Andy Rix

There was more than one 45 on Bari .. all Motown band tracks ... the first one which I think was something like 'All the time' by the Soul Brothers was shipped over in bulk but I really didn't think the Saundra Edwards made it across the water Andy

how about Saundra Edwards - True Fine Boy (Bari) ... lifted from the Motown reference acetate, that Alan Pollard now owns. As I recall these were pressed in Detroit and only a handful were brought back to the UK. The rest of the copies were never shipped over and have probably been skipped. Does anybody have one ? As regards the Kenny Smith on Goldspot they are all real. When I spoke to Kenny about this many years ago he confirmed that Simon purchased all of his remaining stock. Kenny owned the label Regards Andy

Thank you Really appreciated Andy

Just noticed a typo in there .. it should say 'HE was to forge an extremely successful Motown career' .. the reference is to Frank not Sherlie to clarify he is Frank Edward Wilson .. you can find a bit more detail on his move from LA to Detroit in the piece I did for John Manship about the auction of 'Do I Love you' https://www.raresoulman.co.uk/the_frank_wilson_story.htm Andy

It must take you ages to do all of that colour coding !! The following was lifted from the www., it basically explains things and saves me typing it out !! I suggest you also read the sleeve notes from Mirwood Vol 1 on Kent. Mr Croasdell also tells the story ... say hi to Sue " Sherlie Matthews dated and fell in love with Frank Wilson, a fellow singer and potential record producer, whom she had known for years. The wrote songs together, and Frank recorded one of their efforts "Long Long Road to Happiness" on the local label Power Records under the pseudonym of Sonny Daye. They performed together as an act, and Sherlie made her first record when Power Records released a single by "Sheri Matthews and Sonny Daye" titled "Come Back to Me". Frank got a break by joining Motown as a writer and producer and he subsequently introduced Sherlie around and she was signed up as a singer/songwriter/producer. She was to forge an extremely successful Motown career - with record production and songwriting for The Jackson Five, Martha & the Vandellas, Diana Ross. Marvin Gaye, The Four Tops and The Supremes. Sherlie joined the Mirwood label, and became a real powerhouse behind the scenes of this household name label. "Bob and Earl" were responsible for 12 of the 36 single releases - either jointly, separately, or under pseudonyms. But Sherlie was also responsible for a huge chunk of the labels output in 1966 and 1967, both from her own group The Belles, and through writing for and producing Bob and Earl, Jackie Lee, The Mirettes, The Olympics and Bobby Garrett." regards Andy

Thank you You can send me scans ... that would be great & I can give you my address to send the 45 to ! Joking of course .... it's actualy for Frank so if there is anyway of gettingthis to some format e.g. CD or anything I know he'd really appreciate it Andy

I don't think it is It's Frank Wilson & Sherlie Matthews Andy

Does anybody have a copy of Sheri Matthews & Sonny Daye - 'Come Back To Me' on Power 214590 I'm chasing a top quality MP3 of both sides if possible regards Andy

yes that's him .. Rob Thomas concurs .. others might also confirm Andy

Steve Chadwick had it ..I think he purchased it from Carl F .. Steve sold it to Paul Everton (?) or maybe Keith Williams ... Keith will confirm one way or the other I did hear that Paul had all of his records destroyed so it might be dead now Andy

bump Andy

Hi All I need a favour Does anybody have a copy of Jimmy Mack / I'm Ready For Love - Spanish Tamla-Motown 45 I'm chasing good quality label scans of both sides Any help appreciated Thanks Andy

thanks Mick that's really interesting ....up until yesterday when Maria mentioned it, and now confirmed by you, I'm not aware that any of us knew Sam once owned it. This obviously changes the 'family tree' of ownership ... cheers andy

I may have confused things here The Soul Sam spot was 27 Nov 77 and was the first time I heard Frank Wilson - we are trying to establish if this was the first play. Does anybody have evidence that Russ played it before this date The Arthur Cleethorpes debut tape I referred to is from 27 August 1978 ... in essence he mainly played established tunes .. I only mentioned it as Maria had posted and thought she might be interested My apologies for confusing things Andy

And what was the first record he played ? I hope my memory of the day is wrong The Burning Bush (Mercury) ... followed by Ral Donner - Don't Let It Lip Away ... Joey Heatherton ..... Danny Monday .. Herbert Hunter ....highlight of the spot was Billy Woods Andy

I have no doubt that Simon supplied at least Sam & Russ with acetates .. it's self evident, well to me anyway .... did others get the same exclusivity ? .. i'm not sure Andy

I recall looking at it at the time. It was a 'dctRECORDERS' acetate ... he never called it Otis Clark again, the next time he said 'Eddie Foster' Andy PS ... I also have a tape of Arthur's DJ debut at Cleethorpes ... 27 August 1978

In light of the thread on the anticipated auction of Frank Wilson I dug out this old tape So is this the first play ? ... did Soul Sam get there first or did Russ beat him to it Recorded at Notts Palais on Sunday 27 Nov 1977 ... it was almost certainlythe first time for Sam, he certainly didn't have this the weekend before He says ....."The next one's a new stomper and one of the best things I've heard for a long time, this is 'Indeed I do', Otis Clark, and wait til you hear this one .... unbelievable" Interesting to note that it's slightly faster than the Soul 45, as the Eddie Foster bootlegs were Andy Frank_Wilson___Do_I_love_you___27_Nov_1977.mp3 Frank_Wilson___Do_I_love_you___27_Nov_1977.mp3

