maslar

Polydor was a label in its own right (obviously) and had its own deals eg the Golden World stuff. But Stamp and Lambert were doing their own thing with Track. So yes both released Detroit material but the Track releases were nothing to do with Polydor. I think Stamp and Lambert had big plans with regard to a Solid Hitbound connection speciifically but it fizzled out and they ended up with a smaller piecemeal approach of a few indivual releases from various labels.

Polydor wasn't Track's parent company. Track was a truly independant label. It had a distribution deal with Polydor which obviously suited Polydor because at that time they were an unfashionable label. The only reason the first Track release Hey Joe, Hendrix, was released on Polydor was that they were still in the process of setting the label up when it was recorded and they didn't want to wait around. I'm guessing that part of the deal was that foreign (mainly European) releases would be on the Polydor label, thus increasing it's pop/rock credibility. Also the ethos behind the label was to incorporate different genres so soul music was always on the books. In fact there were big plans afoot to release the whole Revilot catalogue which didn't really come to fruituion.

I suppose one theory could be that that initial batches of the first three releases were done together. I would suspect if this was the case 101 would have a larger quantity. After all, you're not going to start a new label with just one definite release in the pipeline - And the two DBs did chart very close together. This may also explain how two consective later releaes went from the mutli coloured label/styrene to pink label/vinyl.

Parliaments 223 also had both.

The label switched back to pink during the production of The Parliaments Time c/w Good Old Music (some are pink, some are multi). The pink is vinyl while the multi col is obviously styrene. I only have the pink. Run out info shows Bell Sound and ARP stamps. So mastered at Bell and pressed at ARP? Why the switch from Columbia? I'm guessing money issues? Also the pink label omits production credits

The "T" it the run out Followed by any number of 1s) out also signifies Terre Haute.

Maybe so . I just re-read my comments and it sounds like I'm ranting when in reality I'm more laid back and super-relaxed about it all . I'm not really anti-Peel just more ambivalent. I was never really a regular listener to his shows and as I got older that became more so. From what I did hear it seemed to me that he liked to appear as a champion of "underground music" in general. As i said I don't really know what he was into. I know when he was mates with Bolan they used to go record hunting for old blues LPs. But he played hardly any blues on his Perfumed Garden show. Tony Blackburn says he (Peel) didn't really rate the "hippy music" or progressive he played. Even though he was a driving force behind the success of Tyrannosaurus Rex (which I give him credit for). (I think he really did rate Tyrannosaurus Rex who had a distinct sound at that time). Don't you find it a little strange that in his last mammoth 5 hour Perfumed Garden show in 1967 he didn't play one contemporary soul record? My comments were really aimed at this period really. When many of the tracks that later came under the Northern Soul umbrella were new releases.

It seems there's some doubt about its legitimacy already.

It's not just black music - it's any viewer with a basic level of intelligence: the same two or three "go-to" presenters they obviously think are big draw when in reality they're the exact opposite. They play to a lowest common denominator, which usually results in a narrative similar to a Jackanory presenter reading stories to five year olds. That's what it's become at the BBC. If anyone doubts this next time just listen to the whole tone and phrasing they use in their documentaries. Now children drink your warm milk then off to bed you go says Auntie Beeb.

Just watched the first episode and I think it's really good. Thankfully it looks like the BBC had nothing to do with it's making. If they had I'm certain it would have been dreadful.

Except Peel was a colleague so you'd really expect better. Tony Blackburn was, in my opinion, the best dj Radio 1 ever had. I used to love the early 70s breakfast show before school. Interestingly I've checked out the track-list for Peel's last ever Radio London Perfumed Garden show. It was a mammoth 5 hour affair. Of the 90 odd tracks he played only four are by black artists. That's FOUR out of NINETY: (capitals and bold for dramatic effect). Elmore James singing Dust My Broom. Howling Wolf singing Dust My Broom (did he know any other blues?), Love (Arthur Lee) and Hendrix. Not one soul record. In a five hour radio show in which he had free rein!

