boba

and toad (sorry)

i think i might actually own both titles as stock and it wasn't a promo / issue thing, I have to check...

I was excited to hear the track when he announced it as an unknown bell soul record could be excellent. the backing starts off okay and then the guy starts singing and it's clearly a rock record. Then I see it's on UK bell. That record really wasn't made as a soul record and putting it in a soul context (which works for many non-soul records) doesn't work.

and denbo!

thanks pete and sebastian for the corrections, appreciate it

I think that this is exactly the point, he's a legendary figure who's made a lot of promises and this mix is supposed to be where he shows and proves himself. Most people who don't like my show wouldn't put in the effort to listen and critique it, although if they did it wouldn't really bother me (although I'd probably respond). I don't think that people are irrationally ripping into Ian's mix either, I think people are being pretty reasonable and almost anyone noted some good things.

no, the b-side to the (Giattino pressed??) white label boot is actually not the ringleaders at all. Don't know who it is though.

here is the listing from soul harmony singles. it looks pretty explicit, e.g., not a mistake: Money 106 Forget Me / The Jerk (9/64) 110 Mickey's East Coast Jerk / The Slauson Shuffle (inst.) (1/65) 109 Mickey's East Coast Jerk / Soul Jerk (1/65) 110 Soul Jerk / Slauson Shuffle (inst.) (1/65) 112 Heavenly Father / The Roman (65) 115 Sad Sad Boy / Can You Do The Duck (65) (115 above as The Meadowlarks) 116 Why'd You Put Me On / Facts Of Life (65) (116 above as Bobbi Row & The English Men) 117 What Chance Has A Man / Let Me See You Philly (65) (117 above as Don Julian) 119 Answer Came Too Late / Lost My Love (66) 122 Heaven Only Knows / Philly Dog (66) 127 Come Back Baby / The Skate (67) 601 I Want You (Back) / I Love You (72) 604 My Favorite Beer Joint / Part 2 (73) 607 Shorty The Pimp / Part 2 (74)

I have the harmonics on way out, a pretty crappy funk 45. What is the Joan Bias? I never heard of it before.

didn't know that, thanks for clarifying

I think it's the first pressing of an album cut onto a 45, so it's slightly different than 45s being booted. It is the first way the song is available on 45. also, stardust was legit I think so it also wouldn't be a bootleg in that sense. Here is the record btw:

one more vaguely related thing: there is one more later sensations 45 -- Johnny Washington on De-lite. Totally awesome record and clearly the exact same group. I think only for the demanding man 45 did they stray from their typical style.

I've never heard the record skip. People have told me stories of trashing their label stock due to a pressing fault that caused a skip. But I think this is less likely with modern turntables. Also, I think with the sensations, that record sounds totally different than all their other records. While it has a big northern appeal I'd imagine it would appeal less to the local ohio audience and it may have just not sold anything. Of course all of this is just speculation.

I don't understand the complaint. Are you not allowed to sell records that came from soul packs?

There is a lot of good quality soul that isn't northern or crossover.

I can't believe I haven't been flamed yet. Where is that Mark S dude that was flaming me in that other thread? Either way, I tried to be totally honest though as there were positives and negatives. actually I think this was way overpromised as after all that bragging about unknown rare records and how he's still a big collector, pretty much all the records are known. He could have said "I'm playing a great set of lesser known cheap and expensive records I haven't played before" and it would be fine. It could even be what the dancers consider a great set. The "unknown" thing isn't true though. In today's times, soul 45 collecting and finding unknown records takes a massive amount of time and energy and money, pretty much daily, for long periods of time. That's how people like Butch have amazing unknown records in their boxes. You can't just decide to collect again and buy records for a relatively short period of time and have some things that dealers offer you and end up with quality unknowns. Even with unlimited funds. Before you could go to the US and listen to tons of 45s in a warehouse and find all kinds of unknown (at the time) rarities. It's totally different in 2012. I don't think he should have done this podcast because it's showing his hand. I guess he really believes that most of the records are unknown.

