Mike Lofthouse

Russ -I do think it is a valid question and I did give my reply some thought. The art analogy has never stacked up for me. In the case of a newly discovered painting it is the only original and can't be anything but a one off. It is a purely visual experience all about the visual aesthetics. A record exists purely to deliver a aural experience and from when it is first produced be it one copy or a thousand copies it is always a copy - a print if you like - of the original musical performance. A better analogy for me is if you find a previously unissued master tape by a major recording artist of course you would do all you could do to restore the audio quality and produce a listenable experience. I guess what I am trying to say is that the record is not the direct comparison to the painting - the musical performance and how it was recorded is!

I suppose it's like asking an art restorer to restore a print of painting. A label is just a mass produced copy of an image, you might as well just locate a scan of a good one and stick that on the record. At the end of the day a record is just the vehicle for delivering the musical performance (the piece of art) - it's not the piece of plastic that is 'art' - although some of them look very nice indeed....

and not forgetting his take on Jimmy Lewis' - 'There Ain't A Man' and a favourite of mine 'Can't Get Enough Of Your Love'...... It's far from a one track wonder when it comes to listening pleasure. As for convenience for the hundreds of DJs in the country, I can't comment .

Because they're insane....or they have no real love of the music ....

Seem to remember the criteria for your Top 100's was that they had to be contemporaneous releases for the artists and not retrospective collections so the likes of Irma Thomas' Muscle shoals was ruled out ....which I think on balance is probably the right approach

as well as the listings by artist are there any 'top 100' type listings - thinking of those two articles you did for VFTS and 'In The Basement' - which were great reads (and some great recommendations) ... BTW that is some achievement and great that you have documented an often overlooked aspect of Soul Music....................

Looks great John - is it physically available right now? and when do you expect to release Vol 2?

You pays your money you takes your choice..........

I find the best way to buy records from the US is to have them sent to a single point of contact over there - postage is never more than $4 and often free - then when enough have been aggregated go and collect them personally....

Where You Lead Me - Harold Holt And His Band (Ru-Jac) Wanted - Where You Lead Me/I'm A Stranger - Harold Holt And His Band - Ru-Jac single 45-0014-A PM please with condition and total cost, thanks Mike

is that the version that came out on the remaster '91 release Pete? I would like to hear all the stuff I f I could - thanks

I would of thought it was the Philly sound from that period - it is recorded in the 'home' of that sound - Sigma. However, always thought it was strange then and still do that only Larry Washington on conga's from the usual session musicians is on the record. All sorts of 'outside' artists would record in Sigma and get the full Philly treatment but not this one.

I'm not doubting Dean/Ian here, I'm just musing why the album was not promoted and got a 'proper' release....................... Interesting that Sandra Wright's 'Wounded Woman' 45 pre-dates Shirley Brown's 'Woman to Woman' 45. Shirley Brown was number 1 soul and 22 Billboard Oct/Nov 74, 'Wounded Woman' was released prior to that in June '74. The Demon sleeve notes say that David Johnson recorded the Sandra Wright in Oct '74 then immediately set off to pitch it in NY. But surely she was already signed to Stax? Furthermore the sleeve notes say (David Johnson) that 'Wounded Woman' 45 was scheduled for release in Jan '75 and it was then that it was discussed that it be on Truth rather than Stax - but it had already been out six months!!! It all doesn't add up to me. My theory is that Sandra's album was 'binned' after Shirley Brown hit big with 'Woman to Woman' - it was Stax's last big hit (and keeping the wolves from the door) - there is no way that they would not push an album on her, they were desperate at that stage to generate income. Jim Stewart had returned and re-mortgaged his house to help save it - I can't see them putting resources and effort into a similar offering from Sandra. Maybe it did get as far as being pressed...then destroyed.......?

I don't think buying something from Curry's is a very good analogy. Curry's sell brand new branded items from worlds largest manufacturers - that you have full legal recourse for if they are not as described. Ian's Soul packs consist of second hand fifty year old fragile pieces of plastic. Do you take these things back for a refund if you pick them up at car boot sales or when you go 'digging' for records? From what I have seen when he advertises these packs he even describes them to say that some are rough and need cleaning. They are priced at £1 each - I know exactly what I would get if bought them - I think a bit of common sense is needed here and I think some people need to be a bit less disingenuous and naive.

Well done John! I think Jan's comments re Shirley Brown are very pertinent - Stax were hot with Shirley and 'Woman To Woman ' with all their troubles would they really want to be promoting an outside production to rival Shirley?

Jim here is a track listing for album - might be an additional second take for one of the tracks ( I can't be sure I'm just looking at a listing in my itunes) . I believe the two sides Hayley put out on 45 were 'pitched up' a little....... Go Back 2:23 I've Been Thinkin' 3:37 I Know You're Leaving Me 3:41 I Wonder Why 3:01 Wild Love 4:20 Mike

Only one or two of your marbles NCFC !. Mike's house in Thornaby Teesside was burgled many many years ago and had lots of 45's stolen including the Sy Hightower 45 on Carmen. He has never had the album.

don't know why but this happens from time to time - previous replies/quotes seem to held in the editor and you can't clear it!! just edit it!

wonder if it has been authentically dubbed from a US copy?

a long shot but would there of been test/audition pressings made for David to share with the various record companies in New York? how else would he of let them hear it back in '75? 'reel to reel' or cassette ? He must of taken a recording of some sort up with him?

someone got to do it John!

Anyone dug out the Blues & Soul's/Black Music's from the time - always listed new releases at the time........

Paul Mooney should know the background to the album better than most - he (Selrec/Millbrand) owns the rights to certain aspects of it I'm sure - unfortunately I have not spoken to him recently and I have not seen any posts from him on here for some time. He is still in contact with David Johnson and he did pass on copies of the Soul Brother release to him. I know David is helping with the Memphis trip in May/June this year - putting together the Muscle Shoals event - hopefully I will be able to collar him and find out some more...including which record label declined it.......I won't let it lie!!!

Thanks John - figured you lot would of been on it ! I didn't get it at the time - '88/89 was when I stopped buying vinyl and was moving to CD (never got there!) I bought the 'Over Easy' CD release circa '96. It gives no more clues - same sleeve notes as the Demon release. I've always wondered which label David Johnson refers to as the only one that didn't make an offer and as a result he never went back to them. I would wager Atlantic - there are two songs on the Aretha album 'You' recorded mid '75 and released later that year. Could be just a co-incidence of course!

Out of interest when were the album only tracks played out on the scene ? immediately after the Demon release in '89 ? or were tracks made available and circulated previously? I can't recall its reception on release but was it obvious then it was a gem?