I know there are a myriad of reasons why records don't make it to final press but it never ceases to amaze me how a track remains unreleased until such times as the good guys at Kent (and others) mine the vaults and put out the previously unreleased stuff.

 

Which leads me to the wonderful "Betcha' can't guess who" by the Newcomers, a previously unissued Truth track which appears on Kent 252 - More Perfect Harmony.

 

What was going on when they decided to leave that one in the can?

Yes great track.  I'd guess it was left in the can because they were being pushed for a poppier sound like Pin A Tail, Martian Hop (!). 

 Hi all....When it comes down to it in the music industry since time, the artist has been exploited by everyone else, in the 5ts & 6ts this was even more so, most people are aware that Berry Gordy Jr did not make records (well 1 by exploiting all those who called him Berry, allegedly) in the US & UK managers & producers were on the make/take along with RADIO STATIONS ONE STOPS & RECORD SHACKS, ..Read about PAY-OLA, ROCK & ROLL SWINDLE, or the Joe MEEK STORY,  THE HISTORY OF TINPAN ALLY & ANY BOOK ON THE BEATLES/FAB4, how they made it to the top,

Back in 1972 a record on the BT Puppy label  US. by Melba Moore - "don't cry sing along with the music" was a popular tune played at the TORCH, from 73 onwards for many it was a forgotten oldie that you could find in a few record boxes at Wigan on the bootleg SOUL WAX label, their was 1 person for whatever reason had the chance to go to the states find the studio go through the tapes, remember her name,(this probably was first on the list once he found out where he was going-maybe) the chances of finding "the Magic Touch" needed just that, ADY & KENT records did one of the best promotions of all time with this gem,  initial exclusive to DJ with making a demand for the record that did not exist, then giving it away free to the patrons who have supported the ideals of 6ts soul & 100 CLUB, Only to create demand for the record to get issued on HORACES. CLEVER MAN & I bet with that talent he would of made many a lost record a hit back in the 6ts, the reason being ADY listens to the artist, I think most people back in 72 who only got the bootleg must of wonder why it was the same on both sides (I think) so people like ADY would have remembered this fact when opportunity of looking through all tapes, as back in the day an artist worked in a studio all day and recorded what was told  they should record,

Not until 1963 the Beatles challenged this and took control of their own material by making sure they had the publishing & writers credits, this become the norm, and by the end of the 6ts you had LPs with 2 tracks on, which killed of the 45 until GLAM ROCK & PUNK come along Oh yes and the 30 odd reissue records PYE put out on DISCO DEMAND ROUTE & other similar labels (how pitiful) of curse the story is much more than I have written, but it is a start?!  DAVE K

  On 20/01/2014 at 23:18, dthedrug said:

 Hi all....When it comes down to it in the music industry since time, the artist has been exploited by everyone else, in the 5ts & 6ts this was even more so, most people are aware that Berry Gordy Jr did not make records (well 1 by exploiting all those who called him Berry, allegedly) in the US & UK managers & producers were on the make/take along with RADIO STATIONS ONE STOPS & RECORD SHACKS, ..Read about PAY-OLA, ROCK & ROLL SWINDLE, or the Joe MEEK STORY,  THE HISTORY OF TINPAN ALLY & ANY BOOK ON THE BEATLES/FAB4, how they made it to the top,

Back in 1972 a record on the BT Puppy label  US. by Melba Moore - "don't cry sing along with the music" was a popular tune played at the TORCH, from 73 onwards for many it was a forgotten oldie that you could find in a few record boxes at Wigan on the bootleg SOUL WAX label, their was 1 person for whatever reason had the chance to go to the states find the studio go through the tapes, remember her name,(this probably was first on the list once he found out where he was going-maybe) the chances of finding "the Magic Touch" needed just that, ADY & KENT records did one of the best promotions of all time with this gem,  initial exclusive to DJ with making a demand for the record that did not exist, then giving it away free to the patrons who have supported the ideals of 6ts soul & 100 CLUB, Only to create demand for the record to get issued on HORACES. CLEVER MAN & I bet with that talent he would of made many a lost record a hit back in the 6ts, the reason being ADY listens to the artist, I think most people back in 72 who only got the bootleg must of wonder why it was the same on both sides (I think) so people like ADY would have remembered this fact when opportunity of looking through all tapes, as back in the day an artist worked in a studio all day and recorded what was told  they should record,

