Tlscapital

No most likely this seller's account was hacked-in and someone used it to proposed numerous big popular 'wants items'. Beware as the payment recipient is then not the one from the original seller's page and the item is in no one's possession. Often these proposed at an attractive (bait) price... Screams warning ! Don't fall for those. Accustomed to that malpractice Discogs now in suspicion block these presumed hacked-in seller's account and await the original account seller's feedback on the matter to sort the issue out; This malpractice began a year or so ago and apparently was based in Ukraine. Although could be Russian all the same. Smells like so to me..

The Esquires is unissued I guess. Those Betty Moorer's sessions too apparently.

DOWN IN PURGATORY OF HELL ! Where it belongs

First promo press is the more desirable IMO. But the plain white promo label variant was used for the vinyl bootleg made in the 1990's so some are weary of those... I'm not. Its plain black stocker counterpart is nice too but less to my liking. The second press (only by a matter of a month or two) with the newly adopted lined design labels are comforting for those not able to distinguish better the boot from the OG if ever but normally prices are somewhat similar. FWIW two pressing plants were involved for this second press. The rarest of them all IME is the promo Monarch press (only lined design). That stocker is rare but its promo counterpart is... well I'm yet to see one ! Must be very rare.

Here is ;

TBH I think scans or pictures would help to put bracket prices on them as 'VG' can be rather problematic or not depending on one's estimation... FWIW there's a a want on here for Bobbie Smith in VG+ condition...

The first one was an outsider sponsor. This one is an Insider with an emblematic product that carries values that RS promotes with enthusiasm...

Well I'm off the very few I guess since I'm not.

In an old 2009 thread on here titled 'Soul City On Goodtime - Who?' where the late 'boba' referred to another 2009 YT video sound clip of the Soul City first single flip side with 'who knows' where it is also claimed that the Soul City and the Royal Robins were one and the same group. Exactly as it was already claimed by ex-group member George Britt on the YT video sound-clip of the Royal Robins 'something about you that send me' on the "notorious" Brico's channel I was first referring to. And now again as it is in this 14 year old Soul City 'who knows' YT video where a certain Galwin Alston (USA) claims exactly that too. Together with a special greeting to a George dude (I guess group member George Britt) by Phil Reeves...

Briefly reviving this old thread not to answer the OP main question as I don't believe there's much worth adding what to the fact that the original composer's and producers team of Mike Lewis and Stu Wiener then working at Parkway (original composer of 'everybody dance now' first released in November 1966 by the Soul City on Goodtime) just re-used their song in June 1967 to give another go at ex-fame teen Rock'N'Pop Bocky and the Visions in an attempt to 're-juvinate' them but apparently it just didn't. Jumping on the occasion to confirm that indeed the late 'boba' last info here above on the Soul City being one and the same group as the Royal Robins was already claimed by ex-group member George Britt on another YT video sound-clip of the Royal Robins 'something about you that send me'. Just as it is in this YT video claimed by a certain Galwin Alston and once again with reference to a George dude (I guess Britt) But in order to really establish that hopefully I've started here a new thread to that occasion ;

Or are they ? Digging into the Royal Robins last 45 on Tru-Glo-Town and making few corrections on Discogs and 45cat.com I come across group member George Britt's quote on Brico YT channel sound-clip of the Royal Robins 'something about you sends me' stating that he quote : The Royal Robins & The Soul City sound alike because we are the same people G.peyton -lead E.peyton lead/1st tenor G.Britt-2nd tenor/lead Halsey Peyton -baritone/lead J.Wiggins(Buster Pete)Base exstrodiner-lead-baritone -2nd tenor/ coriorgrapher Great Friend!. Only this post is now 7 years old and while I've just replied to it asking him questions it may actually just be too late somehow. But the theory holds water some and so I thought to give it a go to see if we can enforce it if ever. Although the Soul City second release 'cold hearted blues' on Goodtime do solely bares the group name as (The Soul City) for both sides compositions. 45cat.com member Jukebox George unearthed the copyrights registration and it goes like this ; Copyright George Randy, John Milford, Ellery Wendell, George Wendell (c) Wemar Music Corp 15MAR67 Track A EP228548 Track B EP228547. Then Jukebox George adds that ; These four also have a Composer credit on the Mercury 45, so presumably these are the names of the members of this group. Works IMO. The Soul City third and last single on Mercury had for its B-side 'I shot for the moon' this ; Track B Copyright w&m George Wendell, Ellery Wendell, George Randy, & John Milford (c) Wemar Music Corp. 26SEP67 EP236485. So if Ellery Wendell and George Wendell were before Ellery Peyton and George Peyton could John Wiggins have been John Milford and George Randy George Britt ? I'll add my theory that the Soul City names given are only their first and middle names. While the Royal Robins are only their first and last names. To have them complete with their first, middlet and last names one has to add them up from both group formations. Bit different than what Jukebox George went on to imply on 45cat.com ; These four names are either typos or pseudonyms, though the given names seem to be correct. The family name for Wendell seems to be Peyton. But no matter how bold these assumption may be this could, if ever true, explain why many missed to make the connection between these two groups if they were. Like George Britt implied on his YT post both groups sounds alike just as I tend to hear a similar tremolo singing. The timing factor with the last Royal Robins 45 dating from September 1966 and the first Soul City 45 from November 1966 makes it all more so plausible. Thoughts or evidences anyone ?