Just to clarify my comments on JP: I've never met him so I don't really know what he was or wasn't into. My comments were based on those of Dexter who was a top London club DJ and worked with JP at Middle Earth and did know him. Also i don't really see how playing the odd record here and there elevates you to "champion" status. The real champion of soul music at Radio 1 was Tony Blackburn. No one else comes close. My early knowledge of JP came about through my teenage obsession with T.Rex/Bolan. They were great friends until Bolan became really successful. At which point JP openly declared he was refusing to play his (supposedly) mate's records. In particular he wouldn't play Get It On (in my opinion one of the all-time classic Britsh rock/pop records). I can understand anyone not rating it -taste is a personal thing. But Bolan was supposed to be one of his best friends. It's well known it was this attitude that resulted in Bolan severing ties with him. At the same time JP would sometimes play a record that he regarded as crap - The Slits comes to mind - under the "they're so bad they good" BS he sometimes espoused. There was another novelty record he played which escapes me now which also is pure crap. If you're a champion of so progressive music and new talent why give three or four minutes of prime airtime to complete rubbish when there are talented unknown bands who would really benefit from it. It's all that self-indulgent nonsense that bugs me. Also, while I've mentioned Tony Blackburn, JP always seemed to have a bug up his a*** about him didn't he? I read an article a couple of years ago where TB went into it - how he'd slag him off in the press and then praise him to his face.

My comments were aimed at the 60s scene he was involved in. To be honest I never really rated him. And those people who view him as a sort of ultimate arbiter of taste ( " well John Peel said this blah blah blah") I've got no time for really. As for his interest in reggae..... things changed from the 60 to the 70s when he supposedly became a champion of Jamaican music. For one thing the British reggae scene was taking off. Bob Marley was living in London and groups like Aswad were difficult to ignore. Peel may refused to play ska or rock steady in the late 60s but his credibility would have taken a hard knock if he'd rubbished or ignore groups like Aswad or Steel Pulse. Also he took it upon himself to be a champion of new wave from 1976. And the new wave/reggae link was very strong. And let's not forget the fact that it doesn't really matter what soul or reggae or blues or jazz record you put out there - he always thought "Teenage Kicks by the Undertones was better . His obsession with this mediocre faux punk singalong always made me laugh. Apparently upon first hearing it he burst into tears, overcome by emotion. I've always like to think that this is an urban myth because the alternative - that he actually really did burst into tears - is just too ridiculous to contemplate - he was almost 30 at that time.

Really? I wouldn't have said so so personally. I think it was Jeff Dexter who said back in the 60s at least Peel hated soul music and refused point blank to play any - and I think that went for Jamaican music too. Not much Motown or Stax in the Perfumed Garden.

I think a better question is why is it referred to as "John Peel's "soul". record? It sounds more rock (blues based) than soul to me.The backing track could be Eric Clapton in that period. It reality it could be anyone in the Janis Joplin style of that era - from Merry Clayton to Curved Air to a few county and western singers. even. JP wasn't known as a champion of soul music.

Also of course the internet has changed everything, (most obviously ebay.). This in particular relates to the kind of items that the dealer says he "can't give away" nowadays - the £10 to £15. items of two decades ago. It's these items with their "book prices" that provide the best potential bargain finds on ebay. Trying to compare the situation 20 years ago to today is a little pointless. Back in the 70s, 80s, 90s dealers ruled the roost and most sellers tended to price according to publications such as Record Collector.

Sounds like Bonnie Bramlett. I'm not saying it is - just a similar voice. I even thought Maggie Bell but I guessing it's probably American

The article was written by someone who doesn't have a clue about record collecting or its trends. Back in the late 70s/early 80s Elvis (along with the Beatles) was right at the top of the collecting tree. Since then however his dominance has declined significantly. That doesn't mean that some of his recordings aren't still hugely collectible and still fetch very high prices. On the Sun singles - The writer implies their value has diminished. Really? What he fails to recognise is that only records in mint condition fetch the highest prices. I wouldn't be at all surprised if five mint Sun singles came on the market today they wouldn't fetch prices as high as any they've ever fetched. (That's mint as in mint. Not near mint, not excellent. Mint as in just like brand new). That's where the real demand among serious collectors is. He then goes on to talk about the sale of a "Unheard one of a kind" acetate. Guide price £12000. Sold for £6000. Most Elvis collectors believe it to be worth a fraction of that final price. In other words the auction house's estimation was pure BS. The fact that it sold for as much as £6000 raised many eyebrows. This is an indication of nothing. Certainly not falling prices. Why didn't the writer mention the sale only two years ago of Elvis' first acetate - which sold for $300000. That's three - hundred - thousand - dollars.. say it slowly. Mindless chatter about "median prices" is completely meaningless. Median price means sweet fa. The Record Collector Guide is just that - a guide. The clue is in the title. Even so the prices shown in it are again based on MINT condition. After that prices drop fast. A £180 for mint would probably only fetch £60 in Excellent. Good or "very good" (ie crap) only £5 to £10 as collection filler. "Median" is an absurd indicator . The guy hasn't got a clue. Collector or investor? There is a difference. Only a fool would invest in records and then not watch the market like a hawk for any adverse trends. Just like stocks and shares. Those who collect for just collecting sake do so as a hobby/passion. If prices crash then that's going to be welcome to a true collector.

