Dean Rudland
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Everything posted by Dean Rudland
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And also one of my absolutely favourite British soul covers, Garnet Mimm's 'Look Away'. Stevie's voice is just amazing on this.
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It was also a record that was in Roger Eagle's collection.
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I'm not sure what anyone here knows, as I stopped reading the earlier threads, which seemed to get very bitter. Though the continuity seemed quite good, although as I'm far too young to have been there, I could be mistaken
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I saw it in a screening room on Tuesday morning, as I'm working on an event that may be showing the film.
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Saw the film yesterday and really enjoyed it. It's at its heart a coming of age film, but with Northern soul as the backdrop.
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Haven't seen those. I guess the ones that were being discussed on the funk site were the ones that Rod's mentioning above. The funk board discussion stretches back a few years.
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There was talk that the large numbers that turned up in the early 90s represented a boot. The thing was that no one really proved it, I for one would love to see some evidence. The other great rumour on this record was when a funk collector decided that the drumming sounded as if it was James Black and therefore decided that it was an Eddie Bo production. Eddie was asked and agreed and suddenly this Johnny Otis owned Los Angeles record became an NO Eddie Bo production. So much so that Aaron Fuch's continues to bootleg it as an Eddie Bo production to this day. Odd!
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I'm with you on this. Over on the funk board no one ever came up with any proof that this was a boot.
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Unfortunately as I am at home I don't have access to the full track listing, but what we have coming out is a 22-24 track compilation of Spencer's recordings stretching from the final Goldwax sessions featuring 'Let's Talk It Over' , 'Love Attack' and three others, through his Fame sessions and on into his Sounds Of Memphis / XL sessions. A lot of this is previously unreleased. Of the tracks mentioned by John as recorded at Fame, all of those will be on the compilation, although 'This Time' and 'This Love Is Gonna Be True' turned out to be the same song. As Tony says the version of 'Make Me Yours' is cracking, and in any other week would be one we would all be frothing at the mouth about. Needless to say,we are all really excited about this, and pretty stoked by the positive response we are getting. Dean
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Brett in response to your earlier question about 45 releases of these tunes. I think it's a racing certainty that some of these will appear in the coming months. Dean
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Just to reiterate. The two tracks that Sean has been giving plenty of air to are from 'Stepping Stone: The XL/ Sounds of Memphis Story vol. 3' and is joined by tons of unreleased cuts including incredible moments by the Minits, Louis Williams, Otis Wheat and a couple more by messrs Bollinger and Walker. This will be out the last week of May. Steve's exclusive is from a Spencer Wiggins compilation of his post Goldwax recordings for Fame, Sounds Of Memphis and XL which i've been working on for a couple of years, but which needed Tony and Alec's trip to the South to find the music to go with the titles we knew existed. There are about 10 unreleased cuts and Spencer sounds amazing. This will be out in June. Anyone in the South who wants to hear any of these but can't make the 100 Club tonight - and I'd highly recommend Ady's 60s Fame exclusive - should head to the new free soul night at Concrete on Shoreditch High Street next Sunday the 25th, where alongside Ion T, Marco Santucci and David Hill I will be playing all of these and more including a unreleased Female crossover cut every bit as good as the Wiggins.
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Mike Vernon's label pressed 99 copies on a lot of his early stuff as less than a hundred copies meant he didn't have to pay sales tax.
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Absolutely. And if anyone wants to sell me a gold Fania copy for £40 I will happily pay the postage. I met Monguito in Miami a few years back and he was a lovely chap and was still in touch with Ronnie Marks and most of the rest of the band from that time. One of the great Fania mysteries of that time was what happened to the Ronnie Marks album which was announced in a press release at the time of his first single. absolutely no trace of it in the Fania vaults.
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Pretty good description by Ian there. Rouncey told me a story that John Abbey had told him whilst he was at Stateside that for every big seller that they had, they would add an obscure favourite to the release schedule, hence the UK release of things such as Eddie Jefferson's Goldwax single. Trevor Churchill one of the owners of Ace Records would know more than anyone as he worked at EMI for Bell in the late 60s and was responsible for the Cellar Of Soul compilations. He was also I think responsible for the three tier system of releases of Bell/ Amy material in the UK in the late 60s, where Bell would release the most viable records, then Action would get the next go and then finally Pama would get to chose stuff at the end of the day. I do think that Berry Gordy's story is liable to be untrue as Brian Epstein would have had no need to phone BG to secure the rights to use the Motown songs. This is a US way of operating and the records were released in the UK a year before they were in the US.
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Apart from the Brian Rae bit the rest of that is wrong. It's a 1969 recording and it first appeared on a Japanese CD.
