boba

I think you're probably right about all genres having this phenomenon but I think this particular obsession with rarity is specific to northern soul as it is a DJ scene where exclusivity / rarity, as well as spending a lot of money on a single record, seems to be an integral part of the scene.

you heard the band's opinion from another post of mine, I interviewed them. Either way, this is not a bootleg, it was pressed by Lamar Greer, who was a group member, producer, and partial label owner. He is deceased.

Make sure you turn on the adult filter before using the search. Almost any time I've dragged a picture of someone's face there, I get a lot of examples of one type of pornographic image (can go into detail if someone cares but probably not appropriate).

they put their own publishing on it, total BS. I posted about it on another site but haven't had any direct contact with them. The actual writers names on the real record, they may have never even seen the actual 45. They owe the songwriters mechanicals which wouldn't be a ton of money but would be a gesture of good faith and would actually get the people who didn't make much money back in the day some money.

love's stormy weather?

also, some kids in new york recently stole the song and credited themselves as the writers: it's pretty funny that they're called "jack moves" after they jacked the song. total jack moves.

the ledgends told me that they just put the LA thing on the label to make it look more important. There was no actual connection to or financial backing from LA. Robb, there is a second 45 on Red Balloon (the subject of this thread). Fear not is the b-side of that record. The a-side is a track called "Fool for you". It took me a while to get a copy, I would like to get one for my friend.

A songwriter contacted me last week, I asked if he produced any unreleased material and he said he cut one Darrow Fletcher track from the early 70s. He says he still has the unmixed 2" masters. I am following up with him to see if I can transfer and do a rough mix just to hear what the track sounded like. it's too bad it's only one track.

I think the 3 releases were just a result of shopping it around to bigger labels. I don't think it was any type of hit.

Darling is the record I have on acetate (which makes the above part of the description sort of funny). It sounds like a completed mix.

I always find stuff always sounds better on the phone or in an audio clip until you own it, then it is mediocre. Maybe it's the weird collector gene in me where if it's in the genre I collect I gotta have it. I used to call to hear records on ebay a lot, got lots of cool records before they are "known". now I don't have time to deal with it. if there's something weird I'll google it (and 95% of the time it will be a rock / pop / country record mislisted as northern soul). If I get no hits it's at least worth bidding on as an oddity as someone else might want it if it's not soul (I have a lot of bizarre "incredibly strange music" type records from doing this). If it looks like it could be an awesome soul group record I'll make an effort to try to hear it so I can know whether or not to bid high.

The main events were a (Black) group from LA. They had one record but it was released on three labels. Here is the info: MAIN EVENTS, THE Freddie Sprewell, Arthur Sprewell, Dolph McClellan, Bailey James, Mack Givens. Arthur Sprewell and Mack Givens were formerly of the R&B group The Chants on Nite Owl, who became The Gallahads on Beechwood, and also of the Soul group The Ex-Cel Five on Enith.** Golden Bird 501 Girl, I Want You To Remember / Don't Leave (71) Miracle Mile G.B.501 Girl, I Want You To Remember / Don't Leave (71) UA 50810 Girl, I Want You To Remember / Don't Leave (7/71)

yeah, excellent midtempo track. i'm not into his other 45 on acta though.

here is his wedding music business: https://americanmobilemusic.com/ I'm assuming this pic is his band in the UK: https://www.vintagehofner.co.uk/vintagehofner/earlybands/band26.html

Bobby Sansom is from the UK actually and moved to California (I think bay area, not la). He has (or at least had) a webpage, he does some sort of wedding singing now or something. Apparently Sly Stone really liked the record and started playing it on the radio and totally dropped it when he found out Bobby was White.

no daydreamer was the eddie holland. now I don't remember if posted a scan of just that acetate or the spinners also, but i still have the spinners. i will try to send you audio.

it's the record that I posted about in this thread that was sold to me as "the originals": it obviously wasn't the originals as it was clearly an early 60s sound and the originals weren't even on motown then. It also didn't sound like them and did sound like the spinners. I think I recorded it, can email you an mp3 if you want. Thanks.

as a collector, an acetate is only worth anything to me if it's unreleased or different from the original in some way. Or for certain "holy grail" items it could have value as an oddity or a frameable or collectible object. But an acetate generally isn't functional in the same as a record, you can't just keep playing it over and over. I guess some collectors like an acetate of a released record better because it's "rarer" and one-off but I would rather have the actual record. also, what makes record collecting different for me than say, art collecting, is that I'm collecting mass produced objects -- even if they are extremely rare and you know someone who has one, it's usually possible for you to find the record you need. You can be a completist and run labels, artists, etc. With art you can't collect every picasso even if you had all the money in the world, as each one is unique and one-off. To me acetates, as one-offs, sort of go against the philosophy of the things I collect which sort of makes them less interesting to me. The ones with the most value to me are the ones that I have via some personal connection with the artist.

Ady, I have another unreleased spinners jobete acetate. Group is unmarked but it sounds like the spinners and Andy Rix confirmed it. I can dig it out if it's relevant to your project (also willing to trade it for something...). Thanks.

What are the implications of this thread -- does deciding whether something is soul or not determine whether it is playable? In the late 70s going into the 80s there was a sort of convergence between rock / aor / pop / soul. Soul groups like EWF and Kool and the Gang had huge pop hits and white artists like Gino Vanelli blurred the line in the other direction. There isn't a hard line on a lot of music saying whether it is soul or pop. That said, in this era, to get music that is more "pure" soul, you usually have to go to more indie labels since they were more outside of the major label productions. But there also were some very soulful major label productions and stuff that was produced for or licensed into major labels. When I used to do this other show on my radio station, this woman would always call in and request Eddie Rabbit "Suspicions". She said that when it came out it got played on Black radio and nobody knew he was a white country singer. Some guy keeps calling up my radio show and requesting Benny Mardones "into the night" (along with Brenda and the Tabulations). I'm definitely not going to play it but I can definitely see the similarity to some of the indie 80s group soul that I play.

the other one I had was Jimmy Dockett. My friend knows him if you have some sort of desire to talk to him about this article or whatever.

cool, looks very thorough, will read it when i get a chance. there is a soul 45 by Connie McGill and the Visions on the label, I'm sure I have at least one more soul 45 on the label.

Here is an awesome odyssey record from the same period that someone should not be ashamed to play out: https://www.youtube.com/watch?v=Vso6o8qshJ0 The track you posted isn't only too slow but it's pop-ish (almost country-ish). It sounds like they were trying to make a pop hit. So it actually is less soulful than many of their other cuts.

i'd pay 100 pounds if someone has a copy. thanks.

He wasn't in any version of the group that recorded, by the time the Esquires did their hit "get on up", he had left long ago. I think he just mentions that song to identify who the esquires are.