Dave Thorley

The record mention in the first post sound almost like Skiffle But the worst record by far, IMO.. Natural Facts-Girl don't cry-Lucky Lou Anyone have a sound file for it, just to support my case. If there was a case for not buying records blind this is it. Tim Ashibend one night at Stafford came up to me a said "Dave, you got to buy this it's Keb's new cover up and it's only the second copy to turn up". I did, big mistake, took me another 5 years to off load it. Dave

Can anyone that has more photo's please post them up, as we would like to use some for the re-union night. That is, if you don't mine going public with them Cheers Dave

Was there a few months ago, all really nice people. Tommy comes in most days between 10-4, but does go for a 2 hour lunch, so best to ring ahead if you wanted to say hi to him. Otherwise they usually let you wander round, also depends on wether they have a recording session on. Dave

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Hi Glyn/Robin Nice tune

No, call me old fasioned, but it's much easier for people that come here occassionally to go through the one tread. Love everything George has done. Dave

5th Dimension-No love in the room Label:Arista

Second, a late recording from the 5th Dimension, nice mid 70's floater 5th Dimension-No love in the room-Arista

Dave Love-Baby Hard Times Label:worlds

2 this week. First up the other Dave Love record, overshadowed by Colalined Baby, but to me just as good and towards the end the guitarist really starts to trow it around, great. Dave Love-Baby hard times-Worlds

It was made up, Rod. He's just better at it than us!!!!!

Love this one, Ken

These are a bunch of Juke Box mini LP's I got from an operator in the US, includes some nice jazz ones[at achment=37336:al_hint181.jpg][at achment=37343:isley_bros190.jpg]

Can't find the old thread for this, but here are a few I found in Switzerland the other week. If anyone can find the old thread or merge that would be great Dave

