tempo dancers from a few years earlier. -
It's what's in the groove that counts...or is it?
Dean Rudland replied to Chalky's topic in All About the SOUL
Hi Chalky the cheapest we are paying seems to be closer to £1.50, plus shipping (and in reality for most small labels plus 8 1/2 % of Published dealer price for mechanical royalties paid on pressing not sales.) And in fact, most pressings that are higher than 500 units are not selling out, and very few releases sell over a 1000 in a short period of time. Dean -
Hi Paul Just because someone says it happened, it doesn't mean that it did. What Berry is suggesting is only applicable for the US market - you have to pay a fixed rate in the UK and the publisher can't make it smaller for you, they also can't block the usage of the song. When I'm dealing with US publishers they often translate US rules to the way the rest of the world works, but it just isn't the case. But more importantly, I'm not sure why, in mid-1963 he would be convinced of the argument that the Beatles were so big that they needed special treatment, and Brian couldn't have withheld the tracks from the album as they'd only recorded enough tracks for an album at that point.
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Not much of a wait. Almost sold out, so these are being posted out tomorrow. Just going to say, that although these are currently limited, we may well be doing more...
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Billy Valentine - one half of the Valentine Brothers of ‘Money’s Too Tight To Mention’ fame - and Bob Thiele Jr have been working together for some time, writing songs for amongst others Ray Charles, Joe Cocker and Axwell from the Swedish House Mafia. During the 2020 - lockdown and the protests around George Floyd and on behalf of BLM - the pair started working on an album of politically relevant covers from soul music’s past. The first fruits were this stunning version of Curtis Mayfield’s ‘We The People Who Are Darker Than Blue’, where Billy is accompanied by The Larry Golding Trio and Blue Note Records recording artist and very special saxophone talent Immanuel Wilkins. It stunned both me and my partner in Acid Jazz Records Eddie Piller. It was something that should have just been a diversion but the results were stunning and an album’s worth of material was recorded featuring amongst others Jeff Parker, Joel Ross, Theo Croker, Pino Paladino, James Gadson and Linda May Oh. Bob and I had been working on the Flying Dutchman catalogue at Ace Record - It was of course Bob's father's label and he working with his father’s legacy for the first time - and he felt that this record could sit proudly and appropriately alongside that catalogue and that it should be the first new release on Flying Dutchman since 1976. Myself and Eddie offered to release it on Flying Dutchman via Acid Jazz, a collaboration between two classic labels. The album is coming next year, but for now there is a limited one sided 7 white label 7-inch available from the Acid Jazz online shop. Purchase: https://acidjazz.bigcartel.com/product/billy-valentine-we-the-people-who-are-darker-than-blue-ltd-edition-of-200 Listen: https://on.soundcloud.com/BJ75 Dean Rudland Scan -
It's what's in the groove that counts...or is it?
Dean Rudland replied to Chalky's topic in All About the SOUL
I get that, and with the example I gave we made very clear there was more stock coming at every point. Truth is all of these records are limited. I doubt many sell more than a 1000 copies, and the best sellers usually top out at somewhere close to 2000. I also think that a proportion of those sales are always from people that hope that the record will go up in value. I do get the feeling that buyers then feel disappointed and under-value a record if that sits in the racks at the same price it was initially sold for. As if the record is a disaster because the label pressed enough stock . -
It's what's in the groove that counts...or is it?
Dean Rudland replied to Chalky's topic in All About the SOUL
It is, and of course it means that it is incredibly tempting for labels to create artificial rarities and charge over the top amounts for them. I've seen some records being limited to a 150 copies at £50 which is more income than we can take for 1000 records at a more standard price. There's no excuse for prices that high, but I understand it. Most 7s sell between 400 and 1000, so it might be easier to create a rarity and earn the money on lesser numbers rather than being left with stock. I hate the idea of artificial rarities, but I understand the temptations. -
It's what's in the groove that counts...or is it?
Dean Rudland replied to Chalky's topic in All About the SOUL
Chalky You know that everything you say is correct, and I have quite a lot of thoughts about this, probably too many for a bank holiday Monday, so instead I'll give an illustration of the madness of collectors. When we did the first Kevin Fingier record we ordered 300 - I can't remember the reason, probably over-caution - and it quickly became obvious that we had got this badly wrong. So before release date we had ordered another 300 and then another 300, and then finally a final 300 that arrived a week after release date. Every record was from the same stampers, and looked indistinguishable from any other record in the batch, yet some people heard that there was a second pressing and I had people demanding that we tell them the difference and insisting that they got the first pressing. We also saw people selling copies of the 'first pressing' at an inflated rate - which was interesting as I had 900 in our office before the first copies were in more than a handful of people's hand (maybe 10 people). People are so keen for rarity it seems they'll do anything to convince themselves that it is out there -
Billy Stewart - Every Day I Have The Blues (UK version)
Dean Rudland replied to Thecivilservice's topic in Look At Your Box
The same happened with In The Basement by Sugar Pie & Etta James. No backing vocals, which I think gives it a harder edge
