Garethx

Of course. Faced by the two records, I know which one I would prefer to own...

Dave Thorley used to play "We Live In The Ghetto" with great regularity in the post-Stafford era, but never to much reaction. I personally think it's a great record, and the funk influences which may have held it back in the past might prove its' strongest ally in achieving success today.

Fellas: I stand by what I said: that vocal is a complete stinker, maybe one of the worst examples of ersatz 'soul' I can think of. The guy's phrasing is so poor that just thinking about it now makes me cringe. I owned this 45 for over twenty years and always liked the feel, tempo and instrumentation, but even as a teenager I loathed the singing. Vic Reeves in "Kinky John Fowler" mode could have done a better job!

I think people have got their Magnificent 7s mixed up with their Magnificent Men. The Magnificent 7 never released an album, but I long suspected that their lead vocalist (Archie Himon) was white. Having said that, I've never seen a picture (someone will probably tell me there are loads in the booklet of the Dial CD that Kent released some time back); but the thing that held "Never Will I.." back from being a great record is the truly awful vocal performance of the lead singer.

Hmmm... It is quite different isn't it. The most obvious difference being the sax break. Is it from one of the Willie & The Mighty Magnificents albums (re)released in Japan? Must say I prefer the version with West myself: as I stated above I think he had a really great voice, but the version Colin has provided is still very interesting. I should have mentioned above that this was first played by IL at Blackpool Mecca: I trust this additional version is not his handiwork?

I think El Anthony will become a very big record in the near future. I'm starting to hear it every time I leave the house now, after years of not hearing it anywhere: it certainly has all the ingredients to 'go': crucially, there are enough copies around to ensure that it gets plays throughout the scene.

This is from the Willie & West "At Their Best" album on Stang. At one time a reasonably commonplace lp, but the first one I've seen in a couple of years was sighted at Cleethorpes and had a pricetag of £150. It's a pretty good album throughout, with a bit of everything: a couple of "northernish" tracks like the one above, some fairly reasonable crossover and a couple of really excellent, very deep ballads (one of which is on 45, but I can't recall the title off the top of my head). Willie (Feaster) recorded before and after this as Willie & The Mighty Magnificents on All Platinum and (maybe?) Turbo. Don't know what became of the other member of the duo, West, but he was a decidedly able vocalist with a great gospel voice if the album is a fair representation of his talents. I should add that I don't think it's worth £150... a bit of digging should secure one for quite a bit less.

What a great record. Along with Shirley Edwards and Sidney Hall a very strong contender for best Shrine 45.

I'd just like to say a big thanks to Ady, Sylvia and everyone else involved in putting on another fantastic weekender. Highlight for me was the look on (Seriously Soulful) Summers' face after demolishing two full tables of beer on Sunday night in what Sir Peter O' Sullevan would refer to as 'a crashing fall' (and after the bar had closed as well!) Priceless.

Good to see Brett, Jamie, the Greatstone lads and everyone else at another great Cleethorpes.

The white label boot of Dennis Edwards is quite different from a real WDJ (using modern computer typesetting as opposed the original RCA-type lettering). The boot I was thinking of was on a black label, a virtual facsimile of a real WDJ, but reversed, and minus the details relating to it being a promo only. Has anyone got a scan of a real issue copy?

Agree with the point that these discs have a Delta numbering system that fits in with the Monarch one, but 45s such as J & TW, Troy Dodds, Ozz & The Sperlings etc. often utilise typefaces on the labels which Monarch records typically didn't (not merely on logotypes, but on credits too). Could be a regional (northern Californian?) outpost of the main Monarch plant.

I think that might prove to be a bargain... then again, maybe not.

You tell me... i've never seen one. I know it was booted on a black label issue.

What's the infamous Keele incident?

What happened to the Troy Johnson 45?

A whole host of Californian soul records were not pressed at Monarch: it wasn't the only pressing plant in the state. The John & the Wierdest 45 shares the same pressing marks as the records mentioned above plus things like J.D. Abram on Reena. Does anyone know the identity of this pressing plant? On the main subject, the one on ebay is definitely an original, and like Ian C says, when the reproductions appeared they weren't an attempt to fool anyone, and were sold for 10 to 15 quid. Subsequent attempts to pass them off as genuine originals are a bit naughty (to say the least) but you'd have to be visually impaired or have a poor grasp of record collecting to be fooled. Problems could arise when an ebay seller could use someone's scan of an original and sell the reproduction in its' place. On the Dennis Edwards subject: can anyone tell me if there were genuine black issues of this 45, or just WDJs?

This must be the worst kept cover-up secret of all time.

Ah. That was Bobby Newsome...

Wasn't he in one line-up of The Vontastics?

The vast majority of these are quite badly water damaged. A mint one might be worth a bit more. Absolutely brilliant record, to me one of the best ever played on the scene.

Agree with you John, Carla Thomas "I'll Never Stop..." is a very special record indeed. Couldn't believe it when I first heard it, a comment which applies to a lot of the unissued stuff like Lorraine Chandler, John Edwards, Peggy Gaines, Maxine Brown, Johnnie Taylor, TKOs etc. that got their first airing at the 100 Club. I actually think we're quite spoilt these days in that there's a wealth of great stuff that wasn't available to deejays 'back in the day.' It's always interesting to speculate how big some of these records might have been at the major venues of yesteryear: imagine a packed Casino hearing "You Only Live Twice" for the first time: a spine-tingling prospect.

I don't think they did, mate.

Can anyone tell me if the Keep On Doin' What You're Doin' 12" with George Griffin was ever sighted before the late 80s? The date on the label is 1980, if memory serves, but I don't remember hearing any mention of it until a few copies came over via Voices in about 1988. Also, is this on any legitimate 7" copy?

So did I. I then proceeded to completely ruin the playing surface in a botched attempt to clean a miniscule spot of dirt on it. So I have a copy with just "Streets" in playable shape, that hardly ever gets spun, as I never really rated that side of the record. "Tag Tag" is, as people are saying, quite brilliant.