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Sadly it has come to my attention that the great Memphis soul singer Barbara Brown passed away at the beginning of the month. When we released a CD of her material it became clear to me that her body of work was as good as anything to emerge from... Tap to view this Soul Source News/Article in full
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Sadly it has come to my attention that the great Memphis soul singer Barbara Brown passed away at the beginning of the month. When we released a CD of her material it became clear to me that her body of work was as good as anything to emerge from that city and I am very glad that she became aware of how fondly her music is now regarded. It was especially rewarding to send her the reviews of both her own CD and the "Take Me To The River" Southern Soul box set from the likes of Mojo and Uncut, which as well as praising her music was often accompanied by a big colour photo of the lady herself Below from ace records website Barbara came from a large family of ten girls and two boys, and the group initially made up of three of the sisters and one brother sang gospel. They were persuaded by produdcer Chips Moman, one of the studio geniuses who would put Memphis on the map, to record one of his secular songs 'Big Party' and released on Stax, it provided Barbara and the Browns with their only hit. Two more Stax singles followed before they were signed by Gene Lucchesi to his fledgling XL label, which had just hit the big time with Sam The Sham's international hit 'Wooly Bully'. At Lucchesi's label she recorded a series of sides produced by Charles Chalmers which were the very epitome of Memphis soul. Some of these saw release on Cadet, Tower and Atco and on XL itself whilst others remained in the can until 2007. After this she recorded two more sessions with Dan Greer for Gene's Sound's Of Memphis label in 1971 and 1972. These recordings reflected the changing sounds of the day but were equally brilliant. After 1972 it appears that Barbara never recorded again. We are pleased to say that the 2007 release of her recordings saw her recognised within her own lifetime as the southern soul great that she so surely was. link to the rest of article http://www.acerecord...hp?page_id=1723 link to the original forum thread -
Sadly it has come to my attention that the great Memphis soul singer Barbara Brown passed away at the beginning of the month. When we released a CD of her material it became clear to me that her body of work was as good as anything to emerge from that city and I am very glad that she became aware of how fondly her music is now regarded. It was especially rewarding to send her the reviews of both her own CD and the "Take Me To The River" Southern Soul box set from the likes of Mojo and Uncut, which as well as praising her music was often accompanied by a big colour photo of the lady herself. https://www.acerecords.co.uk/content.php?page_id=1723
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The Babs and the Browns is definitely the first recording of this track - Don Culver was a staff writer at XL Records in the mid sixties who recorded all of Barbara's post Stax Recordings. The recording dates are, I think, explained in the Kent Compilation of her work which I put together a couple of years ago and which if you haven't got is well worth getting your hands on. https://www.acerecords.co.uk/content.php?page_id=59&release=7480 Dean
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The Famous Flame release is a 90s bootleg and if I remember correctly has dodgy sound quality.
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That's right. Mainstream was started by Orin Keepknews - original owner of Riverside Records - and Dick Katz in 1966 primarily as a jazz label. It was sold to Fantasy in around 1971/ 72. This single was more than likely a one shot to help out a friend.
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Brilliant thread. Fascinating stuff. I remember Ian Levine crediting Tony Rounce with a lot of early discoveries, that he would then supply Levine with. This was when Tony was working at Record Corner in the late 60s/ early 70s. I think a lot of the early RCA discoveries were amongst the tunes.
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Lou Roberts was a white trucker looking guy from - I think - The Muscle Shoals area, where he was discovered by Stan Kessler. He recorded for the Memphis based XL / Sounds Of Memphis operation who leased his tracks to MGM. He recorded a whole LP in LA with arrangements by Gene Page produced by Dan Greer, but it was never released and the masters have gone missing. Two singles were released from the sessions, both sides of the first one are featured on these comps on Kent, https://www.acerecords.co.uk/content.php?page_id=59&release=7655 https://www.acerecords.co.uk/content.php?page_id=59&release=7822
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Tony Middleton - Return To Spanish Harlem, Jms Auction
Dean Rudland replied to Dean's topic in Look At Your Box
Dean I have never seen a promo copy of this or any Speed 45. 'Return ...' was a fairly big record for on both the mod and acid jazz scenes, and 'Satisfied' has been getting plays on the mod scene and in Europe in recent years. I comped it on the BGP Release from earlier this year 'The Soul Of Spanish Harlem' https://acerecords.co.uk/content.php?page_id=59&release=7881 Dean -
I think the most expensive is Billy Hawks Oh Baby which came out on French Stateside. This is a massive mod sound, and France is the only place it originally came out on 45. I think there are several people willing to pay close to four figures on this. However I'm pretty sure the only times copies have turned up in recent years is when dealers who haven't known what it is have sold it cheaply.
