El Corol

I think it was that story that evolved into the Gloria Hunniford rumour. https://www.irishrock.org/labels/emerald.html Well The Madlads, The Flamingos and even Pat Brady got a release on Emerald what more soulful credential could you want And you notice that from 1969 Cat No MD1118 isn't allocated to anyone so you never know

I remember hearing a story/rumour that this was really Gloria Hunniford singing, anyone else hear that one?

So to clarify Dave, if someone has say 1A stamped on one side and 1D on the other then what exactly does that indicate? The D is a later laquer or a different location, I got a little lost halfway through there!

Another thing is that a record dealer ( more rock orientated) I was talking to about 6 weeks ago told me that Reddington was selling off his stock and had been phoning round dealers, so to me that would indicate the stocks been picked over for the best stuff of all types of music. But I suspect there may be an opportunity to maybe buy some cheaper/mid price stuff for a squid.

Reddingtons has never been liked much as a place to hang out and talk music, they wanted your cash and move on. Diskery is better as more of a vibe of really liking music. That said Morris was not the most customer orientated person I've ever met and getting a deal at Diskery is hard work, particularly if its Jimmy you're dealing with. Prices on some lp's that have been in there for years do finally now reflect what they are probably worth as they have always been a tad expensive (similar to Reddingtons, unless of course you find something that they don't have a clue on, again same as Reddingtons). Years ago I've walked out leaving records in there as they wouldn't give a deal on multiple purchases. Better and friendlier these days but has been picked dry for soul, funk, reggae, RnB unless of course you happen to visit when something new has come in, like all shops but a much rarer occurance these days. Lots of jazz if thats your thing, but again I suspect its been picked dry of the valuable stuff..... The Reddingtons sale might be good for something a little bit different but I wouldn't expect to find anything major in soul terms, but could be a laugh if nothing better to do. I might be able to complete my collection of Now Thats What I Call Music :-)

He wouldn't have to sell so many off for a pound a pop if he'd ever priced his records up more realistically in the first place!

See, I said some people would dance to it whatever. Being smashed tends to have that effect : ) Mind you I think your backflip into the splits was a bit OTT : )

Richard, on reflection what I said about the purpose of the thread being to "undermine the whole supposedly St Louis press........" was badly worded and probably does give the wrong impression. I would actually say that for me the purpose of the thread has been to question the validity of the argument that the first press is definately from St Louis. As Pete S says, four pages of debate can't be a bad thing and I haven't seen it as a "slaggin off" of the sale, but of course JM is going to get mentioned as he is conducting the sale and its his site which is stating its the first press. Maybe its all about perception. FrankieCrocker and Chalky in their above posts have both summarised some of the thinking about the press's/releases's of SBMB that this thread has highlighted (for me at least) so I wouldn't call it "negative uninformed tosh" its supposition based on what facts/information is known, just the same as what your argument is based on. Rob

Its Roy Docker on Pama. Its called Go and its the B side of When (Roy obviously liked short snappy titles).

Having played the tape now; that was the night Brian pretty much cleared the floor. A strange little memory from the casino! I remember standing just to the left of the entrance to the record bar as you look "out on the floor" (ahem!) when he played it. Now if we can just work out what time it was..........

I am actually agreeing with you, this is all guess work unless someone has absolute proof.

Although I take your point and the humour in it, I have to say this thread isn't a load of b*llocks as it's main purpose has been to undermine the whole supposedly St Louis press being the first press over the "dimpled press". Unless of course you are going to play a boot on Saturday : )

I've not got around to listening to this tape yet so I can't be certain it was on this particular night, but when I heard Brian Rae spin Nina Simone at Wigan he pretty much cleared the floor except for some who obviously were into it (Fleet goer's judging from the posts) and probably some others who liked it, and others who just danced to whatever. It sticks in my mind as I'd never seen the floor empty that much at an oldies night before. To back up my observation a few years later Brian Rae guested at a small soul night in Walsall I used to go to and he ran a little competition in which you had answer his question "which record did I play that cleared the dancefloor at Wigan" - answer: Nina Simone. On a side note Brian Rae was a really entertaining DJ when given free reign in a small do, well he was that night at least.

I thought the AGE label was before TAM BOO?

As a first or second pressing? On a Chicago label? If that was the case and it was getting better reception in their home town of St Louis then second would be my assumption based on what Bob A got from Flint Lloyd as they'd already recorded it in Chicago. Though as for the whole dimple/ pimple thing I don't quite get what might have happened there and people more knowledgeable than me might.

It sounds like an assumption its from St Louis or wishful thinking or being more cynical a way to spin a slightly different pressing into being more than just that, a slightly different pressing. This stuff then goes into folklore. By the way I am fully happy for this to be from St Louis just a bit more evidence. As solidsoul says it would be good to identify the pressing plant/s. I remember trying to sell a copy of Paul Sindab I Was A Fool on Knox, in Keele around the early 90s. One main dealer told me it was a second label after Powertree!!! Despite one side having a POWERTREE DEMO sticker on it............like they'd use a second issue label for a demo of the first issue label? I might not be the most knowledgable soul collector but I'm not that daft.

