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Pep
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Posts posted by Pep
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6 hours ago, Mal C said:
that's a shame Pep, it was such a lovely stamp, its almost criminal to find out it has no real historical importance
that said, that list of first plays is great info for folks of my age, they are all oldies but that history is now getting scewed a bit isnt it, It's great to hear from somebody who knows first hand 
I'm from the midlands but born in 69, so the Old Vic is the club I went to in Wolverhampton... so outside of yourself and Blue Max, who would have been Cats DJs that were spinning at the old vic?
Great thread...
Hi Mal,
Perhaps I was wrong to say it has no historical importance, as it surely has - as a great piece of Catacombs memorabilia. The physical rubber/metal stamp most certainly has, and may well be unique.
The significance of its appearance on the records is a different matter as it was almost certainly applied after the Cats closed in July 1974.
Ran the Old Vic on a few occasions, in the 70s, very early 80s, and extremely successfully between 1986 - 1990.
Great memories. x
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On 28/09/2021 at 20:11, Bo Diddley said:The rubber stamp was I understand taken from (or given by) the Club on the last night. Not sure where it went, but the stamp was probably applied to records in a private collection after the Cats closed, so have no real historical importance.
There may well have been more than one rubber stamp too, as they were used as passouts in those days.
I don't recall any 'free record' type promotions at the Club in the time I was a Saturday resident DJ, 1972 - 1974 (when it closed).
Hope that helps.
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On 29/09/2021 at 03:06, Blackpoolsoul said:
I have tied in to this thread to get some more help
Whilst that list is correct inasmuch he did bring copies of all back from the States, no way were they always the first copies.
Of that list, only Dena Barnes, Saxie Russell and Epitome Of Sounds were new finds by Graham although two had already been played prior off Acetate.
For example The Hesitations was introduced by Mike Hollis in 1970. I had the Velours and Bob Relf off Soussan, Jimmy Conwell and Bobby Treetop off Koppel, Glories and Otis Smith off the Harlow boys. Etc.
Sam & Kitty, Roy Hamilton, Johnny Moore, Four Larks were Blackpool Mecca firsts.
Johnny Caswell, Salvadors, others to several DJs by John Anderson RIP.
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Not sure. Probably not.
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On 23/05/2020 at 07:57, Sebastian said:
No, it's styrene.
Hi,
Yes Soussan mass-bootlegged this on styrene, with some printed off centre like your photograph. Has yours got PB in the deadwax?
I had some of the PB ones in my shop around mid 1976 and am pretty certain they were vinyl, with a very thin white border at the edge. More importantly they had the same orange coloured stripes as genuine originals, while the mass produced styrene bootlegs he did had more yellowish stripes. I had and sold hundreds of those in my shops in 76/77.
I only had two/three of the PB ones. He only pressed perhaps 200 each of those.
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This is a confusing one!
Have a promo of the Bell Sound edition, without any scratching out and matrix ZTSC 97700. It is slightly quieter than the other edition. Not sure which came first chronologically. Labels are reversed but deadwax matrix 97700 matches the one printed on the label, albeit the label says "What Did I Do Wrong"! (I said it was confusing).
The other is a regular mauve issue of the Nashville edition, with ZTSC 97699 both in the deadwax and on the label. The #97699 is crossed through on the flip only and replaced by 97700.
Accordingly the deadwax Matrix numbers differ on each edition, being 97700 for "DLMOB" on the Bell Sound edition (promo in my case), and 97699 for "DLMOB" on the Nashville mastered edition. So a mastering lab identification cock up at the very minimum!
We should rely on Robbk for what he bought and heard on radio in Detroit at the time, so can deduce that the Bell mastered edition was the one chosen for general release.
The main differences I can hear are that the Nashville edition is a bit 'softer' sounding with certain instruments and backing vocals slightly more prominent. The Bell Sound edition is a little more trebly with a more prominent lead vocal and sharper beat - so probably more suitable for the NS scene. The greater prominence of EL's vocal was probably the reason it was ultimately chosen for release.
Undoubtedly the Bell Sound version was scarcer at the time, but as so often is the case, a UK dealer (John Anderson I believe in this case) found and exported a few of the 'unreleased' Nashville edition. All I recall were new/mint when they landed.
Whilst the general release was undoubtedly common in sixties, most will have been binned/wrecked a long time ago. Accordingly they are probably equally scarce now, although I like most prefer the softer/thicker sound of the Nashville edition.
