boba

big wheel also rarer in my experience. promos of 'two time loser' rarer than stock copies in my experience.

lebanese pressing is not the original country of origin and not the original pressing, you're not allowed to play it on a lebanese press, according to the rules I learned on soul source.

this person is starting their auction at $1.99 and appears to be the original artist. They seem very reasonable. I've met people who think their used toilet paper is worth a million dollars because one person on soul source once posted that their record was okay in 2004 and they googled their name. This seems like a reasonable auction and a cool thing to bid on and I don't understand everyone's attitude here. The only negative is that he says it was never before available, meaning that he might rerun the auction many times with many more prints of the photo. Essentially you're paying for a personalized autograph and a cool photo, which you can potentially get a reasonable price.

if you read my post, i actually said that willie nelson had "soul" and was "soulful". he also would probably be a cool dude to hang out with (especially if you smoked weed) but he isn't a "soul music" artist. either way, I missed the point of the thread that bicks was making about the other modern thread because i didn't see the other modern thread.

i compared names and the lucky lou groups is 100% the same group as on newark / chess, etc. bizarre they would make a record sounding like that.

i would make a distinction between 'soul music' and 'soulful music'. there are a bazillion singers and songs in other genres that i would call 'soulful' (including willie nelson) but including them in a soul forum would clog up the place. willie nelson was 'soulful' and he had 'soul' but he did not make 'soul music'. that is also different than a race argument, as obviously many white singers did make 'soul music.' i would prefer 'all about the soul' be confined to actual 'soul music' and not just any singer that was soulful. my 2cents.

i would make a distinction between 'soul music' and 'soulful music'. there are a bazillion singers and songs in other genres that i would call 'soulful' (including willie nelson) but including them in a soul forum would clog up the place. willie nelson was 'soulful' and he had 'soul' but he did not make 'soul music'. that is also different than a race argument, as obviously many white singers did make 'soul music.' i would prefer 'all about the soul' be confined to actual 'soul music' and not just any singer that was soulful. my 2cents.

unless... i never considered this before ... the tnjs aren't even related to the soul group, i never compared names on the record actually, i will check tonight.

both are very garagey sounding, despite the TNJs being black anyways. natural facts sounds white. they should be in refosoul

i agree, i can't believe people in this thread are saying that a beach and garage/tex-mex group's cover of one of the great early 70s soul group records are better than the original. i don't think that the covering groups would even say that.

walter scott recorded as walter scott and the kapers on ivanhoe ($5 45 that sounds like a $1000 45, great double-sider)

that south side club photo book is going to be INSANE

i played it on spectrum sound. another good bahamas northern sound is a cover of syl johnson's 'same kind of thing' by smokey 007 and the exciters. there are a ton of bahamas records but i'm no expert on island stuff, the numero guys know more than i do as they worked on a belize comp and i think are working on a bahamas comp now

i think something similar with one of the sides (not both sides) of the festivals on collosus / gordy

i love that tv clip of 'dangling on a string' where it starts with the closeup of general johnson and the camera pans back and after a minute and it's just like gogo dancers in a field in front of the washington monument, that is like the funniest shit ever.

for me: 1. young mods - i can't hurt you back 2. caesars - desperate for your affection 3. perfections - baby don't you go 4. perfections - girl you better hurry

mercury much harder in my experience even though it is is the national and later label

sound works for me, but it's a little low, so maybe you should turn the youtube volume level up. it's spelled 'admerations' on the records, there's a pseudo-explanation in the actual interview, like it's possibly a typo or possibly intentional to differentiate between the Admirations who were still active at the time, so I left the spelling as on the record.

