Garethx

Been on the wants list for some time. Rarely comes up and I can never seem to afford it when it does.

The one in the shop in Hanway Street looked identical to the scan above, as far as my memory of it allows. Didn't have the Jobete logo as per some of the Motown acetates one sees: perhaps it was too early in the company's history for this. Again I suspect there are no hard and fast rules about any of these discs which were cut 'off the cuff' as it were. I recall the 10" sleeve having a New Jersey address printed on it, but presumably this was the address of the manufacturing plant or the company which made the blank acetates. Alternatively it could merely have been a sleeve which belonged to a different disc altogether. Interesting to hear form Andy Rix that "Day Dreamer" had originally been cut by Lamont Dozier. I wonder if any recording of that survives? The thing which makes the Eddie Holland version for me is his tremendous singing (as well as it being a good song, of course). The vocal is decidedly soulful at a time when soul singing as an art form was finding its feet, and shows both what a wonderful and under-recorded vocal talent Eddie was and what a star he could potentially have been had he chosen to go down the performing route.

Another Detroit record de-rarified by ebay.

Can I ask why you wouldn't consider a YDJ, Mik? The issue is much harder to acquire. A cursory look at Popsike reveals thirty copies: twenty nine demos and one issue (cracked).

Every day we see records offered here by collectors for their full 'book' price. Bear in mind also that the book prices are for mint copies. Grading from people who don't have to make their living from it sometimes leaves a lot to be desired. I've made the mistake of trusting some members here on grading and ended up on occasions with records that were only fit to be thrown straight into a skip. I think everyone realises you price your records very fairly Pete: they are clearly priced to turn around quickly. With regards to charging for card transactions that's your own choice and obviously a goodwill gesture on your part to make it easier for buyers: I think it's appreciated.

Bear in mind that JMs prices and estimates include VAT and also have to take into account other costs a professional record dealer might incur like staff, premises, business rates, business finance, web hosting / maintenance and so on. The no-quibble guarantee is also a factor too. Few if any of of us amateurs who occasionally sell records have to factor in such costs. It often makes me laugh to see private sellers quoting 'book prices' on their sales for this reason. I reckon a private sale should be at least a third less than a dealer's retail price. Just my opinion.

Tremendous. Thanks Andy. Wonder who has it now?

That would be very interesting. I played through a few seconds of each of the tracks once and it was a long time ago. I'd love to know if the tracks on your copy are the same as those on Ady's. As I mentioned earlier the running order at least was different on the other copy: maybe the other tracks were different too. Is yours double sided Marc?

Pretty sure The Camaros is first (and worst!). Always end on a controversial note.

Maurice Jackson on Candlelite was the first recording. I think The Independents version and the Lakeside recording by Maurice are the same recording but a different mix (the backing vocals are mixed differently).

There's a clip of each side of the DT 45 in refosoul.

I concur. Always been relatively difficult to buy on US.

I have kept Fourth Day, for all the reasons you mention above, plus also for the fact that it has a very good b-side.

I've mentioned this on here before but it probably bears repeating that this group is apparently Vito & The Salutations.

The Emmanuel Laskey 45 seemed to receive a boost collecting-wise when certain deejays were playing the rarer (arguably inferior) version by Clyde Milton. Should never really go for a couple of hundred quid as it's not really that rare is it? Something of a cheap staple in the collection of anyone who was interested in the early 'modern' scene. I'm sure a quick straw-poll here would yield the result that many have owned a copy of this 45 for at least some period of time. Once the price went to three figures I sold mine very easily.

The Liberty 45 is Spector-pop. I like it but others may feel it's a bit lightweight in the soul department.

Thanks for that John. Funnily enough I seem to have to 45s you don't! The Dimension 45 is maybe Bobby's best pure soul record, great Sam Cooke-influenced big city deep soul in the mould of Bobby Harris, Hoagy Lands etc. The second Warners single is pleasant Muscle Shoals pop-soul: a lot like 'Something New To Do' in approach but without being the killer song that Phillip Mitchell came up with in SNTD. As I mentioned above the other Capitol 45, 'Shelter' is a worthy beat ballad without being spectacular.

Cheers Jordi. That would be great. I've had an MP3 of it for ages and really like it but never got round to looking for the 45. Another of his Capitol 45s, The Shelter of Your Arms, is a decent enough beat ballad if you like that sort of thing.

What's the other side of "She Taught Me"?

Bessie JONES.

Did I not sell you a copy of Maurice Jackson on Parall a few years ago Mark?

Am I right in thinking Rod Shard was present when the first copy was found? What's the story Rod?

I have a massive hunch that John Ridley is completely wrong when he claims the Jumbo Arthur Freeman is the "Played Out Playgirl" (Regal/Dade/Excello) guy. This is surely and utterly Arthur "Slippin' Around" Freeman. A cursory listen to both records and the fact this is a Fame release in all but label seems incontrovertible to me. The vocal is incredibly distinctive and links the two conclusively for me. Anyone else feel the same?

I understand that Rose Marie McCoy's basement was like a treasure trove of released and unreleased soul gems. Ady's copy above looks identical to the one scanned for the Scenesville flyer.

The Beltone acetate was featured on a Scenesville flyer a few years back, when Rob Thomas owned the record. I agree with mulf: I think it's an awesome record and the kind of rhythm & blues which works really well at a Northern 'nighter.