""Got me thinking though whether there's ever been an action to reclaim an expensive promo by the record companies? I had a run in with Jeff Buckley's estate a few years ago for trying to flog a T.P. of "Grace" on E-Bay and they threatened me with expensive lawyers and a potential lawsuit...."" Good question Ian ....With specific reference to Frank Wilson the answer is yes .... Motown did take steps, many years ago, to reclaim the 45 but those they approached were not in possession of the disc. They eventually gave up trying Andy

Bit of a sideline question this.. Does anyone know what the master source was for the UK Tamla Motown releases of Frank Wilson?? Was it studio master tapes or does a studio dub/test pressing exist? ..... I'm fairly confident this is the story ..... but it was a long time ago so my memory might betray me the source was direct from the Motown stereo master tapes that were, I assume copied, and shipped over to Abbey Road arriving in the same batch as the masters for the UK release of Stevie Wonder's 'Secret Life of Plants' LP. the stereo master had to be mixed down to mono for the UK release and to help do this contact was made with a London based Motown collector. He told me that he went down to Abbey Road and took with him the Eddie Foster bootleg. As this was obviously sourced from the Soul copy, that Mr Soussan, had it was used as the reference disc for the mono mix As a side note does anybody recall that when Soul Sam first played this from the acetate that Simon sent over he introduced it as Otis Clark - Indeed I do Cheers Andy

Hi I'm pulling together a CD for two former members of the Matadors who recorded for Eddie Singleton's Keith Records. In addition to their own 45s they sang backing vocals on the Jackie Wilson 45 'She's Alright' and the Ray Pollard Shrine 45. I thought I had the Jackie Wilson 45 but obviously haven't so if anybody is able to do me a top-quality MP3 of Brunswick 55273 I'd really appreciate it. If somebody has a copy for sale then I'd also appreciate you getting in touch Thanks Andy

Hi Adey as far as i've been able to establish the label was named after Len Jewel's wife .... I had contact details for her a few years ago but all enquiies ended up going nowhere Regards Andy

Would totally agree with you on that Pete

It would be fair to say that I've lived a fortunate life when it comes to losing family and friends. My family are all alive and well although I know that this will change as the years advance. Some would think that the years I spent as a nurse might have made me pretty hard to such things but dealing with death on an almost daily basis, particularly the years I spent working in Intensive Care, have not really equipped me to deal with loss at a personal level. When I read of the death of Mike Terry on Friday it floored me. I have spent the last few days reflecting on his enormous contribution to my life. I probably first noticed him play when I about 12. In my formative years I would be subjected to college friends, of my older brother, coming to the house to play records. There were the standard Motown tunes but they also had things like 'Girls Are Out To Get You', Edwin's 'SOS' and the one that grabbed my attention the most ....'Frantic Escape'. I think from that point I fell in love with the music of Popcorn Wylie & Tony Hester and the sound of the mysterious sax player Visiting Popcorn, at his home in Detroit, remains one of the highlights of my life and his recent loss, whilst expected, stuill cut very deep. It was a number of years before I was able to put a name to the guy who played the baritone sax on so many records that I subsequently heard following that initial exposure. As I recall the penny dropped when I saw some information from a French 60s Motown release which listed the musicians featured on the tracks. I knew the style of the man and could spot him a mile away, even if he was far back in the mix, so to now know that it was Mike Terry gave real substance to the sound. I would make a point of buying 45s that featured him and took to making notes, and compiling a discography, in my Milke Terry book. If I heard something new, or spotted his name on a label. I would then try to get that 45 as funds permitted. He became the number one reason that would drive me to wanting to buy a record. I recall being so obsessed with Betty Boo - 'Say It Isn't So' - that I pestered John Vincent for weeks at the Peterboro Fleet niters to sell me his acetate at the time when only 3 or 4 DJs had it. One night he agreed and I frantically borrowed money to raise the £6 I needed. I was still at school and had a Saturday job in a record shop where I earned £1.50 for the day. I would always then take the acetate with me back to The Fleet so John could play it. I still needed to dance to it. The acetate eventually got worn out due to excessive play but I still have it tucked away for old times sake. That song, and so many others, have captivated me. The hairs on my neck still stand up when I hear him and when new discoveries come along ... be it in the shape of 45s like Margaret Littles or previously unreleased Motown tracks ... I get palpitations. In my eyes he can do no wrong. Mike has been with me for the greater part of my life. He has provided me with the musical backdrop I needed as I stumbled through the years. He has fascinated me with his technical ability and been the subject of so many conversations, and so much investigation, over the years that I sometimes felt I could almost win Mastermind if put to the test. I've been fortunate enough to have spoken about him with people he's worked with .. Popcorn, Joe Hunter, Jesse James, Dale Warren, Ivy Jo Hunter ... all they said about him was good and the admiration and deep respect they had for Mike was plain to see. As we all know this year has been a tough one ... Levi Stubbs, my all time favourite male singer has gone ... my good friend, and rhythm king, Popcorn has left .. I learned of the death of Eddie Singleton ... and now Mike. I've spent a lot of time this year playing records, as a tribute to these guys, to my other half because I wanted to share more of the genius of these people with her. Over the years she too has learned how to spot a Mike Terry sax break. My only regret is that I never met him. I so wish I had. I would have like to have shook his hand and said thank you. I'll pay my respects from afar on Saturday morning at 10.30 God Bless you Mike Terry Andrew