Dave Moore

If anyone dismissed music made by the likes of: Berry Gordy H-D-H Ashford/Simpson Kenny Gamble/Leon Huff Relf/Carmicael/Smith Van McCoy Carl Davis etc etc Because they made a few shekels out of it they're obviously on the wrong 'scene'. Mike Terry's favourite record he was involved in: Supremes - Love Is Like An Itching Carl Davis' favourite record he was involved in Jackie Wwilson - Higher and Higher If it's good enough for these masters of soul music then it's good enough for some oiyk like me!

I'd venture - Monarch would figure for some!

They're all closed down now Dave. Shame as they were always worth a visit when you were in the cities. The Orlando one was probably the worst one. The Las Vegas one always seemed to be rockin' when we were there. The staff were great. I got a nice waistcoat and some other 'stuff' before they closed it. Problem was ..it was $3.00 a beer and when the music came on and the staff metamorphed into The Vandellas or The Tempts the beer went to $9.00! Ah the shortsightedness of big business eh? I'm still convinced that had the chain been franchised and fans could have bought into it they could have been successful. Guess we'll never know now.

Ok, gonna try one more time for these..... Tony Clarke - Landslide - Chess W/DEMO Appreciations - It's Better To Cry - Sport W/DEMO Danny Monday - Baby Without You - Modern W/DEMO Herbie Hunter - I was Born To Love You - Spar W/DEMO Bob Brady - Goodbye Baby - Chariot W/DEMO No tyre kickin' if you wanna sell any of these at fair market value, I'm yer man. Regards, Dave

I'm still searching for W/Demo of the Bullet release if anyone can help? Regards, Dave

So many great musicians that many people, even today, still don't realise the immense contribution they made the 'sounds' of strands of music. Greatest soul drummer of all time.......sheesh, that's a toughie. Tempted to dive straight in Tony and put Benjamin infront by a short head but will have to have a think before declaring my choice now.

Gilly, Johnny Stiles was quite adamant that Earl Young and Norman Harris and Ronnie Baker were 'poached' from Harthon by Kenny Gamble. Here's Earl with another lovely bloke who is an unsung hero Mr Pete Humphreys who learned his trade at the knee of Joe Tarsia. Dave F and I spent a fantastic morning with Pete at Masterworks, (formerly Frankford Wayne), listening to remixes and he then showed us into the tape vault. He was pissed with Kenny Gamble for not showing any interest in the TSOP Tape Library and Pete was very protective of it. (He mixed most of it!). Happy Daze! https://www.youtube.com/watch?v=_cGU74yPNbc

Then why ask for an opinion when you already have one ? I'd pay 300 for one in Mint. God preserve us from tyrekickers!

Nice find. Depending on condition I'd be interested in it. I'd pay 300 for a nice clean copy. Regards, Dave

Surprised only one shout for the Dells. A fanatstic night out to see: The Impressions Gene Chandler Billy Paul and the Might Jerry Butler All on the same bill. Tampa Bay Performing Arts Centre 2007. For $15.00 Don't get much better than that. Another one.... Little Anthony and The Imperials Little Darlin's Kissimmee 1985 Free The OJays Pleasure Island Orlando late 90s Most memorable for me...... Del Larks New Jersey on SoulTrip USA 2007 (2007)? Also loved Brenda Holloway at The Ritz in 1998. Fantastic to see her come out and literally stun the crowd! (Especially the male componment!)

Far as I can recall Goldspot was Kenny Smith's own company and LWHTYP is the only release on the label. He then later went on to work at General American where I think he ended up as a Vice President? I've always regarded the Goldspot 45 as the first outing for this song but I know some folks don't because of Soussan's lists in the mid 70s. Has anyone and DEFINITIVE info on which came first. The Goldspot copies were tough back in the 70s and the different lengths (and in fact takes/mixes) were always a topic of discussion. Quality record for sure.

I thought I remembered something along those lines. Hey, that's a rather nice W/D in your avatar Rob.

Dosh en route, only met John a couple of times but seemed like a good egg. Happy to help out a bit and hope his luck takes an upturn in 2010. Dave

For many years there were two rumours about the Four Perfections: 1. That two of the Burke Brothers (As in Solomon Burke) were in the line up. 2. That they were the same group as The Showstoppers. I'm not sure now where the Burke Bros story came from but the Showstoppers "misconnection" was obviously because of Party Time Records. Kev also forgot to mention that there was in fact a couple of brothers in The Four Perfections line up. Marvin Steals had a brother in the line up, Melvin Steals. When we met him it was a complete fluke via Archie Bell. The kind of situation that made (makes) the SoulTrip USA trips the magical thing they are when it comes to artists/backroom staff.