Interesting and very influential L.A. group, see below [edit] Charles Wright and the Wright Sounds Charles Wright was born in 1940 in Clarksdale, Mississippi, before moving to Los Angeles in the early 1950s, playing guitar and singing in several doo-wop groups including the Turks, the Twilighters, the Shields and the Gallahads. He also briefly worked as an A&R for Del-Fi Records. In 1962, he formed his own band Charles Wright & the Wright Sounds which included future Watts Band member, John Raynford, along with Daryl Dragon, aka "Captain" of Captain & Tennille. Over the course of the next six years, Wright would add more players to his group and these were the players who would eventually become known as the Watts 103rd Street Rhythm Band, at least by 1968. Several of those members, namely drummer James Gadson, bassist Melvin Dunlap, trombonist/arranger Ray Jackson, and both guitarists Al McKay and Benorce Blackmon, would play on several Dyke & the Blazers charting singles, including "We Got More Soul" (1969) and "Let a Woman Be a Woman, Let a Man Be a Man" (1969). The Wright Sounds played in several venues across Los Angeles but their best known stint was three years (ending in 1968) at Hollywood's Haunted House nightclub. [edit] First Watts 103rd Band The name, Watts 103rd Street Rhythm Band was originally coined by Los Angeles producer and Keymen Records owner Fred Smith in 1967. However, between 1967 and 1968, the Watts 103rd name applied to four different personnel configurations before settling into the final band who played on every Watts 103rd album from 1968 forward. Smith produced a theme song for KGFJ radio personality, DJ Magnificent Montague. The song became so popular that Smith released it as a single in 1967 and created the name, Watts 103rd St. Rhythm Band for the studio group who had recorded it. A personnel listing for that iteration of the Watts 103rd band is not available but according to Wright, Leslie Milton, originally from New Orleans, was the group's drummer. Soon thereafter, the band was renamed the Soul Runners and "Spreadin' Honey" was re-released under the new name, this time on the MoSoul label (a Keymen subsidiary). The Soul Runners would release two more singles (both on MoSoul) but they had little relation to the other formations of the Watts 103rd band with the exception of arranger James Carmichael who worked with both groups. [edit] Second Watts 103rd Band In 1966, Carmichael and Wright were both working as session players for the Nashville West recording studio. Their group of studio players was discovered by Fred Smith and comedian Bill Cosby who needed a backing band for his upcoming album, Silver Throat. Smith hired the Nashville West players and gave them the Watts 103rd name. Due to their association with Cosby, the new Watts 103rd band landed a deal with Warner Bros. Records, becoming the first R&B band to sign with them. They released a debut album in 1967. Technically self-titled, the album has also come to be called Hot Heat & Sweet Groove after a sub-title found on the back cover. "Spreadin' Honey" was included on this album, per Warner Bros. insistence, even though none of the players on the album had actually played on the "Spreadin' Honey" single. Wright generally disavows this album as a true Watts 103rd project, preferring to describe the second album, Together as the "first" Watts 103rd LP. [edit] Third Watts 103rd Band When Cosby went on tour, Wright was put in charge with creating a Watts 103rd touring band which included both the musicians he had just recorded Hot Heat with but also added in the Wright Sounds as well. The Haunted House also began to bill Wright and the Wright Sounds as the Watts 103rd St. Rhythm Band. [edit] Final Watts 103rd Band Creative disagreements lead to Smith selling his interest in the group to Wright. Newly freed, Wright reformed the Watts 103rd exclusively out of his Wright Sounds players and broke ties with the musicians he had recorded Hot Heat with. A 1968 recording of a live session at the Haunted House became the partial basis for the second Warner Bros. album, Together. This was the last album credited to just the Watts 103rd St. Rhythm Band. The next three albums would be listed as "Charles Wright and the Watts 103rd St. Rhythm Band". In the band's early years, they were mostly known for playing covers of popular R&B hits but by the late 1960s, the group began to create original songs, resulting in a sound that was, as Charles Wright put it, "the middle ground between Otis Redding and James Brown" [1], reflecting the group's musical blend of different regional R&B and funk styles. Their experiments in long, loosely structured grooves, best heard on the Express Yourself and You're So Beautiful albums, could be heard as both influences on and influenced by contemporaries such as Sly and the Family Stone, the Isley Brothers and Parliament-Funkadelic. [edit] Dissolution As early as 1969, the Watts Band began to shed members. Al McKay left the Watts Band in 1969 and soon joined Earth, Wind & Fire. He was replaced by Benorce Blackmon. After recording the 1971, You're So Beautiful album, Gadson, Dunlap, Jackson, and Blackmon left the Watts Band to work with Bill Withers, playing on the albums Still Bill (1972) and Live at Carnegie Hall (1973). Charles Wright went on to record four solo records after the departure of the Watts Band's core rhythm section, Rhythm and Poetry (1972), Doin' What Comes Naturally (1973), Ninety Day Cycle People (1974), and Lil' Encouragement (1975). In 2007, he released a new album, Finally Got It Wright, which includes an updated version of "Express Yourself." "Express Yourself" was remade by L.A. rap group N.W.A. in 1988 and has been used for many soundtracks of movies, including Remember The Titans, Cheaper by the Dozen 2, and Mr & Mrs Smith. "Do Your Thing" was featured on the soundtrack to Boogie Nights, plus numerous television commercials.

Hi Jerry Let me have your phone number, pm me Dave

Hi All Another one for you. Tony Michaels-I was always there-SOS Nice midtempo 80's modern soul tune, anyone know it ?, is it the same guy, sound a little too young to be the same, but don't have his Golden World tune to compare. Dave

Hi Seb Just found one, with a demo stamp on it. Like you I had never seen one before, I would think it is a hard one indeed. Dave

Hi All I know the LP and 12" have some value, but what about the 45 ? Trilark-Love never looked better/Sweat it out-Handshake WS9 02908 Anyone one able to help Dave

I seem to remember Eric label being a favourite of Russ at his record stall on the balcony at Wigan. Can't remember the full story of these, bootlegs or re-issues. But alot where Amy/Mala/Bell releases. JM should be able to tell us. Dave

Hi Paul You maybe right, the Bensonesq ballad 'Forever more' is really nice or 'Since I fell for you', but this maybe a bit to jazzy for the soul market. But when he first played the rough demo's of all the tracks five years ago, I thought 'Keep On Lovin' Me The Way You Do' was the track that was most playable. Sadly there are few outlets these days for nice ballads and with out radio or club play it ain't gonna sell. I wanted to release the track back then, but Butch has his own way of doing things and he won't be rushed. But we are making progress to seeing it's release. Dave

Thanks for those that have emailed me already, will be in post today. Got 2 left. Dave

I'm in the process of working out a deal with Butch as we speak . Does show that great old school soul is still being made in 2007.