boba

the connotations are the lyrics in the song, it's about "jimmy mack, when are you coming back". it's not inherent to the name "jimmy mack".

I think it's just an answer to the vandellas record. Also, I think James Mack arranged it? Or maybe he was somehow affiliated with the group? I always meant to contact him and then he passed.

hiphop people who don't know about soul music

i feel like a total mark for having hyped this dude after that first single, both sides were good and i got a bunch of old school collectors excited and he turned out to be a douche. what a wack remake and useless video.

i agree with you but one mitigating factor is that a record that has been publicly dubbed as rare or valuable will be put up for sale more frequently than an invaluable record. so it might truly be very rare but the few copies out there will come up for sale because people will see they are selling for a lot and put them up for sale or the copies that are in people's collections will move around to make room for other things. i agree in general most records aren't as rare as people say they are and there are some records that are truly rare and don't come up for sale... even those records all of a sudden seem to come up for sale in batches though.

I think it was just a martha and the vandellas hit so it became a recognizable name due to that. also, james mack was the name of an important arranger in chicago, he arranged a lot of records in the 60s and maybe most notably arranged tyrone davis' "in the mood". he passed away a year or two ago.

ha, I knew there was a better photo, thanks sebastian

also, I will try to find out the specific records for you, but the astors are backing vocals on some specific cuts, I think it even says in one of the liner notes on the newcomers / astors cd, they sing backup on some early carla thomas cuts and curtis johnson said that they even sing backup on some jerry lee lewis sun records i think

also, the dynamic superiors' first record is supposedly the superiors on sue

the epsilons on stax are not related to the hem group and the stax group have a whole bunch of other records under different names (and included mcfadden and whitehead).

maybe not , sorry I'm not at home to check

there's a larger photo in the beach music book

i have both versions but i'm going out to new york tomorrow morning, pm me in a week if you don't have your info by then. i'm sure they play the same tracks and i'm pretty sure they look exactly the same but i won't be able to scan them for you for a week. they always turn up beat up so you're gonna have two beat up looking scans if i do scan them.

in my opinion acetate should be worth LESS unless it is an alternate mix, who wants an acetate that is going to degrade of a released track? I think that is others' opinions too based on how I've seen acetates of released records sell in the past but anyone feel free to correct me.

I think more than 50 were pressed, I know of at least 5 collectors with copies, I don't have a copy though, very hard title. I don't know where they would get the number 50 from. One of the members Bobby Magee died all of a sudden of cancer about a year ago, very sad. The interview with one of the members is on my website. The group evolved into Raw Umber on Virginia.

if the labels were stuck over the old ones, they would not go to the runout groove and scratch out each one and scratch in a new number. why would they waste their time doing that? the reason the runout would have the old number scratched out and the new number scratched in would be if the new label bought the pressing plates and scratched out the number on the plates and scratched the new number in the plates. in that case they would press the record with entirely new labels but with the old plates. this is the case with some chess records for example where they bought the rights to some release (for example, the rerelease of amanda love on starville).

Hi. Today on my radio show I interviewed members of the South Side Chicago group female group the Voices. The Voices were originally formed by record producer Richard Pegue to add additional background vocals on his tracks and advertisements; they originally sang backup on Pegue's track "I'm not ready to settle town" by Little Ben and the Cheers. Member Margaret Norfleet was a sister of the Cheers (and had a background in gospel as her uncles were the Norfleet singers). Member Cynthia Redd also had a background singing in church; her brothers were members of the legendary Chicago doowop group the Debonairs. Member Dale Myrick also had a gospel background but had sung in different R&B girl groups in high school. The group originally did not even have a name and were just session vocalists working for Pegue. Pegue eventually decided to record the group on their own, coming up with the name "The Voices". Pegue initially released "Fall in love again" (with an instrumental flip) on his Penny label in 1967; the track got some play in Chicago. Pegue released a follow up "Forever is a long long time" in 1968. He didn't release any more records on the group but continued to use them for backing vocals and on advertisements. In the late 60s the group began doing session work for Bill Meeks' Al-Teen record label. The group sang backup for many artists on the label, most notably on Sunday Williams' hit "Ain't got no problems." On the label the group also backed Johnny McCall and Earl Duff. In the late 60s, Margaret Norfleet joined a studio group that Pegue created called the Brothers and Sisters. The group consisted of Margaret, Pat James (Pegue's wife at the time), and two members of the Norvells, Claude Wyatt and William Smith. The group recorded several socially conscious, "uplift", style records, most notably, "I am somebody", based on Jesse Jackson's famous speech. The records were done in the style of old spirituals. The other members of the Voices added extra backup to the records. Pegue decided to form a new studio group out of exactly the same members, called the Extentions, recording under a new, psychedelic, female-led style (similar to the Rotary Connection). The Extentions released two records -- "This love of mine" and "Your heart belongs to me" (a cover of the Supremes hit). In the early 70s Pegue sent Dale Myrick and Cynthia Redd to help producer Jim Porter tutor a young female group he was trying to develop. Margaret was unavailable as she was touring with her brothers the Cheers. At the time Porter was trying to produce several kiddie, bubblegum sounding groups. At a recording session, one of the members of the female group didn't show up and Porter asked Cynthia and Dale to sing. They didn't click with the remaining members and Porter ended up forming a whole new group with two members of Cynthia's church group. Porter called the group "Cindy and the Playmates". Porter released a record "What are we gonna do (now that school is through)" on the group. Although the group members were older and even had kids that were in school, the track had a strong Jackson 5 bubblegum, kiddie sound. Porter heavily promoted the record and even had the original female group tour as Cindy and the Playmates, lip-syncing to the record. The record got play in Chicago and did get distributed to other cities. A follow up record, "Don't stop this train", was intended to be used as a theme for the local Channel 26 Soul Train show but was really only played on the show a few times. The record was pressed twice; one of the pressings had a nice flip side called "A portrait of god's love" (which was also done by the Eight Minutes on their LP, as "I love you"). The group did some more unreleased recordings for Porter, and did some additional backing vocals for other Porter recordings, but did not release any more material. All three women have continued to be involved with singing in their respective churches. You can listen to the interview on my interviews page at: https://www.sittingin...interviews.html thanks, Bob

silvers is eddie silvers

ebay probably cancelled the listing for a listing violation

john anderson had it on ebay recently, it didn't meet his reserve i think

unless the singer on "mirror mirror" was named "Eddie Gross" then obviously not

unrelated, but i actually finally found the last twinight # I needed (rock record by the rooks, who are apparently a chicago rock group with at least two records and not the pacific northwest rock band) and have been meaning to post scans of the label run but haven't had time.

/forums/topic/50925-nate-evans-on-twinight-alternate-press-with-syl-johnson-vocals/page__p__528332__hl__nate%20evans%20boba__fromsearch__1entry528332

I seriously doubt it

this is really nice, the one thing that takes away from the mellow mood is the generic hi sounding horns, especially when they kick in at the chorus