Both are brilliant of course, as is the Billy Kennedy version released under the guise of E.Laskey, mainly I guess because no singer was identified on the master tape. It would have been far more interesting and exciting to say it was by Billy Kennedy.
Anyway, hope that helps although it could only add to the confusion! Lol.
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Yes Sutty I agree, like I said in my last post, it would be the studio/mastering lab engineer who cut the lacquer who added his initials/stamp.
Although mastering lab engineers obviously exist, every studio has one. They are arguably the most important person in the recording process. Certainly in my personal experience. Most studios in the UK had a cutting lathe in the 70s and some pressing plants offered a 1/4" to record one-stop service.
Accordingly Phil Brown is most likely a studio engineer. Possibly a standalone-lab technician or owner.
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The PB counterfeits look very much like the Cattaneo ones, so best guess they were done at the same plant.
I assume it was the studio/mastering engineer who added his initials, and he may have had his own studio/lab or Monarch had a lab where they also mastered third party product?
Perhaps this Phil Brown had his own pressing plant? After all those famous early Led Zeppelin bootlegs also bore the PB stamp.
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Fair enough if the consensus is they're the engineer Phil Brown's initials, although the Soussan counterfeits in question were vinyl not MR styrene - the medium of choice for Soussan's volume product in the mid-seventies.
The Soussan counterfeit Mel Britt with the white band was vinyl, although the right colours, whereas the later volume reissue of Mel Britt was styrene, but the wrong colours... replacing the orange with yellow.
Some excellent lookalike vinyl bootlegs emanated from the West Coast in the mid-seventies. Most arrived on our shores via the collaboration of Bob Cattaneo and John Anderson.
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Most likely something as simple as the RCA Indianapolis pressing plant matrix.
Some Hall & Oates 7" releases of the mid-seventies had PB prefixes.
Soussan's lookalike bootlegs of 75/76 were designed to fool and the plant was probably chosen as it was one of increasingly few doing vinyl pressings.
They were all short-run (perhaps just 100). George Blackwell and the Anderson Brothers were the hardest to tell from originals. Mel Britt probably the easiest, due to a thin white band around the centre hole and (ironically) the fact it was vinyl when the originals were styrene.
Happy collecting everyone.
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Not a problem. Just trying to help.
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Formatting not good on a smartphone!
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Condition?
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Voltaire's wanted.
PM with price and condition.
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I have purchased the entire balance of these records and sent a substantial amount to Liam via F&F.
I am not now getting any replies to my messages and am quite concerned.
I trust these are not still being sold as I have bought and paid for them!
Could Liam please get back to me.
Regards, Ian Pereira.
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Hi Al,will pm.
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Will pm.
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Hi.
My son's interested.
Will pm.
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- Christine Cooper — Heartaches away my boy
- The Spellbinders — Help me
- The Majestics — I love so much it hurts
- The Velvelettes — Lonely, lonely girl am I
- Nolan Chance — Just like the weather
- The Younghearts — A little togetherness
- Edwin Starr — My weakness is you
- The Ringleaders — Baby what has happened
- Gloria Jones — Come go with me
- 10. Major Lance — You don’t want me no more
Only ten ?
Edwin Starr... probably the best pure dance record ever (impo of course). It could be dangerous dancing to it now, at my age!
Gloria Jones (Come Go)... my favourite female vocal NS record ever.
- Christine Cooper — Heartaches away my boy
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"Oldies"............................
Marvin Gaye - Little Darlin
Dobie Gray - Out On The Floor
Isley Brothers - This Old Heart Of Mine
Barbara Randolph - I Got A Feeling
Barbara Mills - Queen Of Fools
Kim Weston - Helpless
Hoagy Lands - The Next In Line
Fascinations - Girls Are Out To Get You
Darrell Banks - Open The Door To Your Heart
Robert Knight - Love On A Mountain Top
Nice to see a bit of real, unpretentious nostalgia.
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Magnificents My heart is calling you
High Keys Living a lie
Glories I worship you baby
Frank Beverly If that's what you wanted
Earl Van Dyke 6x6
Van Dykes Save my Love for a rainy day
Duke Browner Crying over you
Millionaires Never for me
Superlatives I still love you
Hoagy Lands Next in line
These ten always do it for me !
Must be a Cats lad with a list like that!
Some of the best intros. ever in this list. High Keys and Glories... two of the most uplifting records ever played.
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Any order would do ...