No ! As I'm no member of the f*c*book sect and never will be

Well I'm to other way around and felt more than once disgusted early (at the age of 17) with the sudden ska, rock-steady and reggae records prices shoot-up at first then later with a dreadful plastic commercialist avail of Carnaby skinheads bloom to doom it all for me somehow. So involved then was I with my soul sounds (Northern, deep, sweet, modern groove...). Once in need of money to fund different things (no records) I sold out my collection of Jamaican stuffs to 2 friends. It was good need money then. Now it would be much more though... Stil enjoying my friends sharing their Jamaican discoveries. although rarely bluffed. But still occasionally a new 'old' love struck happens. Anyway I still love the Jamaican sounds but couldn't afford to deal with collecting both and when I attend such venues like for soul sounds am most critical. But whenI love I love. Liking is not enough. So after doing my rounds with the Jamaican sounds 15 years I understood that besides discovering new tunes new sounds just wouldn't happen. No matter how further I pushed my musical earbuds tolerance. Soul sounds on the other hand is much more vast. The roots reggae sound never really hooked me. Although the 'bluesy' wailing singer on a low down nitty gritty heavy rhythm sounds most appealing the mixture never really caught on me. And I've tried back then but I never... But respect to you and those who know what they love. Thrilled my friend who bought my firsthalf of Jamaican collection came to my place the other day to play on my respectable MONO phono rig his latest 45 finds and in there Burning Spear's first ever 45 and he was so thrilled with it (body talk) yet it kind of left me cold. Although I heard and understand the quality about it and why some go crazy for that, my ears sensitivity just don't react to that. And where he sometimes favor the 'vocal' side I still like before favor the plain 'version' flip for a dull 'hypnotic' (to me) or boring (to others) rhythm with basic bass variations. Could I dig roots and bass culture 'dubs' & 'versions' only ?

No why ? The Roots and Rockers things and scenes definitely didn't mix that well with others or briefly only and merely on the surface with the RAR late seventies London thingy. But that was more politically oriented than real music bliss... So am talking rather about the earlier days in the late sixties up to the early seventies when American sounds played by the Jamaicans next to their owns appealed to some British kids that shared these sound imprints to grow their hits of their own too. Sharing 'common grounds'. Back in the late sixties in the UK at the intersections of these flourishing emerging scenes came into parallel more purists scenes like the 'Revive' Jamaican and the 'rare soul' scene. Cutting off these 'bridges'. The nostalgia for more accessible do's after the 2-Tone craze and the Mod "revival" allowed some dedicated to original 'underground' side of things went on to promote such 'cross-over' events all over again. Elder nostalgic Jamaican folks in London at least kept on having that 'tradition' all along though... Not trying to teach or preach here but since I believe that the OP was referring to such musical events I thought I'd give my insights having attended all of these and have pursued to prefer mostly the segregated musical policy events. And so aiming to explain why I believe most elders will prefer to keep them sounds separated. Knowing that it's hard enough to please one and the same crowd with one 'connoisseur' sounds only. Adding different music genres on one night evidently makes it even more troublesome.

You can now click on solved I didn't assume it would turn out to be Buddy Lamp though. But so are the odds of the whatever hints one gives and what we can 'picture' out of them...

Early '64/65 ?

Good styrene if in good condition can be amazing. But styrene is more fragile and so prone to inner grove wear with bad, damaged or poorly tuned-in styluses (alignement, VTF, VTA...). Depending when both pressing are available to be chosen from I tend to prefer one or the other but only after a playback comparison. A lot come into the equation like the mastering, the cut and then the pressing itself. So many examples of much preferred styrene playback than their vinyl counterpart. And the same vice versa too.

