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WendyTinley

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  1. Cheers for all your responses... so what do I use as a description for this Maurice Williams... do I call it a boot in the description? Does a boot mean a pressing too? Here's a picture of the label... What starting price would I be wise to put in ebay? Currently I have three 45s for sale which I listed yesterday nobody has visited yet so probably they are not very popular... do I have the prices about right? Otis Blackwell: It's All Over Me Columbia: 10654 B side: Just Keep It Up Condition E- There is one faint mark/scratch on the A side and one also on the B side. Plays excellently! Starting price £5.00 and buy now at £8.00 The Show Stoppers: How Easy Your Heart Forgets Me MGM 1436 Other side: Eeny Meeny Condition E- There are faint marks and scratches and the label is in an good condition. There is a mark of where a sticker has been on the Eeny Meeny side label. This 45 plays excellently! This 45 still has its original sleeve which is in a poor condition. Starting price £5.00 and buy now at £10.00 The Velours: I'm Gonna Change UK MGM 2006-603 2nd press Condition E. Plays excellently with very, very faint marks and scratches and the label is in an excellent condition. Starting price £2.00 and buy now at £5.00
  2. Just going through my record box and started putting various items on ebay... and I admit to knowing bugger all about what's good and what's not... complete and utter novice am I! I have, what I am sure is a copy on a 45 of Being Without You: Maurice Williams... 'tis a maroon coloured Deesu Records label with gold lettering... sadly some one has stamped E109319 on the label... grrr... Just played it, first time in 20 plus years and it sound pretty good still... so how much for a copy or whatever is the correct terminology for a copied 45?
  3. The one record that I always remember was Tammi Lynn 'I'm gonna run away from you'... cool thread!
  4. Went to see Al Green last night at Birmingham Indoor Arena... review follows... shamelessly nabbed from elsewhere but I believe the review is an accurate one... -------------------------------------------------------------------------------------------- Green's 15-strong band (horns, keyboards, guitars, drums and percussionist) trooped on first and struck up a deep, loose-limbed funk with plenty of horn stabs as punctuation. This doubtless sounded, to the happy and expectant crowd, like the very definition of "baby-makin' music", with a little extra gloss and extravagance on the side. Then his two male dancers sidled up, body-popping and boy band dancing, before one of the two female backing singers - Green's daughter Deborah, in fact - announced the entry of the Reverend at the head of this all-action procession. The Al Green of 61 years' vintage is a very different character to the wide-collared, sweat-soaked version of the 1970s. Dressed in a smart suit and bowtie, with sensible shoes which shone almost as much as his pearly whites - he looked like a well-manicured salesman. Before he even started singing, as the band continued their uplifting grind, Green was dishing out single red roses to all the ladies in the front row. Between this chore, he told us how pleased he was to be here, and introduced his band - who had already earned their money by this point - before opening with I Can't Stop and Let's Get Married - both of which were relegated to the odd chorus or two amid the general good-vibe-building. For all the revue-show stylings of the gig, however, one thing was absolutely beyond doubt: Al Green has still got some voice, the perfect distillation of the soul and gospel styles. It was ceramic- smooth as he and his singers shared a version of Amazing Grace, switching to that powerful, in- tune yell all his fans are familiar with when he broke into a little Sam Cooke. Then it was roses and handshakes for everyone up the front and mass singing along, as he gave us Let's Stay Together. It was a faithful and wonderfully sung version, although Green did tend to start a line and let the audience finish it a little too often. Unfeasibly, it was all uphill from there. How Can You Mend a Broken Heart? was just perfect, a soft ballad which the crowd helped out with once more. Then it was all energy, with Here I Am (Come and Take Me), a soul covers medley, and Tired of Being Alone almost blending into one big, ecstatic whole. For his finale, Green stretched out Love and Happiness to epic proportions, with his excellent band on the best form of the night. --------------------------------------------------------------------------------------------- My added thoughts... He was on stage for just 50 mins... He let the audience sing way too much for him... He preached God... far to often... (yeah I know he is the Rev. Al Green - but still) There was no encore... the band just finished playing after he left the stage... what a let down... He still has the most fantastic voice...
  5. I never, ever missed his show... I used to have a stock of C60 cassettes containing recordings... In a fit of cleaning up I chucked them all, plus my recordings at Wigan (boo hoo) in the very early 90's... stooooooooooooooopid me! Graham (MP3Z2CD) has only just forgiven me (nearly)... John Green did a brilliant show and I'm glad to read that he is still fit and well!


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