Don Varner - Tear Stained Face
Willie Hutch - Love Runs Out
Howard Guyton - I Watched You Slowly Slip Away
Larry Clinton - She's Wanted
Del-Larks - Job Opening
Court Davis - Try To Think
Danny Monday - Without You
Robert Knight - Love On A Mountain Top
Duke Browner - Crying Over You
Mamie Lee - I Can Feel Him Slipping Away ......
All of the above at one time or another, have touched me on my journey through this wonderful music we are privileged to have...
Howard Guyton... Catacombs memories of an ultra-classy tune.
Don Varner was one on my H's favourites. She wrote her name in black on the label (fortunately you can't easily see it). Could tell you a great tale about this record. Perhaps another day.
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mel britt - she'll come running back
kenni smith - oh lord.......
matta baby - (do the) pearl girl
james fountain - seven day lover
gil scott-heron - the bottle
bobby hutton - lend a hand
skull snaps - i'm you're pimp
hoagy lands - next in line
lou ragland - i travel alone
tony middleton - paris blues
no specific order except first track
Kenni Smith... class. Nice to see Lou Ragland in so many lists too.
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Constellations, I don't know about you
Jackie Wilson, because of you
Mel Wynn & Aces, I don't want to lose you
Paris, sleepless nights
Little Tommy, Baby can't you see
Ernest Moseley, Stubborn heart
Willie Hutch, love runs out
Bobby Taylor, I've been blessed
CODs, I'm a good guy
Oxford nights, I'm such a lonely one
These are 10 tunes off the top of my head I will never ever tire of hearing :-)
Constellations and Paris in the same list. Chalk and cheese, but both great.
Catacombs stamped records
in Look At Your Box
Posted
Not exactly how it was. I helped out at Crewe UTJ in April/May and didn't hear Alan or anyone else play it then, although it was huge later at the Torch and a little later at the Cats/everywhere. Previously played by Tony Jebb at Blackpool as was Earl Jackson and Johnny Moore which Simon Soussan found a copy of and listed at £25 on his infamous first list from Leeds.
I had a lot of good stuff off him when he moved to L.A. including that first Velours, in the spring of 73. Also had a Johnny Moore and the first Bob Relf, a yellow first issue, just after he moved to the States, early 73. It was a big spin throughout the year, but several had turned up by the summer after it appeared to be custom re-issued on orange Transamerican by Soussan. I subsequently had a huge number of firsts off Simon, which enabled me to establish myself as a DJ through 1973 and beyond. Almost nobody else was willing to deal with him after his dishonest antics while in Leeds. First Vel-Vets, Tempos spring to mind.
The Junction Crewe didn't survive long in the wake of the Torch opening, and I didn't go again after June 72, preferring the Torch.
Graham brought a few firsts back, but in the main brought additional copies of existing biggies. Sam & Kitty was most certainly a Mecca first. I remember the night Keith Minshull bought it for big money and playing it multiple times. Graham had one for sale and I remember going with him and Alan Smith to the Torch one cold December night to try and sell it. We went back to his house after the Cats to sort his sales box out. He had a (then) unique 'Rush Reservice' promo of George Carrow which we all discussed on the journey. Not the first copy by a long way.
I had the very first Glories and second Duke Browner off my friend Nigel Martin from Harlow. He was originally from Stourbridge and we went to the same school. I lent it to Alan S to play a couple of times at the Cats but the Cats DJs wouldn't pay my price so I sold it to Keith Minshull, along with the Duke Browner. This was before I started DJing at the Cats, when I just imported/found and sold records. I also indirectly had the first Otis Smith off Nigel which he told me to watch out for and buy after he lost it when he got rolled outside the Torch in mid-72. I subsequently saw it in a sales box and bought it 'blind' then immediately took it to Keith Minshull to play, which he did. It was a floorfiller after the third play that night.
After starting to deal properly with Martin Koppel in early summer 1972, I bought multiple copies of Eddie Parker LYB, Soul Twins, Jimmy S. Clarke, etc etc which made me a good living selling at (mainly) the Torch. Known big records which were easy to sell. I had the first copy of Eddie Parker (Gone) and "To Much" (sic) off him along with another Duke Browner, Whispers and Joe Matthews (Beauty Queen). I bought the first Bobby Treetop (Wait) off him when he visited me at home in Stourbridge in early 73. Graham did find the other Bobby Treetop though. Full credit for that, and Dena Barnes, Saxie Russell and Epitome Of Sound. The first original copies of those. He also found Ann Perry and Buster & Eddie which I ended up with. Not sure why those aren't highlighted?
There's a lot more similar history. Too much for this comment.