Amsterdam Russ

Holiday - was this not the theme tune to a TV documentary - something like "If it's Tuesday, it must be Belgium"? Come to think of it, I remember being told that The Kid was used as the theme tune to a well-known programme over here in the Netherlands. Looking online, apparently it was used by a DJ called Lex Harding on a Dutch pirate radio ship called Veronica. It also seems that somewhere down the line the titles got mixed up and what is labelled as Holiday is in reality the track called The Kid - and vice versa. This might explain the confused relabelling of A and B sides on later issues - except that they were still wrong!

A couple of recent additions. The Ramblers acetate isn't a soul track - it's an R&B number from 1956 that was recorded for Federal but never got released until it was put on a CD compilation not so long ago. I include it here though as a few years later The Ramblers evolved into The Falcons.

You're right, there isn't one. There are two!

Bemused? Let's see. One of them was a black American artist who had chart success in the soul genre during the 60s whilst the other is... No wonder people are bemused. Out of interest, how did you try to explain it to your work colleagues?

Funny this should crop up. Had some friends round at the weekend and we were have a good old time of it, as you do, swapping stories about or respective 'good old days'. One of our friends (an Italian with connections to the Italian and European Mod scene) was telling us that there is a growing desire among sections of the Italian Mod scene (and possibly among other European contingents) to move away from the label, cult and associated paraphernalia of Northern Soul. Soul music from the 60s in particular should be labelled as such, they believe, and not given the name tag of a regional and obscure youth cult from 70s Great Britain. 60s Soul should have it's own identity and be appreciated and understood in the context of 1960s America, not the perspective of the UK. Fans of the music should be saying - "that's a great 60s soul 45" - and not - "that's a great Northern Soul 45". After all, there is no such music as Northern Soul, only a cult that sprang up through an appreciation of 60s soul music. Possibly there is a stronger trend to disassociate from Northern Soul and all its historical trappings than may be realised.

Maybe I'm having a senior moment, but didn't this flyer make an appearance on here not that long ago, Ken? Or am I just dreaming it? I'm sure I remember as I was very surprised to see this, particularly as that's me in it. Instantly recognisable in the background is Ion because of his 'knees-bent/lean-back' dance style.

In certain circumstances emails can indeed be considered as binding contracts as a case at the Court of Appeal in 2010 confirms. Here's a link to more info on the case... https://www.clarkslegal.com/Article/892/Binding+contracts+created+by+email

I anticipate that "Jerry Nassis" is a pseudonym. An hour on Google following a hunch about the religious background (you suggested Mormon) of the individual showed me that the name - and derivative spellings of it - typically links to families with strong connections to the church. Those derivatives may use a 'G' in place of the "J" (Gerry or Jerry, for example, or even Jay), whilst the surname can be spelled in any variation (Nessis/Nassis/Nesis) that still allows it to connect with the initial of the forename vocally and be spoken as a single word. That word is Genesis. Interestingly, the Old Testament book of Genesis appears to be anathema to Mormons. To make the possibilities more interesting however, there is an influential Afro-American Mormon movement called the "Genesis Group". This was founded in 1971, which times perfectly with the apogee of your mystery soul man. Perhaps - and this is pure speculation - your rogue Afro-American Mormon knew his stuff and was expressing his religious rebelliousness through his chosen name. Of course, and more probably, he could just have been an ordinary guy...

Excellent reading. Thanks for posting the link. Listening to the before and after sound files, I'm really impressed by the massive reduction in noise obtained by using the glue method. Gonna have to give it a go.

