Dean Rudland

Happy might not be the right word, but I'd certainly sleep easier. Perhaps you could post a list of your top items and I can see if Tony, Ady or I can get them out quickly, if not I can pass them on to Ian and he'll have a go. Best wishes to you Dean

Hello has anybody got a copy of the Prophet & His Disciples You Fool You Fool on Pressco that they can lend Ace / Kent for a forthcoming project? Cds etc for anyone who can help. Thanks Dean

They've been hammering the remix on Jazz FM for a few months now - it sounds great on there, I think due to the compression, but on a home system the squelchy sub-bass is a little intrusive. The radio edit - about 4 minutes is available for download from Montema Music https://motema.downloadcentric.net/Product?id=D06036E80GU7BNOA78RZH

Steve It came out as a 7 on Champaign, I have one here. Dean

The Spinners (the UK Folk Group) had their first record released on the independent Topic label in 1962, a year or two after 'That's What Girls', so no confusion there, just a standard UK release.

A bit harsh on Pete really. 'I Like It Like That' is great, and his Bezito Con Monzancha is fantastic pure Latin action (not boogaloo). Certainly many of the finest latin records are on LP. Soul fans should check out 'Dance Dance Dance' by the Lebron Brothers on Cotique. It's astounding!

But Bob this is nonsense based on the musicians of the world's constant gripes about record companies, which seems to ignore my point about how many of them do get paid. It also ignores the fact that many of the records we love were funded by independent record company owners who put their life and soul into recording music and could do with a bit of income in their retirement. Sure many musicians don't earn back their advances, but they were still paid those advances and then if the record didn't sell they didn't pay back the loss making part of the deal. On top of that I have lost count of the number of artists who have completely forgotten about royalty cheques they have received down the years, but when you look in the books they certainly cashed them. Or artist who have simply not told the record company where they are, because they believed they would never get paid again. Yes sure there are label's that don't pay, but in recent years a vast number of musicians do earn royalties from label's like Ace and Fantasy, and yes even majors. Comp I put together helped David Axelrod earn a vast deficit back from EMI and burst into credit, whilst his publisher tried to hide chunks of his income from a massive sample or two. Yes the music industry can be an evil place, but giving recorded rights to the out of copyright merchants never helped any artist, whilst legitimate in copyright reissues have. The extension of the copyright term will keep these viable and earning artists money. As for the goodness of publishing companies, they are mainly owned by the major labels, and their morals are no worse or no better than record labels.

Bob Record labels I've ever worked for pay their artists royalties, and at Ace we continue to pay after the 50 year date, because we feel we have a contract that ties us to paying royalties. Meanwhile out of copyright labels pay the royalty part of their earnings straight into their own bank account. I don't think it takes a rocket scientist to see which version of events is better for the artist. Secondly most of the time the song is owned by a publishing company not the songwriter. But those companies have rights that extend to 70 years after death.

The relevant word is thought. No one knew about the French release until about 5 or 6 years ago. It is that rare a records

The BGP seven was at the time thought to be the first 7 inch issue, I think the French Stateside release only became known about afterwards. It was limited to a 1000 copies and they all sold out. D

Yes, both are Louisiana releases. JJ was a local DJ The Ace computer gives the date as 1971, not sure how accurate this is.

That was Joe's own comp. Distributed in Peurto Rico and maybe New York and Miami, not much further than that though! I'd like to think that if it was any good I'd have spotted it, but I'm not sure that is true, so I'll dig it out this evening.

Chevere's a great latin instrumental, with a touch of funkiness. Can't remember the B-side, but it's not the same a the PS 64 Schoolyard single of the same(ish) name.

Christ Ian. I didn't realise Demon were there as well? Terrible business. D

As John says it's a question of cash flow, and also whether the distributor survives until the insurance pays up. Also the insurance will only cough up the cost of manufacture, not for the loss of business - maybe 60 0r 70 pence a unit.

Not much soul, but a large percentage of the stock for the Reggae label Roots that Eddie Piller and I run together, has melted down and is now lost. Running an indie record label is often a thankless task - I laughed at Ken's comments on another thread describing Ed as a millionaire record company owner - and this has made it harder, probably not just for those effected but the whole of the UK industry. Also I'd suggest not getting on a plane with Ed at the moment, his luck seems shot!

This 45 was released in 1975 to cash in on the success that Bataan was having on Mericano / Salsoul, with the Bottle and his later version of Ordinary Guy. I think it is probably a very hard single to turn up. The version of 'Ordinary Guy' on this 45 is the version from 'Singing Some Soul' not one of the other versions he recorded at Fania. On 'I'm No Stranger' he was covering the Seven Souls as a copy of the single was in the LP's project bag at Fania.

Thanks for those extra numbers. That just leaves these 424, 425, 429, 434, 441, 442, 450, 489, 493, 498, 541, 554 And if anyone wants the discography, drop me a PM and I'll email it to you.

Was definitely on the Johnny Harris, not sure about the Averne. If you get that MP3 could you send me it please. I'd forgotten about those radio shows!

Thanks.

I don't think it's that rare, but I can't find my copy, to see if the A-side is on both sides of the promo, which would mean that the issue with 'Magic Rose' - it was the B-side probably would be hard to find. Bataan has a couple of the toughest to find on Fania though. His version of 'Symphony Sid' is tough on gold, and his final single for the label 'latin soul square dance' was never released. I've also never seen many copies of the 1975 release of 'I'm No Stranger' 45 which was released on the back of the success of his Salsoul releases.

Just in case anyone has them, the missing numbers in the early Fania discog are 424, 425, 429, 431, 434, 435, 437, 438, 439, 441, 442, 450, 489, 493, 498, 541, 554

I'm pretty sure I've seen copies of both of those recently. I think the truth is that most Fania 45s were pressed for Juke Boxes and radio - the latin market was much more an album thing - and that apart from something like 'Soul Drummers' most were pressed in pretty similar numbers. So none are actually that much rarer than the others. Some have just been searched out more Of the early stuff there are something like 15 unknown titles in the first 100 or so releases, but as the paperwork for the 45s doesn't exist for most of this time, it is quite possible that the numbering sequence was eratic and numbers were missed. Certainly the number of albums that Fania released in the first couple of years - through to 67 was tiny, and probably wouldn't justify the number of releases that are missing. Later on the missing numbers may again relate to lax cataloguing, and in any case if they do exist are likely to be tracks lifted from albums. Paradoxically the easiest of the expensive Fania's is probably Harvey Averne's 'Never Learned To Dance' on their Uptite subsidiary, as Harvey sold a 100 or so about ten years back.

Not that hard I don't think.

I'm sure it has been discussed on here before. Definitely very hard - rarely turns up, and a great great record. Not sure that it's the rarest - may be the hardest to get that anyone on here would want though!