Jason S

I heard Emmit Long "Call me" get a play in the last hour at Sherridans on Sunday...F"ck me it sounded fantastic....As anyone else heard it get a play anywhere....

Last heard it in Oslo courtesy of Chris B (I think) and a f**kin good one it is too.

Actually been listening to it a lot on the PC over the last week.

The Rokk 45 is noted as having a small bit of writing on the label....in the picture someone has written on the label "warped"......

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Mines got the same thing written in the same place on the label...not a hint of warp, though. Seen others with the same thing.

sorry Masumitsu but i think you might be a little 'low' on your offer, i think you're looking at a price tag of anything between $600 and $1,000 for the rokk, assuming you can find one of course

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Then again, he could always splash a load on this copy from your old buddy, Ian...

https://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...4714310965&rd=1

V easy Hippo - the boots (there is no legit reissue) have writing around the edge of the label and the orig doesn't.

Cheers  Girth

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As Girth says, the boots amusingly have some kind of copyright warning going 'round the outer edge of the label.

Ha ha, I was thinking exactly the same thing..about German ones! 

Remember having some London labels with this on, in fact I think I still have (runs into next room to search for Jimi Hendrix & Curtis Knight 45) bah, they changed the design, now the 45 is IN the triangle!

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It's safe to say it's European, then

::Cue Punky telling us he got it in Botswana::

German I think. Possibly Spanish.  Or like you say, Italian. But the Spanish did put out a lot of EP's with different artists on them.

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Could even be French. Wess was based in Italy (with the Airedales) but released stuff on Barclay in France as well as Durium in Itay. For some reason that M on top of the triangle with the 45 inside it reminds me of the same thing I've seen on Italian pressings. I think.

Have anybody seen this 45?

Any info would be great!

A side:

Eddie Holman-I Love You

Wess - She Found Out

B side: James Brown Good By (yes, misspelt) My Love

Play Boy 2031

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Looks sort of Italian to me...

Interesting stuff from Rod.

Going back to the 'possible Carolina' origin of the record.

The signature on the run-out reads Dcharles. Further investigation leads to the strong assumtion that this Dcharles almost definately refers to Dick Charles, a guy based in New York who not only ran his own Mastering service and studio in New York, but Mastered tons of stuff - varying from folk to soul to hip hop to disco mix acetates - over a period of some 30 years. He died in 2002.

So that'd probably mean it wasn't out of the Carolinas but New York.

Dorsey, being based in New York (Brooklyn, I think) would probably have used this guy to custom press these records. Exactly when, who knows (except Glenn Dorsey I guess) Exactly why? Probably to make money from stuff he'd had sitting around doing nothing.

On reflection, it doesn't look all that amateurish: it certainly sounds amateurish, almost to the point of being un-useable. Which, if you like the tune, is a shame.

I too couldn't help thinking there certain were 'political' motivations involved in that auction. Noticed the record's gone off auction now.

I asked a similar question to the person who I bought mine from, here's what I was told:

"It was a track laid down by the Joneses in 79, but the lead vocal wasn't laid down til the late 80s. It was then waxed and it was so late in the game that the producers no longer had turntables and didn't notice the burned out vocal distortion"

Shame the vocals f**k up like they do...almost becomes unplayable.

Have you noticed the translucent 'brown' colour of the vinyl?

Does that give any clues as to it's vintage?

i need the name of this track, quite known i believe...

can someone help me?

thanks

here's the soundfile :

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Voices of East Harlem - Wanted Dead Or Alive (Just Sunshine)

Another I've turned up and seen going for, what I'd call silly money, is Lucky 'Jamal' Davis on Big City - 'Love Is Beter/Vacate.

Is this a particularly rare record?

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Probably somewhere between £90 - £125 depending on who's selling.

I'd agree with that and would never try and dress it up as anything else. I don't go to any 'Modern' or 'Y2K' Soul events, so couldn't really comment on what goes on in these places.

In fairness, some of the stuff I do like; say the MAW Nuyorican Soul comp. have a definate 70's feel to them. OK so a lot of them are remixed to give a more 'mixable' (is that a word?) format to them for DJ purposes. But I think the stuff on there such as 'It's Alright, I Feel It!' and 'Sweet Tears' could easily have been mistaken for being cut in the late 70's.

House Music is House Music, but there are always tracks that have that certain quality to 'Cross-Over'    in my opinion. Just as a number of out-and-out 70's/80's originals scored on the Dance scene. Dan Hartman 'Relight My Fire' from about 1989/90 springs to mind, and it wasn't a remix being played, it was the original.

