boba

kenny rogers / betty lavette

continental showstoppers is 1970 i think. you can figure out the jackie beavers vs. karen striblin given that they came out on the same label and one has an earlier catalog number. i'm not sure when the camaros came out.

i imagine harold melvin has to be the original, it charted here in the US on billboard R&B, an LP track by another artist is likely a cover.

for what it's worth, the other acetate ended up being an unreleased spinners track, it sounded like the spinners and andy rix confirmed it for me. it was too early to be the originals anyways.

awesome, I will check this out later when I'm off work and give more feedback if I see anything else. it looks great by the way.

the "browse by" no longer has the "descending" option which I used a lot (for example, browse by price descending), now I have to click on a ton of nexts and move backwards. John, can this feature be added? Also, I preferred the list view, I'm not a very visual person and it makes it harder for me to scan through and see everything (and now I can only see 36 items at a time). Any way I can still see a list? Especially with all the images saying "IMAGE COMING SOON" it just takes up space now.

also the same group as magic touch on roulette, both them and the female group on black falcon charted in 1973, probably the roulette group changed their name because of it

it's not a "fake", it's a REISSUE. Lana was a reissue label that reissued hits like that dobie gray record, they also reissued things like johnnie and joe 'over the mountain across the sea', etc. The fact that it's an old reissue label doesn't make it not a reissue label.

they also were abstract reality on sport

soupy sales bobby darin

i hate announcing the interviews because they tend to cancel, but i did say in my show it would be the green berets. the other group names they recorded as including the big northern one can stay a mystery until then...

i got a very cool interviewed lined up next week with a group that recorded under several different names, including one very heavy northern record...

i'm not sure, i didn't talk over the same track each time i don't think, which time are you asking about? thanks for listening. two chicago tracks which i had in my box but didn't have time for (but people keep asking "why didn't you play") were the pacesetters on mica and the creations "remember me" on globe.

you outbid me on it on the last copy (or maybe copy before last) that was on ebay

Hi. Yesterday on my radio show I interviewed a member of the south side Chicago group the Auditions. The Auditions were all from the Ida B Wells and adjacent Darrow Homes. The group formed in 1968 when their mentor, Lonnie Hampton, a member of another Ida Wells group the Topics and a manager of local groups, put the four original members together and mentored them. A few months after forming, the group auditioned for the Regal theater talent show. Still without a name, the group called themselves "The Auditions" based on their experience. The group won the talent show and were approached by Leonard Chess about signing to Chess records. Under the advice of Lonnie Hampton, the group avoided signing a contract with any label. On the strength of their talent show performance, the Auditions began to perform in local nightclubs. Hampton released the group's first single, "Returning home from Vietnam" / "Get set, be ready" on the tiny Get Set label in 1969. The record was not distributed and did not receive any radio play; the group just gave away the single to friends. Around 1970, the Auditions broke up as some of the members attended school and pursued other interests. In 1972, Alexander returned from school to return to singing. He reformed the Auditions with three of the original members and two new members (one of whom was the lead singer of the Topics). The group began to do shows again and in 1973, Alexander produced an entirely new version of "Returning home from Vietnam" / "Get set, be ready" on the Freckles record label. Around the time, Alexander and label co-owner Darnell Glover started doing a radio program on WXRT and played the track. Other local radio stations also picked up the record. Soon after recording, the new lineup of the Auditions changed their name to Oneness. The group worked frequently in Chicago and in the midwest. In the late 70s, the group recorded for the AMG label out of Cincinnatti. AMG was a pay-to-produce record label where artists auditioned for the label and then paid for the production and release of their records; many artists and groups from Ohio and the midwest recorded on the label. Although both sides of the Oneness single were completed (both being excellent tracks), the single never made it to release and was never pressed as a record; I played the single during the interview. The group stayed together, doing local shows throughout the 80s. In the 80s, Oneness recorded for Jim Stroud and Brad Bobo of the Notations but the material was never released. Alexander got involved with gospel music in the 80s. He currently produces a youth choir and his daughter sings gospel music. You can check out the interview on my interviews page at: https://www.sittinginthepark.com/interviews.html I also did a music show after the interview. You can listen to the music show at the bottom of: https://www.sittinginthepark.com/shows.htm playlist follows. Thanks again for your interest. Wendy Andrews - My man is gone - DV Ideals - You lost and I won - Satellite Barbara Lewis - Spend a little time - Atlantic Patti Labelle and the Bluebells - I need your love - Atlantic Carol Chandler - Time hasn't changed you - Steel City Green Berets - (Lord) Send me somebody - Uni Crescent Legacy - I'm gonna miss you - Brou-larch Questions - ? - Gold and Soul Michael Washington - Cupid's corner - Crookshank Ralfi Pagan - Didn't want to have to do it - Fania Zeal - Don'tcha know - Potential Zinga - I'm not strong enough - Zing thanks, Bob

i've never seen this pink one before, i think it must be rarer

i will try to post a scan of the PJE single when I get a chance.

it got released as a stone gold single (I have the single) as well as on the LP. There are 3 deceptions 45s, 2 peace justice and equality 45s on stone gold, and the two LPs. I'm pretty sure it's not exactly the same group but it is the same main guy / lead singer, Dante met with him a few years back I think. The brooks single used to be like a $20 thing you could get from craig moorer, etc., but it seems to have gone up a lot recently, it was on ebay for maybe $150-$200 for not even mint copies recently.

thanks for the heads up on this psycho

I believe this guy is nuts but I'm confused on two things: 1) how can he leave you a negative if you're the buyer and 2) you're not in the US, what is he talking about shipping to the states to you?

my favorite isleys 60s material is actually their atlantic material, that is all awesome in my opinion. the motown stuff is good but just "motown" sounding. Besides who's that lady, the UA and veep stuff is pretty weak for me.

I would say 70s no contest. They really defined a whole sound in the 70s, especially with Ernie's guitar playing. They were even ahead of their time in the 60s I would say but were less distinctive compared to their 70s output, the 60s stuff sounds more like other R&B of the time.

there is this hippie record appraiser on the US antiques roadshow, he knows about stuff like psych and garage and beatles. I've seen him appraise a beatles butcher cover, a bunch of old posters for bands like the chocolate watchband, etc. I do agree that in general the antiques roadshow has raised the visibility of people's old junk being worth money though. With soul probably price guides, ebay, etc. has affected it more, but I still think the reason people can't find records anymore is because the records have dried up.

people in this thread keep blaming the price guides, internet, etc. for lack of finding records. I agree that those are huge things but they're also leaving out the fact that records in many places in the us have also just dried up. maybe the internet accelerated the process, but I can't even find trashed, overpriced, common 45s lots of the time anymore.

I don't know when he pressed the bootlegs, just that he still had them until when he died. Maybe there are poor quality originals too. Why would the original Chicago press have a frankford wayne stamp though?