All variants are styrenes.

No I didn't. But thanks for that lovely well written slab of bio. Five stars. Although it doesn't mention the involvement of Dolly & the Fashions (credited only on the pink release) in this session it does shed light on the involvement of other 'big' names from the then 'Hip' Cali musical scene for this daddy's daughter little vanity record on his own label Rainbow records that is. So we could guess that daddy also paid for Dolly and her Fashions to be present during this studio session but in the end only to lend their backing vocals over Phyllis's 'oh baby !' just love the way you love ... my sweet baby, darlin' baby break and refrain... without further connection between Dolly & the Fashion and our Cali Phyllis Brown daughter of Rainbo records's boss.

Uh ! Sorry but we're taking the British phenomenon here taking roots in the rare soul scene here where a lot of the so called 'soul boys' were ex 'hard' mods or even skinheads and suedeheads who for some were also into the Jamaican sounds... Were both scenes had a lot of bridges. Hence that even at in those 'blues' West Indian nights they also played a lot of their beloved so called American "soul" sounds with such favorites like Willie Tee 'walking up', Sam Cooke 'Chain Gang' and other classics of the likes so this is where we're coming from on here.

Well careful here as these 3 girls are not one and the same. This Phyllis Heidi Brown / Threatt (spouse of Sonny Threatt) is the white Southern Carolina girl who sang first in the Nomads on Mo-Groov then after together with Sonny (Sunny) went to Texas to record for the Major Bill Smith's stalls to enjoy little fame. Then there's Phyllis 'Charity' Brown from Ohio that sung first for the in-famous Dawn 'rain' once Northern Soul HIT wonder group before going solo under the 'Charity' surname... And finally this third California Phyllis Brown that was also white and leaning into 'soul' music too. Better known as lead in the Babies on Dunhill.

Don't know for 1966 as the few 4 singles released on that Rainbo records company are all dated by 1965 on 45cat.com. But without better reference like Bill Board or Music World charts or review for example but the link with both Cliff Chambers composer and the Dolly & the Fashions last single indicate to me like a close time frame rather than a lengthy one and the Ivanhoe has a year of release. Thanks for that John Vincent play by 1975 tip. Likely as I said a now (for a while but could be proven wrong) a 'dusty' oldie NS sound that could still have got some exposure 10 years after on the decks in less forwarded progressive (doesn't necessarily mean positive to me) clubs hence it's inclusion on that 1985 Soul Supply compilation 'soulful kinda music' but not so much after I'd believe as I never heard it out...

Straightening things on Discogs and 45cat.com between the 3 Phyllis Brown discographies (Cali, Texas and Ohio) I see now that her pink label pressing variation on Rainbo records of 'oh baby !' B / W 'why' features Dolly & the Fashions from 'the right one' on Ivanhoe Records and 'absence made my heart grow founder' on Tri Disc. This peculiar credit addition is featured only on the pink release that I only noticed now as I don't own this pink variation and before didn't bother to look closer as to what made them different beside the color variation... For this is a good record that is somehow of a 'taking dust' Northern sound that only got DJ action when first played... The composer Cliff Chambers (also named Willie Headen as singer) and his Cupid Publishing Co. also add to establish the connection between this Phyllis Brown of 'oh baby !' B : W 'why' on Rainbo Records (featuring Dolly + Fashions) and both the previous Dolly & the Fashions records to definitively be one and the same gang at work. It is proposed by some on 45cat.com that Dolly is Dolores Hall. This through the James Carmichael & Earl Nelson, Bob Relf, Fred Smith involvements on both Dolly & the Fashions singles that would then take her to Keymen and Mirwood... Although to my ears the singing of Dolores Hall and Dolly of the Fashions don't really match IMHO. Later by 1967 this Cali Phyllis Brown of ours here joined the Babies. A girl group that got 2 releases on Dunhill. One covering Jerry Butler's 'you make me feel like someone'. The Babies were aiming for bigger things but judging by the number of stock copies versus promos to be found on the market the success was not met. Anyway could this white girl here named Phyllis Brown also be a previously member of the Fashions and went on to do this solo effort on rainbow Records and then went to chance bigger things as lead singer in the Babies group ? Would anyone know better if Dolly & the Fashions are actually related to this Phyllis Brown and if so how ? November 1963 March 1965 1965 1965

Single or EP ?