boba

there's definitely one really bad one where i heard both sides but i don't remember which one

now I have to figure out how to clean the messed up a-side that has glue embedded in the grooves. I think I can clean it but it will take a lot of scrubbing. I played the side I intentionally glued and removed and it sounds about the same, I will record it and compare to the previous recording to see if it helps at all. Now that I'm experimenting on this record, I might as well try a few other things and see if they make any difference and compare recordings. I think newspaper would have been a very bad idea, it would have ended up glueing the newspaper to the bottom of the record. I should have used a wet cloth to wipe off the undried glue this morning instead of just a cloth, I might have gotten the glue out instead of getting the top layer of glue out, leaving it embedded in the groove.

i'll fight you for it

yeah, it's like a printing thing where they used less colors or something. i was in a record store once when alvin was selling his bootleg albums. they look exactly like the originals unfortunately. apparently alvin's funeral was like a huge party, people still talk about it.

sorry, I didn't realize that word was spelled differently in the UK. Either way it's inconsistent on that page because the actual license text uses the s.

there is at least one more label design for that alvin cash. Alvin bootlegged his own LP and used to take it around and sell them to record stores. They look just like the original but the sound quality is really bad. Johnny Sayles "you told a lie" is great deep soul. Miss Madeline "behave yourself" is also great.

I like how they spell "license" wrong consistently. It's kind of disturbing that it's a link to a legal licensing contract.

I didn't anticipate the spill over the side. Anyways, I managed to get the record off the turntable, I had to run a knife along the edges of the record. Now I have a bad problem that I didn't anticipate. Lifting up the record revealed a lot of undried glue on the opposite side of the record and on the plastic mat. I tried to wipe it off the other side of the record but that probably made it much worse because now there's a smaller amount of glue in the grooves on that side, not even connected in one big piece. So I may have fixed the side I wanted to fix but may have permanently screwed up the flip, I have to see what I can do. Right now I'm waiting for it to dry. I also have problems cleaning the plastic mat. After the other side dries, I at least will be able to play the side I intended to clean and see what happens. Then I will deal with the messed up other side. Newspaper or plastic might have prevented the problem of cleaning the plastic mat but it wouldn't have prevented the worse problem of cleaning the flip of the record. The one lesson I learned so far is to try to avoid spillover. I don't know if that's possible though.

so yesterday I cleaned a 45 and it still played extremely crackly, despite not really being scratched up very much. The main reason was because it was almost 5 minutes long, which means it was pressed at a lower volume making the crackles overwhelm the music. However, it still looked clean enough to me that it should have been playing better. I decided to try the glue thing. I know this is not an ideal situation because it's probably scratches and the pressing and not dirt that's making it sound bad, but I can clean a 45 well enough that it's rare that it plays worse than it looks... so this is one of the best opportunities I could come up with I made a recording of the record after I cleaned it but before applying any glue. I only had the elmers glue-all (which is not the yellow wood glue that was recommended to me in the previous thread). I put the record on my turntable and squeezed the glue on, moving it from the inner deadwax to the outside slowly as it rotated. I then used a credit card to spread the glue all over the record and into the grooves. I couldn't keep the glue from going over the edge of the record but fortunately it didn't go farther into the deadwax and get to the label. I also found it was hard to apply the glue evenly, even if I put more glue on the record, so it clearly was thicker in some places than others (and you could see the black of the vinyl coming through some places but not othes). This is what it looked like last night after applying the glue: today the 45 is glued to the turntable mat, I have not tried to remove it or the glue from the record yet. What is annoying is that some of the drips of glue that are on the mat don't come off easily, I hope I can get the glue off the record. I'm just about to do try to remove the glue, will report back.

I stopped doing my writeups for my radio interviews because I invested a lot of time into them and people would just steal the text (even on this site) uncredited. They took a lot of time. I wouldn't even care as much if my label scans were stolen as they didn't take as much time, although I have had scans of rare photos stolen (e.g. superlatives photo) edited and uncredited and that was sort of annoying (not as much as the writeup that took hours though).

yeah, lots of times the pop charts are more of an indication of hit status than the r&b charts, even for r&b tracks. however, if it was just in a "prediction" section i'm guessing that either a) companies paid for a mention in that column or b) the prediction was written by one person who got the 45 and liked it and thought it could be a hit, and not based on actual play. either way, the record is pretty rare and unlikely to show up outside of detroit.

um ok thanks robb

they have 3 45s. the true love record is much harder than the other two.

I just checked and it's not in the joel whitburn billboard R&B book. the book basically lists any record that ever charted in the billboard r&b charts (e.g. even if it only got to 90). There are some other charts (like Cashbox) but I think if you saw it at 20 on a chart it was most likely a local detroit weekly radio station chart. Thanks.

I think you're mistaken about this. Maybe it was at the bottom of a detroit radio station chart or something.

In my personal experience the white is definitely rarer than the pink. Maybe my experience is an anomaly though.

this side is awesome

yes, from philly. It even says bacone on the record. apparently the producer (the person with the last name "bacone") was female. I think she died and her widower husband is still around. I think Craig Moerer visited him in the 90s and bought most of the stock.

lightweight

OK, I think you mean the first one. This is actually easier to know when collecting in the states because there are some records you always find because the a-side was a hit. For example, Soul Brothers Six "some kind of wonderful" has "I'll be loving you" on the flip. Not a massive hit but the Exits "under the streetlamp" charted on the R&B charts and it initially became valuable recently when people started playing the flip.

I originally thought that it was definitely a Black singer when listening to the monologue but now listening in headphones I think it sounds more like a White guy (but I'm not sure). Was Johnny Melfi White or Black? I also really don't see this as a demo, it has a full arrangement and everything.

I don't understand. Are you asking about northern tracks that are the flip of big hits? Or are you asking about 45s where the b-side is like an answer record to the a-side?

actually ace/kent didn't recognize it at some point because they called the track "puppy love" on the rare/unreleased impressions CD. Almost all that early jerry butler is classic and worth getting

money limits the size of my collection. space might because I ran out of walls to put shelves on. But it doesn't seem to keep me from buying more records.

I had thought about that -- songwriter acetates are pretty common. But this sounds pretty finished to me, most of the songwriter acetates I've heard are more sparse.