Thats what I don't understand. This is what JM said on the matter on SS in 2006: Guests To clear a few questions up on the Salvadors. 1. very first original press is St. Louis, vinyl is THICKER @ (1.18mm) with NO pimples in the vinyl, the green label is a deeper shade. I only known of one copy of this press, Carl Willingham owned it, I sold it to Australian collector for £2500 in really poor shape vg-. But it was the ONLY known copy. 2.Chicago press thinner vinyl @ (1.09mm vinyl) label is a lighter shade ie (the one we have on auction)has TWO visible pimples on the playing surface, these do NOT affect play but you can see them if you twist the record in the daylight. The matrx in the deadwax reads 62771 this number is lightly scratched in and staggered. Worth 2500 to 3500 we'd guess The deadwax matrix on both presses are IDENTICAL ie using the same masterplate. 3. The PB boots as Ted M. rightly points out came out of Los Angeles via our friend and yours Simon S. He did Mel Britt, George Blackwell, Johnny Vanelli, and many others at the same time all have P.B. in the deadwax. This gave birth to the story of Bob Cattaneo travelling from S.F. to L.A. to buy Simons latest fantastic find. When Bob saw all these top titles in mint condition he smelt a rat and on close inspection found P.B. in all the 45 deadwax's. Bob told Simon you can't sell these as originals. Simon admitted they looked a bit NEW, so he got George Blackwell our its sleeve and violently rubbed it on his carpet. (a ploy used on the Four Vandals scam) "there they look used now!!" 4.Then there is the dark blue label and obvious bootleg in styrene 1976 repro Delta # 100273 5. Then there is the same with a Light blue label. Edited by john manship, 18 June 2006 - 10:48 AM. And this is from Boba's summary of his interview with band member Flint Lloyd: In the late 60s, the Salvadors reformed with the same lineup as the earlier record. E Rodney Jones took them to Chicago to record again. The group recorded "Stick by me baby" / "I wanna dance" for the Wise World label in Chicago; Flint's brother Donald sang lead on both tracks. "Stick by me baby" was written by Jo Armstead. The record did not get any play in Chicago but did get some play in St. Louis. The group broke up for a final time a couple years after "Stick by me baby" was released. Different group members continued to sing in other local groups but none that recorded. However, in the 70s, "Stick by me baby" became a big "Northern Soul" record in England, played by the DJs as a dance record, and is now highly collectible. Two members of the Salvadors are still around today. You can check out my interview with Flint at the bottom of my interviews page at:https://www.sittingin...interviews.html . Thanks for your interest. thanks, Bob Make of that what you will but to me where are the identfiyings marks that make this a St Louis first press? Could it just be that it was pressed twice in Chicago (or whatever plant they used) with the first run on thicker vinyl, or that maybe there was a problem with the first run (the damaged plates?) that was halted and then the run restarted with thinner vinyl? Or if there was a run pressed in St Louis then from what Bob A and Flint Lloyd have to say about the record getting no play in Chicago but it did in St Louis then if anything if they did press any in St Louis it would be a second press (maybe thats where the dimpled ones come from ) I don't get how it being slightly thicker vinyl and darker label means/proves it was pressed in St Louis?

And John Simons is still going: https://www.johnsimons.co.uk/ He moved to Chiltern St from Covent garden a couple of years back now.

I can't get passed the fact that if this was recorded in Chicago and released there why would a first press be from St Louis?

I'd be interested Rich. It seems to have gone quiet on this thread.

I haven't seen the Bletsoe booklet but it sounds like the illustrations from Skinhead by Nick Knight, which is mostly pics of late 70 early 80s skins/boneheads but within it is a narrative and illustrations of the evolution of skin style from around 68/69 through to about 73ish, I think, by an original skincalled Jim Ferguson? The book originally came out in the 80s, I've got a copy somewhere so if nobody beats me to it or there isn't a link to it I'll try scanning it in tomorrow if I get some time.

I enjoy a spot of micrometer innuendo as much as the next person but I' m still trying to get to the bottom (ooer missus) of the options above which is part of post 46 for the full context. Anyone with any thoughts is welcome to have a rummage through my tool box and play with my plumb line!

Now I'm confused. The first quote says the first press was in St Louis with the plates then taken to Chicago. The second quote says they travelled to Chicago to record SWMB. So from what I've read on this thread it was either: 1. Recorded and pressed in St Louis first and then taken to Chicago and presssed again. 2. They recorded it in Chicago and then went back to St Louis to press it and then returned to Chicago to press it again. or is there a third possibility that it was recorded and pressed in Chicago first, then the group returned to St Louis and pressed it again there?

We need a bigger clue than that Dave to narrow it down. I'd be pretty pissed to be ripped of a copy of The Silhouettes.