Dean Rudland

K Collective John. K-Creative a totally different band from a couple of years later

Talking to various people down the years who were on the US soul scene in the 50s and 60s there is little doubt as to who was the greatest dancer. Virtually everyone I have talked to pauses and makes it quite clear that there was no one to compete with Jackie Wilson as a performer. Bill Curtis from the Fatback Band drummed on a lot of package tours and was in the Apollo house band says it, and Latin producer Bobby Marin who grew up in East Harlem and spent a large part of his formative years hanging around the Apollo told me this when we were discussing great live acts 'James Brown? I saw him so often I got bored of him, but Jackie Wilson, I could watch forever'....

Yes, we were always very good boys at OST.

It came out as a single sided 45 on OST Recordings. Must have been around 1999/ 2000. Dean

I'll do a scan on Thursday when I'm in the office, unless the other BM owner posts up before hand. Dean

Is Barbara Mills issue really super-rare, what's the story? And is it still sought after. I picked one up in a car boot sale about 15 years ago, so vested interest interest here from me.

On another thread about this record I posted up the pressing figures for promos and issues. I seem to remember it was considerably less than the standard pressing numbers at Fania - I think maybe 300 promos and 1000 issues - as opposed to 1000 promos and 3000 issues for 'Central Park' that was also from the same album.

The London two - step/ rare groove scene in the late 80s had many a boot. Terry Callier's I Don't Want To See Myself was booted just weeks before the Acid Jazz reissue. Almost scuppering the release, and with it the general rediscovery of Mr Callier himself.

The London two - step/ rare groove scene in the late 80s had many a boot. Terry Callier's I Don't Want To See Myself was booted just weeks before the Acid Jazz reissue. Almost scuppering the release, and with it the general rediscovery of Mr Callier himself.

They are exactly the same version. Recorded in 1968 and produced, despite what the label says by Charles Chalmers. The first release from late 71/ early 72 was on XL, but the mastering You Don't Love Me is really poor on that one, especially over a loud system. The SOM release from 72 sounds fabulous. As Gareth says the B-side is astounding and sounds great on both pressings Both are available here, along with another 18 great tunes https://www.amazon.co.uk/Cant-Find-Happines...1851&sr=1-1

So in the case of the Angolan 45 it is the singer that is a South African import! Love to hear that by the way. And totally with you on the Jimi

Yes and as I mentioned above 2000 copies at least were pressed of it. This though is quite a small amount for Fania for an album that sold like Acid did, the initial press for a 45 would usually be 5000.

67 actually T. Again for one of the Roulette labels, and again pressed for Puerto Rico. Dean

Mark the Fania files say that 500 promos were made, and an initial press of Gold label issues was 2000. In those same files I came across the interesting bit of knowledge that one of the backing vocalists on the LP was Ray Pollard, which I didn't know. The lead vocalist was Pete Bonet whose wonderful 'Puerto Rican Soul' LP on Swinger is worth searching out. Dean

Just gone into the files at Fania and the Uptite release is the original. It was approved in April 1970 with an initial order of 2000 promos and 2000s issues. The Fania release was approved in May 1971 with an IO of 600 promos and 3000 issues. So the Uptite release is very much the original issue For information on Uptite and a good dose of soul Nuyorican music I'd suggest checking out the following https://www.acerecords.co.uk/content.php?pa...mp;release=7881 Dean

My copy - original bought from the haul that Marc Lessner was selling in 1991 - doesn't have the Roulette sticker. I don't think any of that lot did. Just spinning 'Don't You Care' as I type this. Probably one of my top ten favourite DJing tunes of all time, and a massive record on the Acid Jazz scene in the early to mid 90s. Anyone who likes this should try out the Ellerine Harding LP on Mainstream from around the same period.

Bizarely enough, whilst for years thinking that Scorpio releases were total bootlegs, I know for a fact that a large number of their deals are 100% legal. Both Fantasy and Fania, for instance, definately license to them.

Without being too pedantic its a re-edit not a remix. It was one of Ashley's favourite tracks and that's why we had him do that edit for our OST Recordings label, about ten years ago. It's available on the compilation of the mixes that we did on EMI a few years back https://www.amazon.co.uk/Original-Block-Par...1939&sr=1-2 Dean

Just to add to this, most of the boogaloo stuff came about because the young New York Latino's were growing up in Spanish Harlem listening to mambos and the soul music out of Harlem itself. The Ray Pollard vocalised a lot of these things, Kenny Seymour from Little Anthony and the Imperials was the vocalist on the Harvey Averne sides and of course Tony Middleton sang on Spanish Maiden which came from Chuito and the Latin Uniques LP on Speed produced by my good friend Bobby Marin who spent so many hours at the apollo that when I mentioned James Brown, he said he got bored of seeing him there (though he also stated that he could never get tired of watching Jackie Wilson). This fantastic area of soul music will be focused on in an BGP / Ace comp called The Soul Of Spanish Harlem due out in January. US Fania have an amazing comp of Joe Bataan's soul sides for the label available. This includes tracks from his 'Singing Some Soul' LP, his original demo version of Gypsy Woman and his original take on Continental Square Dance called Latin Soul Square Dance which is earlier, better and only previously available on a very rare promo. https://www.amazon.com/Under-Streetlamps-An...3626&sr=1-1

Ed Piller was writing a book on Meaden, and had worked through a great chunk of the research. You can contact him via Acid Jazz Records.

Different Eddie Jefferson

Any chance of a soundclip?

Couldn't agree more, beautiful wonderful track.

The record was originally on Erect as a 12 inch only release. Acid Jazz reissued this in July 1990 using the same A and B side (Jazid 27T) as the original The Acid Jazz 7 inch had a specially commissioned edit of the A-side done from the original mix. There was no original album version, though I think one of Terry's Talkin' Loud albums had a re-recorded version of it. Dean

Fryers 45 was legally licensed from Demon Tony.