Frankie Crocker

I tend to agree. As a ‘boutique’ pressing plant in family ownership, I bet they took massive pride in their workmanship. The Archer stamp itself is one of the best and most prominent on any record. The fact the firm still exists today and is operated by a third generation Archer tells you it has always been a high quality operation - I very much doubt they used worn or missing stampers on their presses.

True. Archer was really only a small plant, the first in Detroit and although inundated with work it seems, the records pressed were generally for limited distribution in finite numbers. The press machine that did the white demos and a limited edition of issues may have been used on another record before Jack decided on a bulk run, anything’s possible. The large, even, embossed Archer stamp on the Eddie Parker record is loud and clear showing no signs of wear.

Thanks for posting this Nick - you pretty much contend that all Eddie Parker issues have come from the Archer plant, some without the Archer stamp. I speculated on this earlier in the thread but dismissed the notion as highly implausible. True, Archer had multiple presses back in the late 60’s but I just don’t see this highly reputable outfit being short of an Archer stamp on a machine, especially when pressing a record for a key figure in the music business who owned the label. In any case, as the Eddie Parker bulk pressing was a ‘second issue’ or follow-up order, why not just use the press with the Archer stamp? I very much doubt Jack Ashford commissioned a second order specifically without the Archer stamp - I’ve tried phoning and emailing the Archer family for details but have had no success in this. It would be interesting to learn if other records left the Archer plant with and without the Archer stamp- this could confirm the different press machine stamper theory. Although I’m no expert when it comes to matrix numbers, I would have thought they were cut into the lacquer and would be on the masterpress(es). The 95 in the record runout is common to all Eddie Parker records regardless of where they were pressed - I would think that any record pressed in multiple locations would retain a common matrix number. If Southern Plastics did press the record, it would be easy to leave their code off, especially as it was an Archer commission for accounting purposes. It would be wonderful news to learn that all 60’s Eddie Parker issues, with and without the Archer stamp, came from the Archer plant. Maybe some day this could be confirmed, but I don’t think it’s as simple as that. In fact, if we accept that the Archer presses were different and had dodgy stampers, it’s only one step away from saying the records with the small uneven Archer stamp came from the Archer plant; these are universally regarded as 70’s bootlegs, but so far, no information has emerged on their origins. I accept that there’s still much to be learned about regarding the story of Eddie Parker. If further distributor documents turn up, that would shed more light on the discussion. In the meantime, all we can do is kick the topic around in the hope that someone around in the late 60’s can confirm the details we are speculating on.

Thanks for this really useful document. As you suggest, Eddie Parker was due for distribution in February 1969, a time that ties in with the hand written dates on the four copies featured in this thread. Summit distributed in the Chicago area, a market of considerable potential - this in itself is significant as it boosts the numbers of the record pressed in addition to the Detroit quota pressed by Archer and speculatively, the bulk of the pressing from Nashville which surely was distributed from that city. Of course it would be interesting to know if Summit distributed Archer stamped stock or WME stamped records! Anyone out there who bought Eddie Parker in Chicago during early 1969?

Another bonanza evening for John. Never seen an Empires for sale - wow

Not sure, sorry. I only screen-shot a short while after 6.00 pm.

Top tune however you look at it. A good example of how diverse music can be, and despite a few quirks, can make it to the big time. I can’t remember which film it featured in - Soulboy perhaps - but it was perfect for that particular scene.

For the record, The Daily Telegraph has his obituary on page 27 today, 29/8/24. No mention of Being Without You, surely the tune he’ll be remembered for in these parts.

One of many all-time great records. Maybe Wigan nostalgia at work here but remember it at The 100 Club, packed dance floor, hand-clapping lifting the ceiling off…knew then it was going into the collection

Great news Theresa. Thanks for posting. Thanks for enlightening us Rod.

Check out the Soul-Source listing for today and you’ll see one for sale. The Manship result will not be repeated any time in the near future.

Some of us want to see a book published - he must spend hours penning the descriptions so let’s hope there’ll be a nice fat volume of shiny pages and colourful photos one day.

I always thought Mel Britt was a cracking record. A jolly nice evening’s results for John and thoroughly deserved with a proper set of tunes up for grabs. Thought Soft Touch would go for much more but the blurb didn’t do justice to this under the radar tune.

Two different records mate. Well done on spotting a scammer. Photos are proof of the facts - the buyer should be rather worried now his wheeze has been rumbled.

Most prices in most price guides and data bases are inaccurate and misleading. The best price for any record is the one it sells at optimally. A flood of John Bowies hitting the market at the same time won’t allow the price to hold up. Always better to consult a number of sources then formulate a set-sale price based on condition. If the price is right, the record has an improved chance of selling but many other factors come into play…

The curse of Frank Wilson… Your photos should clinch it - send them to the chancer and confront him.

Much depends on whether the label was applied manually or mechanically. Some minor local labels would load the paper discs by hand for a small pressing run - the YouTube clip for Archer reveals this. Major labels eg RCA, ABC, MGM pressing many thousands of records would use a machine so batches of records’ labels could appear very similar in their positioning. You sold a mint record so surely there was no scratch on it… Always best to photograph records for sale to avoid this situation.

Understandable Dave. It’s a ‘keeper’ nowadays. Demand will always outstrip supply of this record.

Bargain! Got to be more at auction these days depending on the auctioneer

On a John Manship auction it probably would be judging by the John Bowie result.

Been £500 for years and years. White demo only, scarcer than John Bowie and many would say a better tune by far…

Monique fetched a tidy sum as did Kenny Carlton. If John Bowie, a £700 record can almost triple in price, what would Vivian Carol ‘Oh Yeah Yeah’ on Merben go for…asking for a friend

True but it is a rough indicator and one of the best out there. Yes, Discogs and other databases exist but they’re no better, clunkier to access, and even less comprehensive. In an ideal world, Tim Brown’s results alongside John’s would give a current valuation for auctionable items; Soul-Source sales can give a pretty good idea of current values but many of these are eBay ie Popsike based. Popsike infact informs us of how un-rare a record is eg John Bowie.

Agreed - no logic to this finishing price. Manny bigged up the rare red-issue thing but it’s not that rare with c50 copies listed on Popsike. Rather interestingly, there’s only c20 white demos on Popsike making this the harder to own variety!

Supposedly rare red issue when compared to the white demo of John Bowie - finishing value really off the scale of bewilderment BUT if someone has the money and it is their favourite record, anything can happen.