Garethx

Maybe the biggest ever record on that scene was Archie Bell & The Drells "Don't Let Love Get You Down". In-demand enough to make it from import-only album track to a UK-released 12" which brushed the lower reaches of national charts years after its initial US release and was hammered in mainstream clubs up and down the country. It's a record I'm ashamed to say I've never owned in any format and maybe that's why I never tire of hearing it on the radio, in a club or via youtube. It's a magnificent example of all that is best in that type of sound. I suppose strictly speaking the rare groove and two-step scenes are distinct. Rare Groove incorporated a lot of the two-step anthems but also added a lot of later James Brown type productions which wouldn't have made it on the 'pure' two step scene. I suppose Rare Groove was an outgrowth of two-step as a lot of the same djs were involved, but it was a broadening of the sound.

It's a good question Dave, and your comment about the amount of effort that went into it compared to Northern boots of the time is an interesting one. I wonder if it was done for the Dutch deep soul scene of the 70s as opposed to the UK scene. Some of their boots (e.g. Ralph 'Soul' Jackson on SOB) were pretty accurate facsimiles. The typesetting on the light blue label boot is as per the Bestway press demo, interestingly without the Atco distribution line of the original. Anyone know if these were ever passed off as some kind of local issue? I've never owned the boot but would be interested to know what marks or numbers are in the run-out and if they tally with any marks on the legitimate presses. Atlantic-Atco distributed records should have some quite easily identifiable mastering marks. If this was pressed from the same plates it might in theory also have some of the same marks.

A quick look at popsike shows at least three different genuine red issue pressings of this 45. ^The MGM vinyl press. ^The Bestway vinyl press. ^The Monarch styrene press. There are corresponding white dj copies for all these presses of the record. The only bootleg copies listed on popsike are the light blue / gold label version mentioned in the posts above.

This is on the Twinight discography on Dave Rimmer's site. Wonder when it was added? A great find though as it's a really nice record, making it of more significance than simply an oddity for label collectors.

So much better than the flip!

Very sad news.

Midtown is the first label for "You Can't Let Your Left Hand Know" but the b-sides are different tracks. The other side of the Midtown 45 is an updated version of "Everything Look Good" which came out on Tuska, Momentum and maybe even another label too.

If you want to move it on Bob...

Sorry Russell. Your avatar looks a lot like one another forum member used to use.

Didn't say rarest Pete.

Should be worth a fair bit more Kev. As Russell states above Jerhart is the label on which it was a national hit and we're probably a fair few years away from supply running out on that logo as it seems to have been pressed in the hundreds of thousands rather than even tens of thousands. The Impression release is much, much tougher. In my opinion the nicest way to have this 45 is the Impression WDJ. UK collectors will probably disagree and point to the President demo.

From jazzdisco.org: Ben E. King with Artie Butler's Orchestra Irving Markowitz, Ernie Royal (tp) Harry DiVito (tb) Phil Bodner (ts, cl) Joe Grimaldi (bars, cl) Artie Butler (p, arr, dir) Kenny Burrell, Trade Martin, Bill Suyker (g) Milt Hinton, Jimmy Tyrell (b) Gary Chester (d) Ray Barretto (cga) George Devens, Phil Kraus (per, vib) Ben E. King (vo) unidentified 6 strings NYC, February 3, 1966 9905 Where's The Girl Atco 6596* 9906 Gettin' To Me Atlantic unissued * Ben E. King - Where's The Girl b/w It's Amazing (Atco 6596)

I suspect "Where's The Girl" and "Getting To Me" were recorded at the same session. The texture of the brass, strings, vibes etc. and their prominence in the mix sounds practically the same, as does the rhythm section on both. Also Ben is singing in his lower, crooning register on both. Quite different to his more obviously gospel-inflected voice on other, more 'soul-oriented' material.

I don't get what you mean about being none the wiser. There was no released soundtrack album for Charley Varrick, it's not a single, so there's no other format. The song was written specifically for the film by Paul Vance and Lalo Schifrin. Film music forty years ago was not like it is today, an opportunity to 'place' a specific and separate product. I would imagine they didn't even write or record a full song, just the snatch heard on the clip. It probably took Dee Dee Warwick less than half an hour to put down a vocal.

