Chalky

Why is it a DJ's essential record? Is that so one can jump on the bandwagon and show a complete lack of imagination like the majority?

I doubt whoever bought The Del-Larks cares one iota what some think of the record, we all like records that many others think are sh*t. Some of those passing comment aren't exactly the purveyors of good taste. Who is to say what it is worth it is a rare record, has rarely come up for sale and I've seen more copies of the other Del-Larks. It is far harder to value than something like say Velvet Hammer which is up for sale on a regular basis and has sold at a certain price or thereabouts for a long time. We all have different taste and long may the case be, be boring otherwise.

Same group according to the story here https://www.classicurbanharmony.net/Del%20Larks%20Story%20edit.pdf One record by the Del Larks is hard to date. Sometime in the 1960’s the Del Larks came out with a record called “Out of the In Crowd” on the Jet label. This time Ray Davis did the lead with Sammy Campbell doing the bridge and the ending. It’s easy to suspect that this is an answer to Dobie Gray’s “The In- Crowd,” except the Dobie Gray record came out in 1965 and Ray Davis left the Del Larks in 1963. In addition Ron Taylor said he remembered singing the song and he left the Del Larks in 1961. While the Del Larks recalled the song, they were not aware it ever came out. It’s possible the Del Larks’ song, which they didn’t write, was shopped to Dobie Gray a few years later and changed into “The In Crowd.” Seb first posted the link year or two ago.

There was I understand supposed to be a series of them, any more forthcoming?

Vista is the worst ever Chris, I seriously wouldn't bother with it.

What do you mean by wider and further? Maybe a question for the other topic?

I just go by feedback and interaction with those who attend. I will add again both outlets are vital for advertising, flyers are practically redundant but not quite just yet.

I don't do aunties nights out or nights at the pub with mates Mike. However IMO, You need both, Soul Source and Facebook and any other means available. Most events have their own group and are targeted to those who have an interest in that event. You do get more feedback and chat on FB IMO. Lifeline for instance is advertised via its group, the walls of its promoters and DJ and is shared by members, so will reach quite a lot of people The "going" clicks are often into three figures on FB yet very few on here, 20 for the last Lifeline allnigter. The Lifeline group on FB has 623 members. Don't take what I said the wrong way, it wasn't meant that way, it isn't a dig or anything, I'm just going by personal experience and the interaction with members here and on FB. At the end of the day there is only a few hundred interested in attending allnighters.

The rest didn't follow, they were in competition with Motown, Motown was responsible for putting plenty out of business, stopping them charting and those they couldn't have any influence over they bought. Granted many labels tried to recreate the Motown Sound and get the money Motown was but they were there at the same time, some actually making records for the local black market Motown was neglecting in pursuit of the riches the white pop market brought them from what i can see.

Soul Source is by far the best, it is streets ahead for in-depth discussion about any given topic or record but there is more to FB than the social side. There are some groups for specific genres that are far from social with substance and knowledge. I take what I want from Soul Source, FB, Soulful Detroit, Southern Soul and various other forums.

I realise that Dave and am well aware of people writing for others and recording it themselves later. But i would have thought with Kenny being in a recording contract at the time for RCA he would have been more interested in recording his own material rather than writing for others? Maybe Ady can shed more light on it?

I don't doubt that and don't think for a minute it was unknown then. I did hear it got a brief play at the mecca but other than Keb I have seen no other mention of any other dj playing it. No one to my knowledge has ever got behind it until more recently.

The top and bottom of this is Spyder doesn't remember when he recorded this, he did say when he was about 17, it could have been quite easily 18 and just before he signed with MGM. He hasn't even bothered with his Northern tracks until this year so no reason to remember something that was not a hit for him and probably quickly forgotten. He sang none on his northern related tracks the two previous visits here, we were all seriously disappointed with his appearance last year. My guess is Spyder's recording came after hearing Carter's take and a 1966 release. What are the matrix details of the good time release, any clues to when it was pressed? Until we know for sure it is guess work and speculation and you would have to go with Kenny Carter laying this down first.

Soul Source is still the best particularly when it comes to information and is still my first port of call. Facebook has its uses and is probably better for promoting your event as you can get your promotion over to a larger group of people, many who have no interest in the collecting side of the scene. FB is more social but there are some great groups, Gethro's already stated and for me the Stafford one. Thanks to Mike and the mods for the great work they do.

Good luck at £40, more like 15/20 and would have thought a demo around 60?

I bet they have always been sold as originals with the seller unaware. Probably same price for boot and issue too.

Apparently on the boot the matrix is upside down. Just the issue as well I believe. I have an issue for sale and not had one sniff at it whilst it has been in my sales box.

How bad is the crack, hairline, all the way through from edge to edge?

It may have been released in 1966 but it was recorded/mastered in 1965 according to the matrix SPKM-5126.

From another forum page I was reading.... In 1963 another set of codes was introduced. 1st character (year recorded) P: 1963/R: 1964/S: 1965/T: 1966/U: 1967/W: 1968/X: 1969/Z: 1970 (I have the other codes up to 1991 but I can’t be bothered to type those in tonight. E-me if you need them.) 2nd character (label designation) A: Grunt/B: TMI/C: Camden/D: Neon/E: Educational/F: Wooden Nickel/G: Groove/H: Hugo & Luigi (1963-64), Chelsea (1972-73)/J: Children/K: Daybreak/L: Wheel/M: George Jones Musicor masters (1972-73)/N: Various Artists/Promotional/P: Popular/R: Red Seal/S: International/T: Gregar (1970-71) then Metromedia (1972-73)/V: Victrola/W: Country & Western/X: Chart/Y: Calendar (later renamed Kirshner)/Z: Colgems/1, 2: Readers’ Digest/3, 4: Custom (in-house disc mastering)/5: Custom (outside disc mastering) 3rd character (size & speed) A: master tape (also B, C)/K: 7" 45rpm/L: 7" 33rpm/P: 10" 33rpm/R: 12" 33prm 4th character (description) A: stereo EP/B: mono EP/M: mono/S: stereo/T: quadrophonic/1: New York City recording/2: Chicago recording (discontinued in 1973)/3: Hollywood recording/4: Nashville recording/5: outside recording/6: foreign recording (?)

The matrix I'm referring to though is for mastering not the time of release.

I'm going by the matrix on the left hand side on the scan you posted underneath the RCA 47-8841? His unissued one on RCA What's That On Your Finger according to the cd notes was early 1966.

Kenny Carter is 1965, the "s" at the beginning of the matrix defines this. S(1965 )P(either promo or pop?) K(45) M(mono)

Ed Cooper and Herman George only two I know of and the only two listed in R&B Indies?

It has had some spins, Kev Fev one if I remember giving it some spins. No serious turntable action though as I remember, used to get it more on tapes.