Sunnysoul

Also a version of The Stranger by the Marvelettes on their Sophisticated Soul LP on Tamla from '67 .

The LP is brilliant throughout ! I have the LP , but it would be nice to have the 7". If anyone has a 7" for sale please PM me. Thanks.

Ray, one of your best recordings was "Lifetime Guarantee of Love". Do you remember the version by Charles Drain on RCA ? Who cut it first ?

Mitch Ryder did a superior version of Blessing In Disguise on DynoVoice 901

Also got a release on AUSSIE POLYDOR (black label).

Mark, would you say that "soulful house" is "taking things forward" ?

Trade Martin

If one lives by the so called original vinyl only policy, then it is only the LP. The Expansion 45 is a modern reissue, albeit legally licensed.

And the Connie Austin has a fab stompin' flipside too!

The only "legitimate" way to play this is off the LP

Same here, well said Stevie

Sue, forget Denny (fantastic fella that he is, lol mate !), get it in its rarest and most desirable form, an Aussie Tamla Motown stock copy in EX+ condition. A mere $50 worthless Aussie dollars. Postage cheap cos it will be coming to you coming from Sydney

Could someone clearly set out difference between first and second issues and supply scans of same. Thanks.

ANYONE SEEN OR HEARD FROM DES PARKER ? HE IS NOT RESPONDING TO MY EMAILS ?

What's going to be the reaction if the system crashes when John auctions Frank Wilson ?

Ian, some excellent cuts on Jimmy and the Beavers on that sweet soul CD series of "Battle of the Bands" some years ago ...

Des, PM'd you several times but no response from you ???

Paul, what an absolute pleasure and a privilege it is to have you here on Soul Source. You are truly a legend of soul music !!!

Australian Stateside

PMd you

I'm going fishing, looks like there's plenty of red herrings about today ...

If it were Ian Levine playing the kind of mind games that John Manship is playing at the moment then he would be crucified for it ...

John, I'm curious where you quoted/paraphrased that remark about Eddie Holland, but Eddie Holland himself has said in interviews several times that, basically, he just wasn't cut out to be a live/stage performer, and the fact that he and Holland - Dozier had been hitting big with the Supremes really made him make up his own mind that he was better off behind the scenes, rather than behind the microphone. I said it in my earlier post ... that in 1965, Frank Wilson would still have been a very minor figure in the whole Motown set up, not to mention being located a long way away out in LA, and it would be some time before Berry Gordy would realise the true value of the Motown LA office and sow the seed in his own mind of actually moving the company to LA. Let's not forget how Motown treated Brenda Holloway (who was based in LA, for those on here that didn't know) through '64-67, or rather, how they took her and her talent for granted. I also said that Gordy was the arch pragmatist. If he and Motown's marketing people thought that they could have a million seller with "Do I Love You" they would have released it quick smart ! And that's no matter what Frank himself has gone down in print as saying he recalls as regards his conversation with Berry outside the 20 Grand Club, as set out in some of the earlier posts on here (no disrespect to Frank, but how many artists have recalled the old days through rose coloured glasses and got their recollections plainly wrong?). And if Berry was impressed by Frank's work on the Miracles' "Whole Shakin In My Heart", he would have been disappointed by its chart performance, as it was one of the Miracles smallest chart hits of the time. It's likely that dropping Frank Wilson from the release schedule was a purely commercial decision. They needed to put all their promotional muscle behind the established hit making artists, not compromise them by shifting focus to Frank Wilson. That's probably why artists like Tommy Good and even Marv Johnson never got any promotional push. Same with the Velvelettes' magnificent records; there was only so much room for hitmaking girl groups on the roster ! And realistically, the magnificence of "Do I Love You" would not have been quite so clear cut to Motown's Quality Control Dept in 1965 in light of hits like Going To A Go Go and Dancing In The Street .... as it was to us Northern soul fans decades later... So, if "Do I Love You" goes to auction and fetches a massive price and all the publicity that goes with it (and has already been generated!), then let's just see how soon it is before more copies begin to surface in no time at all ... As they say in this world, money talks !!!

That would probably make Frankie Kahrl the highest priced US 45 issued by Motown from the 70s/80s, wouldn't it ? Any other Motown 45s from the 70s/80s in that league ?

Yeah, I see you've been playing it Steve, are you able to post clips of both sides ? And what's the current going rate ?