I collect the Reo label. They're nice think vinyl whereas lot of the Detroit stuff is on Styrene on it's original US issue. Plus, Most of the Reo/Sparton/Quality catalogues are by default quite common on their US labels so it gives a chance to collect both without breaking the bank.

Eh? Wot's an EMPEEFREE? Have I missed summat?

What a nice post and sums Al's approach to other people admirably. I remember when the Chicago's Rare Soul Millionaires first arrived at Hitsville and hit the Technics straight away. Al's face lit up. Playing records alongside these young US knowledeable collectors was something Al enjoyed immensely. Always a good list of questions for Al when he came off too and he only too willing to broaden their knowledge and do it with a smile and bags of enthusiasm, as opposed the patronising smug way a I've seen a number of other 'soul sages' do it. Gonna dig a few 45s out that Al put me onto over the years.......Nice one Lee.

Alan Pollard - All round 'Gud Bloke'. Alan was the first guy to ask me about starting The Hitsville Soul Club. Our reasoning was that 'chinstokers' (of which were proud to be described), had started to get a bad name and we always felt that the music should be a thing that brought people together as opposed to making people more devisive, which we felt was happening. So...cut a long story short, we decided that we would invite other collectors who we knew enjoyed each others company, collected records and people who knew how to have a good time to join us. I'm proud to say that...that ethos blossomed and that was due in large part to Alan and other peoples committment, not just to the music but to the artists and each other. At these sad times people who know me know my philosophy....I tend to concentrate on the positive legacy that people leave behind and in Alan's case that's easy to do. Music played a large part in Al's life and when I told him that the Harthon Trio were 'inbound' to Florida a few years ago and that we were gonna put them in a room with us for the afternoon for Q/A sessions, he didn't think he would make it. He wasn't well at all and he was devastated. Well guess what?.....His family rallied round him, Judi coaxed me into convincing,(bullying), him to make the trip, and his daughter came along to help Judi over the weekend. It was physically a difficult trip for Al. He'd just started to need a wheelchair and it hurt him. At one stage I was concerned that we'd done the wrong thing. But....as Alan and I placed the Harthon guys in a massive limousine, stuffed envelopes with some cash that we'd raised into their pockets and despatched them back to the airport for their Business Class flights home, having seen the unashamed glee on their faces at having their talents finally recognised by 'in the flesh' fans. Al's demeanour changed. His face was a picture. We'd finally done it. We'd enjoyed the company of a trio of guys who we'd admired as youngsters from afar and had actually become their friends! As we used to say to each other on a regular basis "Who'da thunk it!" Al's words as I pushed him back to the hotel coffee bar to reflect on the trip will sit with me for ever. "Dave...no doubt about it. That was the highlight of my soul musical life. We did a good thing!" Well Al....I've done a lot of things in terms of my soul musical life and buddy, I'm with you....It really WAS the highlight of my musical life too! Partly because it was the Harthon guys but mainly because I got to share it all with people like you. Al was the kinda guy that celebrated the fact that YOU had just found that long time want! He felt good for YOU! A true record collector with a passion for soul music of all descriptions. It's a soul site and I'll stick to soul related memories in respect of Alan here, but if I had to some up my feelings for Alan Pollard, dedicated family man, hard working, straight talking, soul music lover, it would be this.....I was extremely proud to call him my friend. Bet he's sifting though St Michaels' sales boxes as we speak! Keep the White Demos to one side for me Al! Rest easy Mucker.....it's over....sleep tight.....and CONGRATULATIONS ON A JOB EXTREMELY WELL DONE.

Err....a big fat zich Alan. Even the stuff we locals left behind the Japanese guys hoovered up.