I love it when you decide to do a bit of digging online into the names that appear on labels. It's something that I suspect we all do in some way, but certainly have to admit I don't do it enough. It's rare when a bit of time spent online doesn't turn up at least one or two snippets of information that you never knew about a singer or group, the label itself, or those involved in the production of a specific song. A case in point is a 45 I picked up recently - Cajun Hart - Got to find a way. I'm sure countless folks before me have been curious about the singer and, although I couldn't find out anything about the identity of 'Mr Hart' (does anyone know?), I was quite impressed by the credentials of the other names appearing on the label. Although the UK demo doesn't give the same info, the US release - and I've nabbed a scan from Popsike for the purposes of illustration - provides names for arranger, producer and songwriter, which are Sid Feller, Lee Magid, and Doug Goodwin. If you know all about the careers of these three then please, click away now. I thought it fascinating, and it was all certainly new information to me. Sid Feller died in 2006 at the age of 89. During his career as both producer and arranger, he had a lengthy and very successful partnership with Ray Charles. He was also in-house arranger for Capital and ABC Records and worked with household names such as Jack Teagarden, Peggy Lee, Mel Torme, Dean Martin and Nancy Wilson. The producer, Lee Magid, was an industry stalwart who knew the music industry inside out and back to front courtesy of his experience gained from having reputedly worked in just about every role possible. In 1945, he took a job with National Records and apparently championed the featuring of 'black' acts on 'white' radio. In 1947, he moved to Savoy Records and helped develop the careers of an impressive number of acts that included Johnny Otis and Little Esther (Phillips). At Savoy he worked with a young sound engineer by the name of Tom Dowd. Big Joe Turner, T-Bone Walker, OC Smith and Marlena Shaw were others who received the useful support of Magid who also became manager of artists including Lou Rawls, Earl Grant and Sam Fletcher. The writing credits of 'Got to find a way' go to Doug Goodwin. The first thing you find out when looking him up online is that he was the composer of the theme to the Pink Panther Show. This, by the way, was done in the same year that "Got to find a way" was released. Don't get mixed up with the Henry Mancini tune that accompanies the Pink Panther films, it's the theme to the TV series Goodwin was responsible for. How could you forget these lyrics..? Think of all the animals you ever heard about Like rhinoceroses and tigers, cats and mink There are lots of funny animals in all this world But have you ever seen a panther that is pink? Think! A panther that is positively pink! Classic! As well as this piece of musical genius, Goodwin was responsible for the scores of many cartoons. For example - Bugs Bunny's Looney Christmas Tales; Bugs Bunny's Christmas Carol; Hey there, it's Yogi Bear; The Ant and the Aardvark, and The man called Flintstone (a feature length Flintstone animation from 1966). The list goes on and on… So there you have it - Cajun Hart and the Pink Panther Connection! Do forgive me if this has all been documented before or is common knowledge! Even if it is, the next time I play it at home or hear it out, I'll be hard pressed to not think about a panther that is positively pink or even The Flintstones!

Thelma Houston - uncredited Warner Bros 45 demo acetate for unreleased, LP only track (??)

So, how's your collection of cylinders & 78s coming along?

My point Pete, is that in these modern times dodgy 45s are not the only means through which songs that one might otherwise not be able to afford or find can be obtained. How many tracks have you got on your harddrive, for example? And what percentage of those came from the internet for 'free'? That's not a personal pop at you, Pete. Why restrict the discussion to illegal pressings of 7" discs when music is available illegally in so many other formats nowadays? Digital bootlegging is more prevalent than record bootlegging, that's for sure. Hands up if you've never downloaded a song or CD from the internet for 'free'! What's the difference then between an illegally pressed 45 and an illegal posted mp3?

Why buy bootlegs when you can strip an mp3 out of a YouTube video for free..?

Buddy Ace - Screaming Please - France

Roy Redmond - Japanese JJ Jackson - Japanese

Chicago R&B/blues recorded in 1960. Perhaps not the best forum to be asking, but has anyone got a copy for sale? If so, please let me know by PM. Thanks...

Love it. What an absolute belter - of a tune!

Ray Charles - New Zealand Earl Grant - Italy Barry 'Barefoot' Beefus - France (Still looking for a replacement copy of this!) Linda Jones - Portugal The Olympics - France

Jerry Ragovoy and Loma Records go hand in hand. He first appears on the label through his production of Good Lovin' by The Olympics (Loma 2013 - March 1965). His last credit for Loma is published in August of 1968 with the label's second-to-last release - JJ Jackson - Courage ain't strength (Loma 2104). Here's a selection of scans representing his work with Loma Records...