If it's got a good beat, and makes me want to dance, I don't give a shit what anyones calls it 

Jamie 

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It's actually 'modern soul' rooms at some Northern do's I've been to recently that I was most focusing on. Don't know if it's a generally widespread phenomenon of lengthy sets of House music in these 'modern soul' rooms countrywide, but the point I was trying to make was that elsewhere (at House do's for instance) the same records played would just be acknowledged and played as House records. No more, no less. I was really just trying to figure out why house music when played in one scenario was deemed to be something other than what it actually was (as stated on a Flyer that read 'Modern Soul') if nothing but part of the mechanics of a wider ideology obsessed with examining it's own notion of progression.

That's all, really.

End of the day it's house music...so it has 'soulful' vocals, so a lot have 'real instruments', but most still have that house beat, and still have those House arrangements. They were made as House records, not as anything else, in the same way, for instance, that 'Northern Soul' records were never originally made as 'Northern Soul' records, but just soul records or R&B records or whatever. By anyone else's definition and when stripped of the 'aura' of being played in the Modern room at a Northern do for example (and thus allegedly becoming something other than house music; 'Modern Soul' if you like) it's just plain old house music, full stop. 'Soulful' maybe, yes, but House music...always.

Beats me why folk who wind up in these rooms don't just seek out do's where they can hear the same records but played at clubs advertised as 'House' nights. Actually, I know the reason for this and it partly lies in the mystique of believing that it's not actually house music but 'progressive modern soul', with all the self-congratulatory feeling of 'pushing boundaries' that goes along with that. It's also the accompanying warm feeling of satisfaction in the belief that they're part of something better than what is actually probably better by a long shot. And it's also about the freedom to be able to operate in an environment of 'music fans' as opposed to mixing with civilians: basically it's largely about enjoying house music in a traditionally non-house music environment but under (sometimes and certainly in my recent experience) the banner of 'Modern Soul', as if to somehow validate it's inclusion in the Northern Soul scheme of things and to avoid the obvious connotations that the word 'House' would bring if printed on a flyer also bearing the term 'Northern Soul'.

Think about it. Your average MAW 12" will be pressed in the thousands and distributed the world over. There are thousands of DJs playing the stuff (the same records in many cases) as nothing other than nice, anti-Judge Jules type house music. It's House music...albeit, better house music than your average chart stuff, but if a 'Modern room' at a do is going to feature hours of this stuff, it should be advertised as such...as a 'Soulful Dance' room, or a House room, or even a Soulful House room. Wasn't the Southport Soul Weekender re-named after they realised it had actually become a House and R&B event? Isn't it now called the Southport Dance Weekender? The important word missing there would be 'Soul' (?)

What is baffling is when you get a room full of people 'dancing' to a house set in the Modern Room of Northern do, only for the same people f*** off back downstairs to the Northern room once someone starts playing a 70's set. You have to sit back and wonder at the oddity of it. It just smacks of falsity, a desire to either be seen to be at the 'cutting edge' of a sub section of a larger 'scene' or safely padded in the cotton wool of memories. It also smacks of limited knowledge and a fear of the unknown, in places.

You're right, you could go to any bar and hear your Judge Jules type sound bouncing around the fuschia tinted walls and have glow sticks shoved in your face all night...you could also go somewhere where the DJs can actually put a set of Soulful House records together with some kind of direction, skill and structure, devoid of the often shambolic nature of a 'Northern Soul-esq' type presentation, with it's emphasis on presenting each record as a single entity, rather than using the whole to build up some kind of flowing, 'progressive' movement.

Having worked in a store for 5 years that took in approx 10 new releases of this type each week, there's a handful (for me personally) that actually sound, not like House records, but modern day dancefloor soul cuts in a way that brings back the inventive arranging skills of the old stuff: Groove Collective's - Everything Is Changing, MAW/James Ingram - Lean On Me (still sounds amazing) Ledisi - Good Lovin, Underground Network - Love Is The Answer, SPJE - Sugar Baby Darling (still a bit banging but got enough about it to take it out of the ordinary) to name but the few. Probably just get grumbled at for listing 'oldies' and obvious stuff. Like someone said earlier, you have to wade through tons to hear one that stands out from the rest...and for me, it was stuff that didn't sound like House music that stood out from the rest, even if it was originally made as 'House' music. I haven't touched the stuff for a few years (and might have missed some truly high calibre, distinct stuff) principally because I got bored of essentially hearing the same record over and over, using the same formula over and over. If last week was anything to go by, they still do.

Personally disagree with the consensus on the Negro mix of 'Sugar'. Housed up for mass appeal. Simple as that. The original's perfect in it's own right. But it's each to his own on these things, of course.

I suppose, looking back, this is actually more a critique of the convenient 'redefinition' of a certain strain of House music - to fit with a scene's expectations and ambitions - than about Soulful House per se. For me, it all gets a bit predictable, in the main. Just my opinion, since the question was asked.