When I was 12 (1973) I was in WH Smiths one day when I saw this Jimi Hendrix LP in the racks. It was on the budget MFP label and it was called What'd I Say. I just had enough money to buy it. (MFP was considered cheap back then - probably not so today). It was only when I got it home I realised it wasn't Hendrix really - it was Curtis Knight. Hendrix was playing in his backing band. It was a live recording in a club and it was rough. I'd say it was only just passable. Even though I'd not paid much for it I felt ripped off. OK I was taken in but you can google image the LP to see how at that age it would be easy Now forward to 2017 and RSD announce a double LP of a live Knight and Hendrix recording. I'm guessing its the same session. Many of the tracks are the same although there's obviously more on the RSD release. They describe it as a "raw" live session. Sounds about right. It's selling on ebay now for £20 to £30.00. So a record of a live session I thought was a complete rip of in 1973 is now deemed worthy of a RSD release in 2017? It's laughable. I can understand four of the best tracks being tidied up, edited and put on an e.p. with a nice pic sleeve and flogged for a fiver but that's about as far as it goes. There's nothing at all "special" about this release. it's a rough live gig that's only just ok. One for the Hendrix completists To me this sums up how RSD is going.

They have to order and pay for everything in advance. And there's no return of unsold stock allowed. So basically what they don't sell they're stuck with. (Also, though I'm not 100% on this, I think their orders can be trimmed for certain in-demand releases). I would imagine this makes forecasting how things are going to turn out very difficult indeed. Potentially if they get it right there's the opportunity to make a lot of money. But if they get it wrong it could wipe them out financially. It's a kind of Russian roulette that obviously many of the smaller operations don't want to get into. That's how I see it though I'm willing to be corrected if I've got it wrong.

RSD is fast becoming a waste of time. It started out as probably something worthwhile. I think those days are long gone. The general quality of the releases over the past few years has declined significantly. In fact it's now pretty atrocious. It's whole ethos seems to have gone. Though I'm beginning to wonder if it was ever there in the first place. "Rarities" seem to be increasingly replaced with simple reissues. It's beginning to look like a mugs game. Like those citizens who queue up outside Next from midnight on Christmas day for a half priced pullover. I looked at this years list and here's a few simple facts: 1 There's nothing on there that warrants standing in a queue at any hour of the day. let alone 5 o'clock in the morning. 2 Almost everything is over-priced. And some of it by a long way. (and that included straight reissues of things that are easily obtainable. I was at the live event in Soho a couple of years ago. It was pretty horrendous. What's the point of it all? Well one point seems to be to create a RSD resale industry on ebay. There were only a few releases that interested me at all this year. One was the 12" Procol Harum, White Shade Of Pale. I didn't bother in the end.. Over on Ebay right now one entrepreneur has Three copies for sale at £50.00. Good luck with that.

Gladys Knight and the Pips - Baby Don't Change Your Mind

What do I mean to achieve? Err nothing really. Isn't this a discussion forum? I don't wish to stop anything. I'm all for playing and obtaining unreleased tracks. I might seem pedantic but that's just how it is. How can you play acetates at an original VINYL only event? Of course you can and should be able to. surely there should be some facility that recognises the status of these tracks (if copied?) as "Legitimate" bootlegs in addition to original vinyl? For example, if a dj turned up at an event with an unreleased track on a tape would it be ok to play it? To me it would since its no different than playing an acetate. But obviously you're not into this type of thinking. Actually I've been thinking about one of my earlier statements and I might change my mind - when I said a new vinyl copy isn't original vinyl. I suppose in a way it might be in the same way that an authorised unreleased track from a label such as Kent is viewed at totally legitimate to play. But it would still have it's unauthorised bootleg status - nothing wrong with that, I'm an advocate of bootlegs (making available to fans unreleased tracks). I've always had an interest in record collecting and with any interest I like to analyse things. This may sound pedantic or obsessive but so what? On a serious point though - as one gets older its important to keep your mind active. Analysis and critical thinking (even low level) are really something more people should be engaged in. Especially in a time when everything in the media seems designed to dumb down one's senses. so endeth the sermon for today

It's pretty simple to understand. But then again you either get it or you don't.

I don't know what you're following but it definitely isn't my logic.