Sunnysoul

Can anyone supply me with some original Bunky record sleeves? Like this :

7" please ... ex+ or better. Don't need the Let's Burn LP nor the later issued 7" version on Ronn. Many thanks

Did Rex Garvin ever visit the UK or Europe? Did he perform at the Wheel?

https://www.youtube.com/watch?v=B1eDsKheQ8k "Tonight I'm Gonna See My Baby" Freddie Hughes

https://www.youtube.com/watch?v=uojzfwMaCho Instrumental but same feel good sound. This is the song's composer Dave Grusin's version from the Winning motion picture soundtrack. As nice as Young Holt Unlimited's version.

https://www.youtube.com/watch?v=7aZJribKYNw Grady Tate "Moondance"

Yes but as noted on the intial posting, Marvin Gaye, Spinners, Barbara McNair and Isley Brothers have all had previous releases on 45 or LP.

Agreed but Phil seems to be discounting the contemporaneity factor by saying "if it's the first time on a seven in the UK, then it's OK".

On that logic, most of the standard Kent sevens of reissued classics would be acceptable to play, wouldn't they?

Would make things interesting though if the owners of Stardust came out and provided some proof that their operations were completely legal. One curious thing about Stardust; if they were an illegal operation why would they put their contact and address details on their label ? It's like putting out the welcome mat to the lawyers and legal process servers of the major labels and rights owners.

Surely the onus is on the naysayers to prove that Stardust isn't legitimate.

Yes but don't the proponents of ovo require some element of contemporaneity as far as later issues go in order to make them acceptable to play, the notable exception probably being Frank Wilson. This Motown box set has come almost 20 years after the Marvin Gaye and the Originals (if legitimate) were issued and even longer in the case of the others .... Incidentally , it would be interesting if anyone could provide any firm evidence that Stardust releases are not legally licensed.

The old original vinyl only debate came up in conversation the other day in the context of the recently issued Motown 7s Box Set. The consensus from the discussion appeared to be that , if playing at an ovo event , it would be unacceptable to play the following discs from the box set : Marvin Gaye "Love Starved' : the original release being the limited picture sleeve promotional 7" issue from 1994. Spinners "What More" : the original release being on the From The Vaults LP 1979. Barbara McNair "It Happens Everytime" : the original release being from the Real Barbara McNair LP 1968 . Isley Brothers "My Love" : originally released on Music For Pleasure LP early 70's. Frank Wilson "Do I Love You" : obviously two known Soul original 45s , otherwise the first UK issue from the late 70's. Originals "Suspicion" : a few original acetates known to exist, otherwise the first legitimate 7" 45 release of this would appear to be the Stardust issue unless one is of the view that some or all of the Stardust releases are not legitimately licensed?

Is this vinyl Jackie Lee a boot ? This also has very low volume.

Same area as Curtis Mayfield, Jerry Butler and Billy Butler, Otis Leavill, Major Lance et al wasn't it Bob ?

Fantastic record and fantastic label design too !

I know what you mean but it's records like Velvet Hammer that played their part in making the northern/rare soul scene the greatest popular culture scene , and still the greatest popular culture scene there is anywhere today, and it's still very much an underground scene despite what a number of the older heads have recently been saying on here about the "future" of the "scene".

Seems that the price fetched in 2007 doesn't apply in the modern world of today. Two copies went only last week on ebay at $361.00 and $399.00 US . Both mint. When you say Only Offers over 500 - do you mean US or GBP ?

Interesting to think what musical directions Otis would have taken over the decades had he lived. Unlike Aretha who went with the flow of funk and disco in the mid 70s and then uptown, contemporary RnB with writers and producers like Luther etc in the late 70s /early 80s, you get the feeling that Otis would gradually have aligned himself more closely over the decades to the "blues" movement in the same way that Johnnie Taylor , ZZ Hill and others did. In fact, Otis would probably have wound up at Malaco in the 80's like the rest of them and then in the 90s and new millenium would have been feted and brought back into the spotlight by rockers such as the Stones or in the way U2 did with BB King ... What do the rest of you think ?

Paul Johnny Wyker co-wrote one of my favourite soul tunes and one of the first soul records I ever bought , "Let Love Come Between Us" by James & Bobby Purify on Stateside. As a kid you sometimes remember the most insignificant things and the composers' names always remained in my memory to this day "Wyker - Sobotka " probably because their names were a little unusual, not Hayes Porter or Holland Dozier !!! So when you posted this topic and I saw the heading I knew immediately who it was about. Did a little digging just now and found out a little bit of info on Johnny Wyker. As you indicated above, Johnny Wyker was one of those white southern country boys with a whole lot of soul: "Let Love Come Between Us" was originally recorded by the Alabama group The Rubber Band earlier in 1967, and written by their members Joe Sobotka and Johnny Wyker. The Rubber Band was fronted by Johnny Townsend, who later had a hit with "Smoke From A Distant Fire" as half of the Sanford-Townsend Band. Townsend told us how the group came together: "My first experience in recording in Muscle Shoals area was at a studio over in Sheffield with Marlin Green. The recording was essentially a demo to help us get gigs. We recorded some James Brown and Otis Redding songs, about 8 in all and had some acetates pressed up. I had been playing with a group of guys from Decatur and Tuscaloosa, The Rubber Band, and at the time, we were one of the most popular bands in Alabama even though we weren't doing it full time and most of us were still going to school. Later we started taking some of our gig money and going into the studio doing our songs we wrote ourselves, or by friends like Eddie Hinton. We recorded one of Eddie's songs called 'Down In Texas' at Rick Hall's FAME Studios. That's when I met Dan Penn and Spooner Oldham. They'd been having some success as songwriters and really inspired us to start writing our own songs. They all seemed like characters out of a dime novel at first. They were full time into music, something that also inspired us to want to do it full time. Some of the stuff we had been recording got heard by a big time New York producer named Charlie Calello and he brought us up to New York where we recorded a song written by two of our members, Johnny Wyker and Joe Sobotka called 'Let Love Come Between Us.' Our version on Columbia Records was considered a turntable hit in that it went to #1 in 20 major cities in the US. Columbia didn't get any records in the stores because they didn't even know it was their record. We were such novices in the business that it got by us and was gone before we knew it. It did however give us a taste of success and we wanted more. That song was later recorded by James and Bobby Purify and went up the charts." The Purify's were the cousins James Purify and Robert Lee Dickey. They're biggest hit was "I'm Your Puppet" in 1966. Other artists to record this song include Mavis Staples, Delbert McClinton and The Pointer Sisters.

PMd you

The man revealed at last.

Yes, I agree with you about sexuality not being material . And no , I wasn't trying to be funny or disrespectful to Van McCoy's legacy or memory. I have always been in awe of his work. The main point of my post was in fact the pleasant surprise and irony that he was romantically linked with a northern soul icon such as Sandi Sheldon. I am happy to retract the last section of my post if it has offended but it was never my intention to offend.