Pete S

Thats interesting as I"ve never seen one with the label peeled off, I have had a record like that test press though, think it was by Bill Medley on a Verve test press

Ah here we are https://www.45cat.com/label/his-masters-voice/26 now POP 1577 and POP 1585 are definitely red and white, I have actually got 1595 on a red and white demo. But they come right in the middle of green & whites. So maybe they were prepared for release then held up?

There's definitely R&W's after that, I wouldn't have remembered otherwise, though I might be talking about the wrong title! What I"m saying is - some red and whites appear after green and whites. It might be a Kenny Lynch 45 on HMV I'm thinking of actually...It's Too Late maybe..

I've seen some really weird demos from the 67/68 period on MGM and Verve, they go from pink and silver to pink and white, and are pressed with solid centres on what seems like styrene, with stuck on labels - anyone familiar with these?

There's got to be a transition period for example Ray Charles "I don't need no doctor" is a green and white, but there are red and white's AFTER that one's catalogue number. Release date 67. I used to know a few examples of this...brain not what it was!

Mainly played at Wigan by Pep and Russ, late 76 but massive early 77, first 2 months, then booted and dropped.

Teresa - EMI ran several labels in the 60's including Capitol, Liberty, UA, Tamla Motown, Stateside etc. All of them used a white demo with a red A from approx 1961 onwards. In very late 1966, early 1967 they decided for some reason to change the demo designs to a green label with a white A. (A couple changed to pink with silver A) At the same time, Pye and it's subsidiaries changed their labels from plain white demos with black A's to a yellow demo. I still don't know why this happened, I'd love someone to tell me, all it appears to coincide with is the end of the pirates and the start of Radio 1.

Thats what I thought til I looked up "Do Lord"!

There's a series of these Jim. I had one with Living Above Your Head on it. But I don't think it was on Capitol, it was a UK release. Memory of this is very vague as I didn't have it for long, and it was over 15 years ago.

Is that a 1 or a 7?

£150 - £175

OK just for you I just played it, it does indeed start with applause and cheering to make it sound live, the song is the Gershwin standard with a stomping beat. it's pretty terrible. The other side is a frighteningly dull ballad with no redeeming features whatsoever.

Yes but he says "the boot is rarer than the original", which is madness, it's not even 'scarce' let alone 'rare'.

This is a bit vague Steve but I'm sure The Man I Love starts off with fake crowd cheering noises to make it sound live! I might be thinking of something else...

Are we talking about Duke Browner or the Natural Four, I'm confused now.

A couple of years back I sold an acetate of this on here, it wasn't a Pye one though, it was a one sided Emidisc! Totally legit, 1966 cut, but unusual that it was an Emidisc when there's so many Pye acetates around (though I once peeled off a Pye acetate label and there was an Emidisc one underneath). Think I sold it for £50...

Don't like that import version, vocals way better on the UK original. Never even heard this import til the early 80's.

The plain ones mainly came from that big West Coast find and are all on styrene - so presumably the vinyl ones with the record designs are East Coast.

This is copied word for word from the official Jamie website. My goodness is this unprofessional or what? Frantic Records was a subsidary of Arctic Records. It might seem strange for a label as small as Arctic to have a subsidary label. The phenomenon reflected the industry's makeup of competitie distributors in most markets. So while a large label would command the resources of the distribuotor, little labels had to rely on the threat of "puuling the ine" and going to another distribuor to get the most commperation from a distribuor. A second label was a constant trat of to a distirbuor that the label could alsys go oto the other distribuor if the label perceived a difference in teir promoton or sae abilities.

So do I. Not particularly as a "Northern" record. It's just a great 60's record.

Personally - don't like it, don't get it really, but like a lot of these records, it was of it's time so in 1968-70 era it was such a huge record and who am I to argue with our Wheel-going ancestors.

No the reason why they found it hard to get copies of records played by competing sound systems was because here we are talking about the late 50's when there was no Jamaican recording scene, everything played was by American artists on American labels, they were imported and covered up so that the other system operators couldn't find out what they were. The recording scene didn't really kick off until 58-59 and from what I have read, the big system operators like Duke Reid and Coxsone Dodd made records which they then promoted at their own gigs - so rather than covering them up, they wanted as many people to know what the records were as they could now be bought in the shops (played exclusively for a few weeks to get the demand going then issued). Real exclusive sound system tracks were few and far between until the late 60's and early 70's really. I don't know whether thats true about Lloyd Daley making records solely for sound system play, maybe for a few weeks as pre-releases but they couldn't afford to hire musicians and singers to record tunes exclusively for sound system play. Thats just my opinion, obviously

Just keep watching ebay, all of those will turn up, I sold a Prince Buster about 2 months ago, The President turns up regularly.

I've never hard of any acetates having a stamped matrix, they can't do because the stampers that make the records haven't even been made, the acetate is just a first cut demo.