I don't the Shrine label is of no greater 'value' in terms of actual soul music than any other. All the labels from the huge catalogue of RCA to the miniscule output of Marton have an equal place in the Moore household. That's one of the attractions of this music, the way it was created, the era it encapsulates, the places it was created, the social conditions that brought people together in the locations, the way many names intertwine in different cities apppearing on many different logos, all combine to create a body of work that I'm sure in years to come will be recognised in it's place of birth, like other genres of US music are today. (This has started already actually with many of the famous studios and indeed cities beginning to realise the heritage that is on their doorstep.) I don't think Shrine has been 'elevated' to any specific genre leading position but just that it has a special place amongst a certain group of collectors. The 'importance' of the Shrine label to many collectors of my generation is that it all really 'blossomed' in UK when the collecting scene was a lot smaller than it is today, before the days of instant information highways, Ebay, personal computers etc etc. When you first realised that all these fantastic tracks were all on the same label it fired the imagination. When the connections to Motown's personalities became apparent it led to even further mystique. Sure...you could find fantastic soul records on Motown, Brunswick etc all day long (thank God) but these little blue labelled beauties weren't seen in too many sales boxes back then. I think comparing the music within the grooves of the label in comparison of other labels is a good talking point but it's only really half the attraction to many. I'm aware that there will be lots of people who will claim "But it should only be about the music!" and that's a fair comment.....for them. But for others the music is only half the thrill, the other half being the people, the records, the labels, the locations, the history and the way much of it all intertwines. Neither group of fans have a monopoly over the real star of the show...the music and it never fails to surprise me that one group don't fully appreciate the other, because without both groups of fans the glass of Northern (Rare) soul would really only be half full in my opinion. So...Shrine only for 'chinstrokers"? Nah...I don't believe so and any given Sat night when the likes of JDB or Eddie Daye or The Prophets et al are banging out the Peaveys I'd wager that would be backed up by pretty full dancefloors, as would Jackie Lee or any other of the fantastic 45s mentioined in this thread.

Damn! I could have just said that instead! Sums it up quite succinctly I reckon. Well done that Man.

Apologies Guys...posted twice

The thing is with Shrine Records it's not just about the music is it? Sure... every man and his dog knows all there is to know about the label nowadays, they've read Andy and Ady sleevnotes. But when the whole provenence of the labels output and the people who created it started being pieced together then the whole imprint took on another form. You had to travel to hear records like this because very few, if any, of your Mates had it back then. It was rare Soul, Not because the discs were rare but because it was RARE TO HEAR THEM. (I'm always surprised by people interpretations of the term Rare Soul) Sure, Motown, Brunswick, etc had much larger catalogues and even the next tier of soul labels like Backbeat, Jamie Guyden's stables like Arctic and even I suppose, Mirwood, surpassed Shrine in just output. But Shrine captured a whole collecting scenes imagination. The history of the label and it's connections to other cities and other labels slowly unravalled by the 'record diggers' was great to enjoy. The Prophets, Eddie Day, Ray Pollard, Shirley Edwards and indeed JD Bryant etc came to symbolise what the collecting part of what people refer to as "The Scene" was really all about...the hunt for records that were extremely hard to find. And the music within the grooves just rammed dancefloors when dancefloor numbers were sparse I can tell you. I no longer have any Shrine records as I sold a few in order to fund other stuff and have no desire to pay 10,000s of pounds to complete the label but...if they were a hundred quid apiece I'd be after them like a dog after a rabbit. They played a special part in a 60s soul record collectors 'scene' and just because most of them have now become available doesn't detract from the fact that they do hold a special place in collectors memories. A final point on the actual music on the label.....The intro to Shirley Edwards is in my top 3 intros of all time. It's a veritable fanfare! The only other two that come close are Stevie Wonder - Uptight and Tymes - The Love That Your Looking For even Sammy's fantastic opening bars of Job Opening just fall short in comparison. (Sorry Sammy lad!) Music like that stand up against ANY music from ANY genre of ANY era. If Beethoven heard these intros he'd have taken up Painting and Decorating! As for JL v JDB I'd call it a draw. Both great records that achieve the same status in true soul collectors eyes I'd wager, no matter the difference in price.

I'd like to think my relationships with the Technics left better memories than that! Technics will be around for another 20 years Marc. I have four and am always upgrading pieces of them. They're INDESTRUCTIBLE! Parts will be around for while yet I reckon.

Aahhh, Shadupp and get back in the kitchen willya?! Only joking! - I think you're 100% right. Wear what you want, do what you want, I don't really care as long as folks leave me alone to do the same. I like nothing better than being sat with a 75 year old black record producer dissecting the bass line from a 40 year old 45 but I sure appreciate that's not every bodys idea of a great Saturday night out!! You, crack on girl, long as you're smiling it don't really matter.