Not until 1963 the Beatles challenged this and took control of their own material by making sure they had the publishing & writers credits, this become the norm, and by the end of the 6ts you had LPs with 2 tracks on, which killed of the 45 until GLAM ROCK & PUNK come along Oh yes and the 30 odd reissue records PYE put out on DISCO DEMAND ROUTE & other similar labels (how pitiful) of curse the story is much more than I have written, but it is a start?!  DAVE K

 

Nice one  Dave but the BT Puppy recording was "Don't Cry, Sing Along With The Music" by the Tokens old bean. Melba's "Don't Cry" was on Musicor. 

 

Ian D 

  On 20/01/2014 at 23:25, Ian Dewhirst said:

Nice one  Dave but the BT Puppy recording was "Don't Cry, Sing Along With The Music" by the Tokens old bean. Melba's "Don't Cry" was on Musicor. 

 

Ian D 

HI IAN ... MY GOD I AM SHAMED TO-DAY OF ALL DAYS? YES YOU ARE SO SO RIGHT.. However you knew what I meant, & I am GLAD it was you who informed me ,Dave K

Edited January 21, 201411 yr by dthedrug

  On 17/01/2014 at 14:01, Jaco said:

I know there are a myriad of reasons why records don't make it to final press but it never ceases to amaze me how a track remains unreleased until such times as the good guys at Kent (and others) mine the vaults and put out the previously unreleased stuff.

 

Which leads me to the wonderful "Betcha' can't guess who" by the Newcomers, a previously unissued Truth track which appears on Kent 252 - More Perfect Harmony.

 

What was going on when they decided to leave that one in the can?

 

that track rules

I think if you use Motown as an example just imagine what was taken into the Monday morning evaluation meeting,so many good products from each of the writers/producers and not all of them are gonna be voted as a potential hit,some have to fall by the wayside (remain in the can).I often think when I hear a previously unreleased song what the hell beat that on the day.I guess when it comes to the small companys  money will be drained for them to take it a stage further.Great topic thou

Not sure it's quality control in this case....

 

Didn't the Stax set up get into all sorts of money trouble and sort of grind to a halt? Loads of material being recorded and they were doing well artistically and commercially, but behind the scenes, the accountancy was so poor they were owed money left right and centre and suddenly went out of business. Something like that.... 

 

Sandra Wright LP comes to mind...

 

Also, possibly this unissued masterpiece which I believe was recorded for the Truth label:

 

https://www.youtube.com/watch?v=5iuvDmNrJjI

 

What an amazing sound from the Rev. And a wonderful sentiment. (I could almost see the light if it weren't for the whole believing in God thing....)

 

If Kent fancy putting this out on a 7" , I'll put my order in now!

Edited January 25, 201411 yr by son of stan

  On 17/01/2014 at 14:01, Jaco said:

Which leads me to the wonderful "Betcha' can't guess who" by the Newcomers, a previously unissued Truth track which appears on Kent 252 - More Perfect Harmony.

 

 

 

I bought that CD when it came out in 2005 but haven't played it for years. Just dug it out again and listened to the Newcomers track. As you say, it's wonderful. Thanks for posting that.

I was of the opinion that a recording session usually led to four tracks.(Not allways i know) If two were released as a single and it under performed or flopped then the Record Company might not take up the option of a second release.For example Aidy Croasdel found the tape box i believe for Jack Montgomery in the Scepter vaults with info for four tracks.  

 

Trev 

  On 25/01/2014 at 13:24, TRICKY said:

I was of the opinion that a recording session usually led to four tracks.(Not allways i know) If two were released as a single and it under performed or flopped then the Record Company might not take up the option of a second release.For example Aidy Croasdel found the tape box i believe for Jack Montgomery in the Scepter vaults with info for four tracks.  

 

Trev 

 

I don't think this is usually true actually. So many people i've talked to recorded 3 tracks and had one unreleased. You can always release a second single and reuse a b-side or remove the vocals and put out an instrumental. For everyone I've talked to, it highly depends on the circumstances of what happened and there isn't a common theme.

Point taken Boba.Having spoken to so many artists you would have a better handle on it.I think you know where i was coming from though.Such a diversity in the amount of people recording would lead to a variety of circumstances as you say,and my view was probably a little simplistic.

 

Trev