According to the BMI archive this was written by Lalo Schifrin and Paul Vance. Strangely there was no issued soundtrack album for Charley Varrick, so probably no other way to hear it. DeeDee was a really great singer, but well spotted!

Can't believe I left Robert Tanner off the list I made above as it's probably one of the ultimate examples of this topic. "Be My Woman" is such a beautiful recording that it's well worth ballad fans trying to find a copy of "Sweet Memories" and saying to hell with the expense.

Until the youtube era I'd never heard Ray Paige's "Don't Stop Now" on RCA, the other side of his version of Ain't No Soul. I'd never have thought of buying that, but the ballad side is immense. He later re-cut it in a more latin style on Fania under his (presumably) real name, Rafi Pagan. On a more recent in-demander I was very impressed by the ballad side of Double O's Demingoes "Color One Tear Black". I think the uptempo version of the same track wears pretty quickly but the slow version is a real mind-blower.

The other side of James Barnett is a decent Fame slowie.

That Gwen Owens is a lovely side in its own right.

Not all Northern Classics by any stretch of the imagination, but the flips of all of these have been collected and spun on one dance scene or other. Timmy Shaw "Thunder In My Heart" on Bon. Johnny Dynamite "Everybody's Clown" on Minaret. Arthur Freeman "I Want To Come Home" on Jumbo. Reatha Reese "Things I Should Have Done" on Dot. Betty Willis "Ain't Gonna Do You No Good" on Mojo. Chuck Henley "Standing In The Need Of Love" on Coach. Shirley Edwards "It's Your Love" on Shrine. Curtis Johnson "I've Got To get Away From You" on Whurley Burley. Johnny DeVigne "Things Ain't The Same" on De-Lite. Appointments "Sweet Daddy" on Dart. Loretta Williams "I'm Missing You" on Jotis. Sarah Simpson "All OF A Sudden" on Soul-Po-Tion. Barbara Hall "Broken Hearted" on Tuska. Ronda Davis "Long Walk On A Short Pier" on Duke. Betty Fikes "I Can't Lie To My Heart" on Southbound. Frankie & The Damons "My Best Friend" on Damons. Sonny Fishback "I Won't Take Back These Words" on Out-a-Site. Little Willie Johnson "Darling Let's Love" on Vendella's. Paul Kelly "It's My Baby" on Lloyd. Lorraine Rudolph "After All We've Been Through" on Jet Stream. Willy McDougall "I Can't Wait" on KInard. Charles Perry "Move On Love" on Mutt & Jeff. Mr Percolator "Come On Back To Me" on Wax Wel. Ray Quarles "Ain't Love Good When It Rains" on Faces. Donald Lee Richardson "I Have Learned My Lesson" on Soulville. Ted Ford "I Can't Give You Up" on Budd. Ted Ford "Please Give Me Another Chance" on SS7. Betty Green "He's Down On Me" on Clara. Sam Hutchins "I Can Make You Happy" on Mala. Jimmy Conwell "Let It All Out" on Gemini. Jimmy Conwell "Second Hand Happiness" on Mirwood. Jimmy Robins "I Made It Over" on Impression.

No.

Same song as Kim Tolliver but a very different band track, even though Willie Hale plays on both. Both brilliant records and tough to say which is better. Gwen's came out first, 1972 as opposed to 1973.

One mentioned on another recent topic which seems scarce on a known label is June Jackson on Musette. Can only recall a couple for public sale in the last couple of decades, one of which was Martin Koppell's and which may have changed hands more than once. With regards to major label things I can't recall seeing too many grey-label issue copies of Gwen McCrae's "I'm Losing The Feeling" on Columbia. Single sided demos of the other side "Leave The Driving To Us" seem plentiful. Single-sided demos of "I'm Losing The Feeling" itself are out there, but issues with both sides seem elusive.

What were the chances of a John Washington on Sandwash ending on ebay on the same day it got a passing mention in this topic with regard to The Sensations. A youtube clip of the Johnny Washington 45 on De-Lite states the group were originally from Albion, Michigan.

On my copy, the vinyl issue credited to The Shufflers, the details are: Always Be Mine: CR-1823 in the runout. CR-1824-X-1 (crossed out). Label reads CR-1821 When The Lights Are Low: CR-1824 in the runout. Label reads CR-1822 Wonder if the Jay & The Shufflers cut is different and may be the reason people are saying your TP sounds like their issued copies.