Hi. Yesterday on my radio show I interviewed members of the South Side Chicago soul group the Antennas. Members of the Antennas sang in various gospel groups throughout the 50s. The Antennas formed in the Stateway Gardens homes at 35th and State Street; the group initially formed as the Antennas in 1960 when Billy McGregor, his two brothers, and Robert Bailey decided to form a secular, pop group to try to perform professionally. By 1962, the lineup had finalized to Robert Bailey, Jerry Royal, Billy McGregor, and George McGregor (Billy's brother, who was not related to the Detroit George McGregor, who is Billy's Cousin). In 1962, Billy Williams came to Stateway Gardens to audition artists to take with him to perform in a revue in Las Vegas. Billy took the Squires as well as Shirley Shelton (as an Etta James-styled solo artist) with him for a 3-month nightclub booking. In Las Vegas, Shirley ended up making friends with and joining the group. When they returned to Chicago, the Antennas went to different recording companies and endeded up signing with Don Clay's "Clay" record label. They released "Fuji-yama Mama" / "Be yourself" in late 1962. The A-side was a novelty record actually inspired by Robert Bailey's experience with a girlfriend he had while stationed in Japan during the Korean war. The record got some play in Chicago. The flip side was an excellent early soul track, led by Shirley, probably ahead of its time in sound. The Antennas then signed to Don Clay and Ric Williams' Boss record label. The label had previously recorded a group called the Squires and, owning the name, had the Antennas change their name to the Squires, with the idea that they would have a more fashionable stage look, with canes, top hats, etc. The group backed Perk Lee Moses (previously of the El Doradoes) on his solo record "The Docks" / "Peanut Butter", which was released on Boss and also picked up by USA records. At Boss records, Billy McGregor also wrote the track "One Dance" for Ric Lee, which was later recorded by the Creations and by the Classics. The group then moved to Constellation records and released the excellent double-sider "Drip drop" / "I'm in a need" in 1963. "Drip drop" had an excellent soul sound while "I'm in a need" had more of a throwback, Etta James-inspired doowop sound. Although both tracks received much radio play, the record was not distributed to stores and fans were unable to purchase it. Due to frustration over the record, their management, and their lack of the success, the group broke up. Throughout the '60s Billy McGregor tried to focus on songwriting for other artists but was generally unable to get tracks placed. In the late '60s, McGregor wrote a track for Don Clay called "Mrs. Shy" that was intended for Ruby Andrews. Clay liked McGregor's demo of the song better than Andrews' performance and had McGregor record the song himself. "Mr. Shy", released on the Flash label, became a big hit for McGregor in the Midwest. McGregor toured the Chitlin circuit based on the song. A followup on the Flash label, a cover of a Charlie Rich song "She's a yum yum", received little play. McGregor then began working as a writer for Sunny Sawyer's Palos label. McGregor released his excellent cut "We've been in love much too long" (including backing by original Squire Robert Bailey) on Palos, which received some radio play. His next release, "Thank your mother and father" and "We can come over with love" was a duet with Palos artist Doris Young, released on the USA label. It did not get much play. McGregor's final record, "It's my turn now", was an excellent ballad, also featuring backing by Robert Bailey. The record was McGregor's second biggest hit, receiving more radio play in the Midwest and getting McGregor more night club work. McGregor's brother George also released an excellent record "Temptation is hard to fight" (backed by the local girl group the Bronzettes) on the Twilight label, backed with a duet with his brother Billy. In the early 70s, McGregor did some writing for Bill Meeks' Alteen record label (writing a track for Robert Taylor and arranging records for Drake and the Ensolids) and performed in local Blues bands in the 80s and 90s. You can check out the interviews and any of my other interviews at: https://www.sittinginthepark.com/interviews.html thanks, Bob

walter is the guy wearing the kangol cap. he's also the lead in the admirations 'wait till i get to know you', one of the most classic chicago soul songs. cliff frazier is the guy on the right, he had bit parts in barbershop and more recently in the prison break tv show. it's funny, the guy i interviewed the week before, rex alexander of the auditions was also in barbershop, and previously lorenzo clemons of the mandells was also in barbershop.

carl davis was mainly a producer -- what is your favorite song he wrote?

you mean a cover of lorraine ellison track "i dig you baby"

Can ANYONE help me with this question? I have the 2 Unity records on lecam. John anderson told me they had ANOTHER 45 on ANOTHER local ft worth label that he used to have copies of but didn't remember what it was. I know there were a lot of groups called "unity" but not other ft. worth ones that I know of. Does anyone know what John was talking about. DOES ANYONE HAVE ONE THEY CAN SELL ME? Thanks.

it is the same guy

check it out: