Pete S

Yes ok they do cut from acetates but they are sprayed and coated silver and wouldn't be useable as a record like yours after being used for making the plates. Anyway, enough from me on this subject, this morning it was unknown, now it's not..

Here you go, the history of Hollick (not Hollich) and Taylor Recording Studios https://sladestory.blogspot.co.uk/1971/01/hollick-taylor.html

You don't make stampers from an acetate. I can guarntee you though, if it's on vinyl it is not gonna be a one off. You couldn't find any details on the web but I did, including that piece that Maslar found (in that one it says they were from Coventry). If I get can get my books out I'll find the group and tell you who all the other members are and what it says about the record. Doesn't really matter though does it, it's a rare piece whatever it is.

This is an edited down document of the last ever 2 hours at Wigan casino, this was the 'real' end of an era allnighter (the hastily arranged second one doesn't count), this was obviously my last ever visit and it was a fantastic night, as you'll hear from this very emotional recording. If you were ever a Casino regular, I wouldn't be surprised if this has you in tears, not only at the end, but also listening to the atmosphere on tracks like A Little Bit Hurt, Move On Up and Tainted Love - it has never been equalled and it never will be. This isn't the best quality tape I've put up by a long chalk but it's priceless as a historical document. Please feel free to use this recording in any way you want but I would ask if you could credit the source, thanks. https://www.mixcloud.com/mayfairmenthol/wigan-casino-the-last-night-end-of-an-era-allnighter/

Er...no...why would you think it did?

OK.. acetate - 3 or 4 copies usually, made for playback purposes, for the band members, and for rush promotion purposes demo - advance demonstration copy of a record about to be released test pressing - a handful made to test the quality of the finished product private pressing - a small run on a tiny label, often the bands own or the label belonging to a local studio (as in this case)

They'd be £20 each. I know the USA one is EX, not seen the UK ones for a bit so I'd have to check them but I know there was one EX and one VG+ (which would have been £15)

Liam it's not a test pressing. Trust me.

Think I've got 2 copies on UK and one on USA United Artists - what were you after?

No that would be acetates, they wouldn't do a ten run on vinyl and the fact that the Four Squares record on the same label even had a picture sleeve means the records weren't just made for band members only.

Right so it would have got a local release, sold at gigs mainly. I guess 99 copies pressed for tax purposes.

I wouldn't sell that for under £250. Is it a metal acetate or a vinyl copy?

I agree with this, it's just a typical mid 60's UK beat band, albeit a pretty good one. Wouldn't think it would do anything if played out. If I was Liam I'd get this up on ebay as an unissued 60's beat acetate.

I found a 1967 advert for the band doing gigs in the Tamworth area

Yes on Columbia, good version too.

No but it looks superb, had the record on Fontana but never seen this in my life. Real name Luan Peters. Do a google picture search She made a couple of really good 45's but was most famous for a) being in the band 5000 Volts and b) appearing in an episode of Fawlty Towers. But the best thing she was in was Pete Walker's 1972 movie The Flesh & Blood Show, any lovers of British exploitation should check it out. Great find by the way, must be so rare.

So it's The Umpteenth Time - Look Before You Leap. They were a band from Tamworth or Coventry. Don't know if they ever had an official release. The drummer's name was John Smith. That's all I've got. You should ebay that, you'll get a lot for it from beat/psych/pop collectors.

TWO PLUS TWO - I'M SURE (D) VICKIE BAINES - COUNTRY GIRL (P) LARRY CLINTON - SHE'S WANTED IN 3 STATES (P) BERNARD WILLIAMS & THE BLUENOTES - IT'S NEEDLESS TO SAY (P) DETROIT EXECUTIVES - COOL OFF (D) JANIE GRANT - MY HEART, YOUR HEART (P) EDDIE PARKER - I'M GONE (D) THE METROS - SINCE I FOUND MY BABY (D) BUNNY SIGLER - GIRL DON'T MAKE ME WAIT (P) LORRAINE CHANDLER - I CAN'T CHANGE (D) TARI STEVENS - FALSE ALARM (P) GINO WASHINGTON - RAT RACE (D) LARRY ALLEN - CAN'T WE TALK IT OVER (P) RONNIE & ROBYN - AS LONG AS YOU LOVE ME (D) CHUBBY CHECKER - YOU JUST DON'T KNOW (P) LITTLE ANN - WHAT SHOULD I DO (D) YVONNE BAKER - YOU DIDN'T SAY A WORD (P) MATT LUCAS - YOU BETTER GO GO (D) THE TYMES - HERE SHE COMES (P) DETROIT RHYTHM SECTION - IN THE POCKET (D) CHRISTINE COOPER - HEARTACHES AWAY MY BOY (P) EDWARD HAMILTON & THE ARABIANS - BABY DON'T YOU WEEP (D) DEE DEE SHARP - COMIN' HOME BABY (P) ROSE BATTISTE - HIT AND RUN (D) FRANK BEVERLY & THE BUTLERS - I WANT TO FEEL I'M WANTED (P) JACKEY BEAVERS - I NEED MY BABY (D) SUGAR & THE SPICES - HAVE FAITH IN ME (P) GWEN OWENS - I LOST A GOOD THING (D) DONI BURDICK - BARI TRACK (D) A simple concept - a mix of Northern Soul dancers emanating from two of the USA's most important musical melting pots of the 60's - Detroit and Philadelphia. All of these tracks were recorded in / released on labels from / or are associated with those two cities, and every track is a classic oldie. (Fans of rare, more obscure and lesser known Northern Soul will find lots of podcasts to suit you in my other 140 podcasts, this one is pure oldies) Items marked (D) are from Detroit, the rest are from Philly. Up next, Chicago vs Los Angeles https://www.mixcloud.com/mayfairmenthol/northern-soul-showdown-detroit-vs-philadelphia/

I must have seen thousands of people dancing but the best I ever saw wasn't at Wigan or in fact anywhere in the 70's, it was at a very short lived allnighter at Herne Bay in 1989, all I can tell you is that the guy had dark hair and wore glasses, that's all I remember about him apart from the fact he was a superb dancer without resorting to acrobatics. Only a few hundred people went to Herne Bay so someone who went might remember him.

Or they just don't like it.

How does it follow that just because you like one aspect of something, you have to like all of it? I love midtempo and uptempo soul. I don't like slow deep soul. Why should that be a problem? I like fast, 1968-69 style Reggae. I don't like 70's roots reggae. And so on. Surely it's not about a persons own taste, it's about what the punters enjoy hearing? If I were to go to Stoke Kings Hall all nighter, I would be disappointed to hear an hour of upfront funky newies when I was actually hoping to hear rare and classic oldies.

Checkerboard Squares, I still use the title "Strings A Go Go"!

Absoloutely right. Just say THIS IS NOT AN ORIGINAL.