James 'Bootie' Tuten - This Is A Love Affair (Ultimate)

Billy Boomer - I Like What She's Doing To Me (Blast)

James Chappell - I'm Glad I Found You (Haywoods)

Evans Pyramid - No I Won't (Smokah) - weird but somehow appealing

Ramona Brooks - I Don't Want You Back (Q)

Caviar - Never Stop Loving You (Survivor)

Khaliq - Never Had A Love Like Yours Before (Brofeel) - from '87...sure as f**k doesn't sound like it.

New Jersey Connection - Love Don't Come Easy (Carnival) - one of the best of it's time EVER...chooooon.

Common Sense - I Really Love You (BC) might not be 80's, might just creep in...

Raj - Somthing Inside (Oak tree)

John Simmons - Ain't Nothing Like The Love (Sabrina)

Pure Pleasure - By My Side (QC)

There are but a few, all gettable, some might require a bit more wedge than others.

I was told that the 12" was sides A+B of the 7" joined together???

Nah mate...totally different mix altogether...probably a re-recording.

I was also told it was worth more than £125. 

And I also know that you know your onions, so on that basis I'll stay clear 

Why, nice of you to say so. I would provide audio evidence to back myself up, except I never made a recording of my copy before I flogged it.

There was a 12" of the Mark IV on ebay about a month ago that didn't make the $600 reserve. Shame I was skint, otherwise I'd have had that. 

I'd steer clear of the 12" of that If I were you...worse than dire. Different version, muddier mix...basically rubbish. And commonly worth £125 absolute tops...shouldn't be any more, should be considerably less. $600 reserve? Jesus!

i have an unknown (hope so)

sylvia striplin 12"

anyone care to name it

so i can check?

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On Uno Melodic? You Can't Turn Me Away/Give Me Your Love.

or Searchin

?

I think you should be able to get Halo for less than 500 though, thay seem to be about 150 on Marshall and maybe double that on Dyco.

Has anyone got a soundbyte of Tolbert for me? Haven't heard it for ages...

Billy

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Here Billy, next time you see a Halo for that price, gis a shout!

I was under the impression the Marshal issue was the harder of the two (isn't it the first label?) and look as I have done, and for a good many years, I ain't seen either of the f**king, c**ting things for sale. :angry:

Can't figure out why Doudou wants the Ron van Horne, though...now that IS doo-doo.

Might have a Tolbert soundclip somewhere...if I find it I'll send it on (to the LL___ll something email, yes?)

On second thoughts, email me at thecauldron@witchsbrew.co.uk and that way I'll be able to send it if I do find it.

hi, if anybody have a spare copy of

Ricky Lance - Smooth Foxy Mama

, i'd be interested....

cheers,

dan,

hamburg

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Would that be Mr Dombrowe per chance?

I don't have a spare but there was one on ebay up at sommat like $249.99...finished with no bids. Or you could try Manship...if you want to drop £300 on it...

...and you'll also want to flip it over as 'Smooth foxy Mama' is the shite side, 'Super Strong' is the tune

Up for offers, visually graded VG, play graded EX copy (seen and had records graded much higher and look/play at lot worse)

Label has wear, but the music is loud and clear.

Slight noise on intro (light crackles....no cueing noise)

Take a listen to this copy here

70's trades also considered, if that's you bag.

Contact: thecauldron@witchsbrew.co.uk if you want it.

I some cases that could well be true, but I honestly doubt it in this one. When, for instance, was the record ever indemand enough for it to warrant a bootlegging? Cole's admitted pressing 300 in '75 and the one's without the engineer's name, they're the one's from '75. Also known as, original copies.

...although I think Andy Dyson told me that Mick Smith told him at some point that he had it on another label that was issued before Rock-Way. Cole has never mentioned this. Maybe it's just a single copy he pressed up for Jesus or somebody. :diablo:

I read in the Forum a story about me, which was uncalled for in which the individual called me a "Crack Head".

I believe his name was Jason of Witchbrew UK. Pease inform him to get his information from the proper authorities before he start his name calling. I was the producer of all of the songs released on Rock-Way records and I am not a "Crack Head" Gold of my life/mixed Emotions 1975

Regards

Elijah Cole

I'm sure Derek'd be better off sticking it up on ebay and watching it go for silly money.

Sorry Christian but you have lost me. What does this mean, anyone got any idea?

Garv.

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Just having some graddost?

Not sure Mikey, mine's on vinyl.

The stock number is the same, so that could mean a number of things 

Who were Brown Door a subsid. of?? Haven't got copy with me at work    so can't have a read of the label!

If they're an Indie, wouldn't have thought they'd have pressed at more than one plant????

J

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Brown Door was Marvin's own label, wasn't it? Don't think it was a sub of anything...could be wrong.