boba

this record came out on tobin and turbo. not london. which version are you looking for? the turbo one is the sweet soul version.

the candace love aquarius is the chicago aquarius, same as boo, zodiac, shock etc. I know that most of the productions had to do with the bros of soul but there were some local chicago ones (e.g. norfleet bros, inner drive) and the fact that the label owner sent people to detroit to work with detroit writers and arrangers (bros of soul, mike terry) doesn't make it a detroit label in my opinion.

it did just go through ebay for like $200 so hopefully the buzz is gone now?

thanks, i just looked in popsike and he has records on a ny cherokee label and an LP on a new york apache label, so it must not be a chicago label. the 45 isn't in popsike so it must be rare at least.

with checker / chess, having the different label designs does not necessarily mean different pressing plants, as checker was constantly repressing titles, you can often find the same title in the checkerboard label, red label, light blue label, etc., often because they were pressed frequently with whatever labels they had at the time, and some are definitely later presses than others. in some cases it's clear what came first but sometimes it is.

which apache label is this? where is it from, it's not the james phelps apache is it?

when it hits 1:1 i'm buying up everyone's sales on here

there was this one person that had the delanettes on ebay for $69, I think the listing went on for literally 2-3 YEARS over and over and over again and nobody ever bid, it was one of the most annoying things I've seen on ebay

i didn't know then, but i'm pretty sure now that me-o is definitely la, run by a guy named romeo taylor

is IPG definitely detroit? the biggest hit on the label was jay wiggins sad girl, isn't he an east coast artist? I know the barbees is on the label, but I always thought it was an easy coast label.

someone on soulfuldetroit said it was a new york label connected with audio fidelity, and that it just picked up some detroit productions. it was a thread about how eric and the vikings on karate have nothing to do with the motown group.

stormy (the twinight guy) actually produced the el anthony 45s on star-vue if you look at them. I don't think lujuna was connected to clarence stuff at all. El anthony was from gary and was a member of the passions on tower by the way.

another hard one is the second el anthony on star-vue, do you have that? ed okelly was involved with a bunch of stuff but he ran the teako label himself. both sides of the delon washington are great, i can send you audio if you want.

for the record, sonday was dionne warwick's scepter subsidary and she was mainly west coast based. flaming arrow is not chicago and is detroit as matt said already.

celtex, avin, boo, criss-cross, duo were chicago. not sure about teen town either, is there a definite detroit teen town label?

the lintons is come back to me / lost love. it's not the same version of lost love as on erica. Do you have the delon washington 45 on lovelite? that is another hard clarence johnson record. Did you know that lock was actually owned by 4 people and not just clarence. At least according to Kenny Wells, the letters in the label stood for: Lucky cordell edward Okelly Clarence johnson Kenny wells The main artist Kenny dealt with was lee sain.

clearly it's rare, everything goes through ebay, including some very rare records. i don't know how rare it actually is, probably someone in italy could answer better though.

this has been on ebay a few times, you can even find 4 copies in popsike

any chance of audio of the third wish?

is it soul? is it Black? much of the label isn't soul.

The fact that numero reissued the lp and not Russell might be a bad thing for Russell (although I'm not sure as he may likely have lost money on it) but it was probably the best thing for the artist and label owner and people actually involved with the music. Numero is the best reissue label in that they go beyond simply licensing the material from the owner to actually tracking down the original artists, negotiating payment directly to the artists (even when they have no actual legal responsibility to do so and often in cases where the publisher would keep the money and not pay the artist), and fully document the artists stories with extensive liner notes and photos. I was there when Rob was trying to find Norman, I can't imagine any other label actually being persistent enough to contact an artist in prison via their limited prison phone calls, after they already negotiated the rights. Also, Numero has good distribution and contacts and probably get the original artists way more money than a tiny collector reissue. Finally, I can't believe the attitude of some people who contact artists for records -- they got ripped off back in the day, frequently get ripped off again by the person contacting them, and then the person who did it is secretive about it, effectively burying the history of the artist and ripping them off again. If someone contacts an artist, the least they could do is do an interview and write an article or even put up a webpage. Often collectors boast about finding people, without giving real info, boosting their ego and effectively ripping off the artist again of their legacy. At the least, even after someone contacts an artist and gets records from them, they could put a real reissue label in contact with the artist which could at least help really publicize their material as well as put real cash in their pocket. A few collectors who circulate original 45s for lots of cash does nothing for the original artist except to make their lack of success even more frustrating.

i doubt this is true, where is the british seller selling them? why would he want to wait until it was cheap? i believe the 100 story. anyways, I bought one at $900 when it just came out, I didn't know how many there really were but didn't want to gamble on losing it if there just were a few. if there's 100 it won't drop much lower and will go back up quickly. if there's more it will be the next clara hardy.

Hi. I'm looking for a copy of the debonairs on orr and the lintons on lock. Thanks.

There was a realistics that only cut 45s on UK labels (I think Epic records)? I think that's the group you're talking about. There was also the (ohio) sensations that had their cut 'please baby please' rereleased as the realistics on delite (where it became a hit the second time around). There was also the loma group. All unconnected as far as I know. Thanks for listening.

Hi. Today on my radio show I did an interesting interview with the soul group the Realistics. The Realistics were from the west side of Gary, IN, and were classmates with the Passions and Denice Chandler at Tolleston high school. The Realistics formed in 1967 when all five original members started singing together in ROTC class. The group soon started winning Gary talent shows and playing local juke joints in Indiana. After graduation the group continued to sing and produce their own shows, touring the Indiana college circuit as well as opening up for larger groups (such as the Spinners) in Gary. In 1971 the group was discovered by Otis Leavill at a show; Otis took them to Brunswick records. The group eventually signed with the label in 1972. By the time the group signed to Brunswick, the Realistics had gone down to four members -- the bass singer left, leaving the group with a more 70s-styled, falsetto harmony. In 1973 the group released their first single, "You're my sweet chocolate drops" b/w "How can I forget you". The record had an excellent philly-inspired falsetto harmony sound, and it got local airplay in Chicago and Gary. In 1974, the group released their second single, "I think I'll cry out loud" b/w "You and me". Despite also being another nice 70s falsetto sound, the track did not receive significant airplay. The group also did some background session work, singing behind Robert Dobyne (of the Artistics) on his solo record "Spent a lot of years loving you" as well as backing local Chicago artist Jean Shy. Due to a lack of promotion at Brunswick (which was filled with many talented artists that did not get a chance), the group broke up in the mid-70s. Brunwick released a longer, version of "How can I forget you" in 1977 on a 12" disco single. You can check out the interview on my webpage: https://www.sittinginthepark.com/interviews.html thanks, Bob