boba

i think jerhart is the original label, there are several label variations also. even though it is now the most indemand version, i actually think the impression is a reissue (but I'm open to be told otherwise). I think it's a case of the reissue being rarer than the original and people assuming it's original. the mica / roy wright thing was probably an attempt by Bob Lee to cash in a second time when he started working with Al Benson / Crash.

you can always respond politely. if someone acts like a jerk back to you, that's on them, not on you.

I don't think anyone is disagreeing with you. The word is "provenance", not "providence" by the way.

I responded to Mel on soulfuldetroit, but I think this record is connected to chicago (even though it is obviously produced and recorded in detroit). The scott brothers also have a smash 45 with the same detroit production, and it's definitely the chicago scott bros as it's their publishing. All the same names are on the irene and the scotts on smash. It may be related to Irene Scott, I'm not sure. I am going to try to find out soon about this, I will post if I get any info.

but that's exactly what I said in my email, i said that if it should be used (which I'm still not sure), it should only be used in the context of a rarity that has been well known by collectors for a long time where if people had had it it would have become public -- e.g. frank wilson. I still think the term is even silly in that context, as people live in much smaller worlds than they think, but at least it's ok if people acknowledge that their circle of collectors doesn't include everyone. I hate when records get quotes in terms of "known copies" on ebay, they're never Kell Osborne on Highland or Junior McCants but always some obscuro records (or even not-that-obscure records) that some people do have buried away. Quoting "known copies" shouldn't matter anyways, if the record is truly rare and truly good, that will determine the price, who buys a record trying to just get the 3rd copy?

nice playlist!

https://www.ohiosoulrecordings.com/j.htm J-234 Sammy Jones "You've Got To Show Me/ She Didn't Know" J-235 Terry Simmons ""Walk On In/ Noddin" J-236 Sammy Jones "Sweeping Your Dirt Under My Rug/ Red Hog" (also on Mercury 73325)

where or not the google thing is true, it doesn't indicate the known number of copies as "2". The above record is obscure and hard to find, but there's more than 2 copies out there.

where do people get this stuff? like two known copies amongst the two collectors they know? https://cgi.ebay.com/RARE-Soul-Mod-R-B-45-L...1QQcmdZViewItem I've had multiple copies of this as a stock copy and a white label promo (rarer), it's not super-common, but do people just like make this stuff up? I hate it when people try to quote the known copies of something, but it's even stupider when it's just a random record and not a known expensive record that has been flushed out of collections.

i've gotten from that guy before. that is terrible packaging. safer but similar, another guy (i think seller diorules in ohio) actually ships records is pizza delivery boxes turned inside out, I heard he actually owns a pizza chain.

i think the adell referred to here is the one with the steptones.

I would love it if you posted the group side.

I think Andrew Hamilton told me he actually worked at Saru records for a while

quality show

Matt, you are correct, but the two records you're talking about actually came out on different numbers. One of the numbers came out with two flips on the same number. So there are actually 3 different Little Jimmy Scott 45s on Giant.

the kiddie group on the label were the elements. the elements are the same group as the del-nita group and as the moving violation on atlantic. i'm not 100% but i don't think the out of sights were kids.

i thought this was a pretty nice poppy modern sound in the vein of the mixed feelings on united (actually more soulful though). You don't have to like this but I don't see how you could call it bad.

sounds west coast-ish to me by the way. it could be from anywhere though. doesn't sound philly at all though. i doubt that this was released.

that's what it went for on ebay recently, won by one of the people posting in this thread i think...

There is a duo discography here: https://capitolsoulclub.homestead.com/DuoListing.html it's missing #7452, I have the missing number written down somewhere (it's an odd artist), I will see if I can dig it out. Sheryl was singing along to her gospel track, she still sounds great.

it was released twice with two flips, I think the soul message press is rarer but less valuable because it doesn't have the "40 days" side.

the sweet soul side is the one for me. the songwriter of the side you want, Chazz Dixon, is a poster on soulfuldetroit

i posted a cool new interview on my website (Sheryl Swope). The writeup is in the media section, the interview section is www.sittinginthepark.com/interviews.html

i always also thought the max record was definitely white

Hi. Today on my radio show I did an interesting interview with soul singer Sheryl Swope. Sheryl was from the west side of Chicago and started singing and dancing at an early age. After graduating from Crane high school, Sheryl started working at WVON. At the station, Sheryl was discovered by producer Deke Atkins, who recorded Sheryl for his Duo label. Her first record, "Let's get this show on the road", got some local play (backing her on the record was Chicago group the Marlynns). Her next record, "Can't get him off my mind", had a classic late-60s Chicago soul sound (due to writing and backing by the Brothers of Soul), and became her biggest hit. Sheryl released two more records on the Duo label. Even as a solo artist, Sheryl continued to be work with the Sammy Dyer dance school that she had been involved with since childhood. Several singing and dancing troupes existed at the school; Sheryl's older sisters were members of the Vashonettes (Vashon was Sammy's middle name) and Sheryl was a member of the Junior Vashonettes. In 1968, four singing members of the Vashonettes recorded a record for Checker records -- Love / A mighty good lover. Around 1970, due to their singing talents, Sheryl and one other Junior Vashonette were promoted to be members of the regular Vashonettes, forming a new four-member singing group with two of the original members. Sheryl went on her first tour with the Vashonettes to Acapulco. The new Vashonettes lineup did backing work for Chess and Checker records, and backed Donny Hathaway on his "Everything is Everything" LP. The group also recorded radio advertising jingles. In the early the 70s, the Vashonettes continued to tour, playing resorts and clubs in the US and South America. The group broke their ties with the Sammy Dyer school to go with Sheryl's previous manager Deke Atkins. Deke renamed the group the Oncoming Times and recorded a single for the group, "If you had my love", which received some local airplay. Deke took the group to New Jersey where they recorded an entire LP for Sylvia and Joe Robinson's Turbo label. Unfortunately, the LP received little promotion. The group continued to tour until the mid-70s, when the group broke up. Sheryl did some songwriting in the writers workshop in Chicago; a song she wrote called "Why must it be" was recorded by a group called the Teques on Clarence Johnson's Star-Vue record label. In the late-70s, Sheryl and Billy Brown (previously of the Shades of Brown), formed an act called "Two", backed by their band the Sounds of Theory. The group continued to perform until the late-80s. In 2002 Sheryl recorded an entire self-written and produced gospel CD. She continues to sing gospel music today. You can check out the interview on my page at: https://www.sittinginthepark.com/interviews.html thanks, Bob