That is Billy Byrd on Scream, really expensive and in demand right now.

yeah that makes sense. My friend who sang in a group told me a story once where he went to a baby huey show and didn't have enough money to get in. As soon as Baby Huey saw him he ran to the door and was like "come on in brother!" and was really excited that he had a Black audience member.

OK, I just listened to the whole thing (I didn't listen to each song all the way through but did hit all of his speaking and all of the songs). Here are my impressions as a collector but a total outsider to "the scene": - he really didn't play any "unknowns" in the sense of records that are unknown to collectors. Actually, I can't comment on the white stuff, but all the soul records he played are pretty much known (with the exception of that david and goliath record, which was just okay, sounded like an underproduced don and juan). But when I look in say, Andy Dyson's box, I see mostly stuff that I know that is totally under the radar and stuff that I'm like "what the hell is that?" Maybe many of the records Ian played are unknown on "the scene" but they are known to collectors. - i can't deal with the female floaty white pop records he plays at the beginning, they really aren't soulful at all to me. one thing he played later in the show, the barbara mills record, would have been amazing with a soul singer on top, the production and male backing are fantastic but when her voice comes in, it's awful (in my opinion -- don't flame me if you love barbara mills). - The male white records don't sound like soul to me at all, they sound like pop / rock. I guess groups like the tempests were doing soul but a lot of the obscure records he plays are really pop productions. And there was the one beach record by second nature. - his taste in cheaper, black soul records is good. Like the roz ryan, exits (I like how he played the a-side under the street lamp and not "you got to have money"), earles inc (although the super expensive one actually is a little better), 125th street candy store, and the melodics. Actually, I really like how much he's into the melodics because it's also one of my favorite records. I think the group is actually from Chicago, it's produced by Raynard Miner and a lot of groups went south to record. - I like his taste in 70s records better than the 60s records in general, they are less pop at least - that al mccall record he played on profile was fantastic. I knew of the record but had only heard a little bit of it before and somehow didn't remember it. Definitely really nice. I might even have it in a box somewhere. - there were a few female records he played which are known and which I knew of but had actually never heard -- I really liked the Kitty Doswell and Ella Woods (I know I should know these already but I didn't). The Gracie Dumas and Marion Love records were just okay. Either way, I would buy any of them if I saw them. - I never heard that wilson williams on ABC, it was pretty nice (not amazing but good). I actually have a totally different record by him on ABC, have to pull it out to see if it's also good. - full flavor on forte is not that obscure / unknown - I like how I get an unnamed indirect reference when he talks about "someone found one of the ringleaders". By the way, the flip of that vinyl record is NOT the ringleaders (all of my life is though). - I like how he plays New Image - it ain't easy as it's way better than the earlier solo Charles Russell version which is known, and because Charles Russell (the lead) is a super nice guy and Ian says nice things about the record. - the phenomenons without your love is not that rare, i don't understand how he's saying that when he worked at AVI. - I like how enthusiastic he is about the records when he talks. Some of the history stuff is okay too but when he keeps taking shots at the other DJs for only playing expensive records (specifically arthur willis) it's just catty. The way to be a good DJ is to play good cheap and expensive records and not care about, react to, or emulate other DJs. I do agree that there is a trend to play only rare or expensive records but instead of complaining about it you should do something positive and be a good DJ without trying to explicitly react to anything. anyways, that's just my stream of consciousness ramblings if anyone cares.

letta and the safaris is letta mbulu as he speculates. i think i have that record with a pic sleeve actually.

I know some people who saw him and didn't mention that, although I guess they could have just left off the detail. I know he definitely didn't do it for every show. Baby Huey's main audience was a White rock audience (as that was their style of music) and they mainly played white clubs. I was at the house of Johnny Ross' widow (Johnny was one of the Babysitters) and framed on the wall were these amazing photos of Baby Huey and his group posing next to a military tank and in some other weird locations. I've never seen those anywhere else and I didn't want to ask her to remove them from the frame so I could scan them.

eleventh commandment on fast track is not the same group as on chess. did he not listen to the records? the chess group is female and the fast track group is male. anyways, I think the chess group is from boston.

haha, i also talk over that california montage record on my show

i wish this were not true

I got first dibs but will let you know if I'm offered two