Sunnysoul

One of the great Motown rarities and not often seen for sale. This one finished yesterday at $3,366.77 https://www.ebay.com.au/itm/THE-ANDANTES-northern-soul-Motown-45-Like-A-Nightmare-If-You-Were-Mine-VIP-/310946368375?ssPageName=STRK%3AMEWAX%3AIT&_trksid=p2047675.l2557&nma=true&si=IynSCx6oTsMqaci9cEPGK4tH%252FEE%253D&orig_cvip=true&rt=nc What is the generally accepted view on how many of these would have been pressed up at the time?

Are you after the US or UK 7" ?

So, would it be accurate to say that the record was issued 4 times during the 70's ? 1975 first issue on Rock Way , no arranger, by Elijah Cole for family and friends 1975 Belgian issue on EMI 1976 issue on Rock Way, with arranger, by Elijah Cole for general distribution 1977 issue on Cole, by Elijah Cole

Could someone please clearly and precisely condense all the information available on this and previous threads and simply identify - via matrix numbers and label markings - which ones were issued only in the 70's .... irrespective of Elijah Cole's or anyone else's subjective views on what was, or wasn't, legitimate?

This must obviously be a 45 boot ?

Imperial.

This appeared on an early Kent LP of northern classics but was it actually played to any degree ?

OK, so what have been the most popular instrumentals by Sandy Nelson on the northern scene?

Totally agree except for the fact that on more than a few occasions previously Ray Crumley been referred to as being blue eyed, even recently apparently by Tony Rounce in the liner notes to the Kent release "Sam Dees : One In A Million". Tony it seems hasn't been active on here for a while , would be great if we could hear from him on this.

This link would appear to be conclusive evidence that Ray Crumley of Alarm Records was indeed black ... it includes 2 photos of him .... https://www.northernsoulpriceguide.com/guide_detail.php?item=250690660869 Genre:Northern / Crossover SoulFORMAT: 45RPMARTIST: Ray CrumleyTITLE: Uncanny / All The way in Love With YouLABEL: AlarmNUMBER:115LABEL DESCRIPTION:White w/ BlackPrintingGRADE&DESCRIPTION (COVER): no coverGRADE&DESCRIPTION (RECORD): EXAdditional Notes:RARE glimpse into the Texas soul scene. Ray Crumley PROMO 45 mailed to his address in Texas. Along with 2 photos of him performing, signed on the back"To Debra From Ray". Includes original mailing envelop from Alarm Records, Shreveport, La.

Here is a photo of Merging Traffic. None of the information I have found on this group mentions that any members were black ... not sure how to reconcile this with the Merging Traffic connected to Solid Gold Revue ...

Just discovered another interesting article on Ray Crumley and the Solid Gold Revue https://blog.al.com/entertainment-press-register/2010/06/loves_traffic_emerges_from_obs.html which suggests that Ray Crumley was once the lead vocalist of the group Merging Traffic who released the well known northern record "Aint No Need" on My Records out of Little Rock, Arkansas. Merging Traffic are noted on the Solid Gold Revue LP as the instrumentalists of the Revue. That connection is interesting in itself as Merging Traffic have often been referred to as being as a blue eyed soul group. No mention in the article of Ray Crumley recording for Alarm though ...

It's from the back of the Solid Gold Revue LP on which all the musicians are black save for 1 latino member. Also the same photo is referenced here on the Indiana University web site: https://webapp1.dlib.indiana.edu/images/item.htm?id=https://purl.dlib.indiana.edu/iudl/photos/VAC2427/PA003633 AAAMC > AAAMC Black Radio Collections Accession Number SC 14 Title Ray Crumley Collection Name Jack Gibson Collection Date Taken circa 1970-1979 Publisher Theodore Arthur & Associates Photographer Unknown Personal Name Crumley, Ray Subject Publicity photographs, Musicians, Soul musicians, Funk musicians, African Americans, Portrait photographs Country United States Print Type Black and white Physical Description 1 photograph : b&w ; 8 x 10 in.

Have seen numerous references over the years to Ray Crumley as a blue eyed soul man. However this is the only photo I can find of him. It is the Ray Crumley who sang lead on the rare and much sought after modern soul LP by the Solid Gold Revue and presumably the Ray Crumley who had the 7" releases on Alarm. So, does anyone have any more information on Ray?

Rob Alias, you appear to make some quite damning comments about "big name" DJs on the soul scene, not to mention members on this forum whom you accuse of being responsible with their "posturing" for the "depressing situation" that you believe the soul scene finds itself in. For you to make those comments, it would be fair to ask whether you have ever actively been involved in the rare soul scene ... ever had any first hand experience of the rare soul scene to any degree ... whether as a DJ or promoter or simply by attending events ?

Ian , while Francis Grasso was indeed a DJing pioneer , guys like London mod/soul DJ Jeff Dexter were using heaphones years before Grasso. Here's Jeff Dexter in action from 1966 at Tiles in London ... double decks ... and headphones:

Soul Serenade: The Flirtations, “Nothing But A Heartache” KEN SHANE on December 5, 2013 at 7:45 am The Flirtations got together in 1962 in New York, but they were all from South Carolina. There were the three Pearce sisters, Ernestine, Shirley, and Betty, along with Lestine Johnson. They called themselves the Gypsies at the beginning, and by 1964 they were signed to Old Town Records. Their debut single for Old Town was “Hey There, Hey There,” and it got some local radio airplay. They did better with their next single, “Jerk It,” which was written by J.J. Jackson. That record was a Top Forty R&B hit, and crossed over to the pop chart, peaking at #111. The future seemed bright for the Gypsies, but Lestine Johnson decided to leave the group at that point. The Pearce sisters replaced her with Viola Billups. There were two more singles for Old Town in ’66, but neither one had much of an impact. The group left Old Town that year, signing with Josie Records, and also renamed themselves the Flirtations. Their first single for Josie was something called “Change My Darkness Into Light.” Years later it would become a Northern Soul favorite in the UK, but at the time no one paid it much attention. It was time to move on again, and this time the Flirtations landed on Festival Records. “Stronger Than Love Her Love” b/w “Settle Down” again failed to garner much attention. At that point Betty Pearce left the group, and the Flirtations went on as a trio. You would think an experienced group like the Flirtations would no longer have to do such things, but the trio entered a talent show which sought to determine which group could sound the most like the Supremes. The Flirtations won, and headed for England, where they signed with Parrot Records in 1968. The label put them on as a support act for Tom Jones on his European tour that year. There was only one single for Parrot, “How Can You Tell Me,” which finally got the group some attention, and was even something of a hit in the Netherlands. At the end of 1968 the Flirtations signed with yet another label, Deram Records, and this one was the charm. Their first single for Deram was the record that made them famous. “Nothing but a Heartache” was written by Wayne Bickerton and Tony Waddington and almost hit the UK Top 50 on its initial release. The initial release of “Nothing but a Heartache” in the U.S. was not successful. When the song was re-released in early 1969 however, it began to climb the charts. The record had massive appeal in some markets. It reached #3 in Boston for example, but nationally it peaked at a very respectable #34 on theBillboard Hot 100. For some reason the Flirtations decided to follow up the success of their scorching dance record with a ballad called “South Carolina.” The record failed to crack the Top 100. “Keep On Searching” also failed to do any business for the group, and while “What’s Good About Goodbye My Love” made no pop impact, it did weigh-in at #17 on the R&B chart. “Can’t Stop Loving You,” another song by Bickerton and Waddington, did manage to crawl into the Top 100 on the pop chart. In 1971 the Flirtations released one last single for Deram, “Give Me Love,” but it wasn’t successful. There were personnel changes (Loretta Nobles replaced Viola Billups in 1972) and a succession of labels through the ’70s. During that era the group recorded for Polydor, Mojo, and RCA. There were a number of singles, and an album or two, but nothing that set the world on fire. The advent of the disco era brought renewed attention to the Flirtations, and they became darlings of the Northern Soul movement as well. In 1989 Billups was reunited with the Pearce Sisters and “Back On My Feet Again” became a huge hit in South Africa, reaching #6. More recently the Flirtations have recorded for Centre City Records, and their most recent single, “Roulette,” was released by Night Beat Records in 2009. More than 50 years after they began as the Gypsies, the Flirtations are still out there making music

https://www.rivetingriffs.com/Beverly%20Bremers.html Interesting recent interview with Beverly Anne / Beverly Bremers in which she makes specific reference to the northern soul scene. Beverly is of course well known to northern soul fans for records such as You've Got Your Mind On Other Things and He's Coming Home on RCA , and Get Smart Girl on Scepter.

No photo of Keb in the article. Did they think his image might scare young readers ?

To begin with, he arranged and conducted two of Patti Austin's northern monsters : I've Give All My Love and You're Too Much A Part of Me. Songwriter and music director on both those records was Fred Tanner. Related persons perhaps .... or one and the same person in light of the producer's name being Jekyll & Hyde ... Appears to have had a more than casual link to Decca / Coral records as he was also involved on Sam and Bill's I'll Try and Tryin To Get Back To My Baby. Also Fred Tanner was responsible for Chuck Cockerham's Have I Got A Right.

Wasn't the US Liberty LP released before the UK Liberty 45 therefore making the US LP the original vinyl issue ?

Would be interesting to have Bob and RobbK's thoughts on this but if a record only made it as far as the "promotional" copy stage people in the US would tend to refer to that as being "unreleased" wouldn't they? Whereas in the UK and elsewhere , collectors would say a promotional copy constituted an "actual" release. Perhaps those Solid Smoke liner notes should be read with this in mind.

Do any other Karen releases have this label design ? At least 6 sales on popsike in the last 6 years ranging from $436 US to $1064 US.

Some kind soul out there should have one for me?

I'm after a M- original please. Thanks