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The label was black with silver lettering throughout it’s lifespan, with a small change in logo being the only alteration circa 1964. White demos returned in 1968 and probably stopped in 1972. Many Mercury singles post 1967 were made without centres. Fats Domino had several singles released on HMV in the early 60’s, with 1964’s If You Don’t Know What Love Is becoming a popular Northern spin in the mid-90’s, even though it’s more rock & roll than soul. The Marvellos cut several quality dancers for ABC Paramount in the States but HMV only licensed the almost doo-wop sounding I Do for UK release. The there was Ray Whitley who wrote and recorded the original version of I’ve Been Hurt as well as several items alongside or for Billy Joe Royal and Joe South.
Somewhere in the cobwebs of my mind I recall seeing a red and white demo on Oriole but this must have been very late in the labels’ life. 239 Twiggy – Beautiful Dreams – Recorded at the real peak of her popularity, this, the first of her two Ember singles, was released in January 1967 in a very attractive picture sleeve. And would you believe it, it’s actually a very good record, prime cover-up material.
Another blue-eyed effort which would surely be classed as ‘pop’ on the other side of the Atlantic, but it’s pounding beat made it a winner with the soul folk in the mid-70’s. A top 10 smash in the USA in 1969, but another poor seller in the UK. The band cut at least three other good Northern dancers including a version of The Drifters’ Baby What I Mean. For instance, how about Benice Swanson, a 16 year old singer/actress https://xcritical.com/ from London who was discovered by none other than Leonard Chess (the labels co-founder) himself on a visit to London. Benice cut a fine single entitled Lying Awake which vanished without trace in 1965, and presumably went back to the world of showbiz from whence she came without ever recording again. Shame, because Lying Awake is a fairly authentic soul-sound which most people believed to originate from the USA.
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Wilson Pickett’s Let Me Be Your Boy was an early recording for Correc-Tone which got itself a release in 1965 to cash in on Pickett’s Atlantic success. Somewhat surprisingly, this record went very big in the mid-80’s and heralded a wave of early 60’s black pop records which now seem to have been accepted as part of the scene in the same way that the beat ballads have. The label mis-spells the source as Correo-tone. Chris Savory recalls an interesting anecdote in Record Collector 33 concerning a visit paid to David Kassner by himself and Clive Richardson, who had taken a liking to a single on US Veejay by Little Wayne Anthony.
Besides it is also observed that Rug Pulls come in two forms which are known as hard and soft. 0 Posts asudha Das is a business journalist and a climate change and environmental enthusiast with a focus on economy, financial markets, and green measures taken globally. Before joining Kalkine, Basudha worked with top Indian business magazines, newspapers… According to the official Litepaper of the STEPN project, GMT allots close to 30% of total tokens to the users. In comparison, 30% of the ecosystem fund is being utilised for various community development programmes and giveaways.
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Bond yields have gone down lately because of news involving Russia and Ukraine. Although, since its creation, the Sandbox has had about a 35,000% increase in price. According to Coinmarketcap, if you had found this project early enough you could have turned your $100 into $35,000. Owen Gray was a veteran Jamaican singer who cut a cover of The Anglos’ Incense for Island. The Anglos themselves were a studio project fronted by Stevie Winwood. Island was the home of the third release of their version of Incense , it having previously seen the light of day on the tiny Island offshoot Brit from where it was picked up by Fontana.
The legend that is Atlantic Records was founded in New York in 1947, and immediately went out on a limb by specialising in discs aimed at the black R & B market as opposed to the white pop market. It hit the R & B charts in a big way in the early 50’s with the likes of The Chords, Laverne Baker, Ray Charles, Ruth Brown and The Drifters. It’s roster of artists was probably the most eclectic collection anywhere, and it may have been this diversity that finally sent the label back to whence it came. The label is now much sought after for it’s album releases, many of which easily reach three figures due to extremely poor sales on original issue. Surprisingly, inbetween the psychedelia, whimsy, white blues, music hall and Martins Magic Sounds, there are a few decent soul cuts to look out for, of which more in a moment.
It stands up quite well today as a nice pop-soul floater. In 1964, Atlantic set up it’s own individual label, staying with Decca for manufacturing and distribution purposes. In May ’66, the label signed up with Polydor, with whom it stayed until 1972 when it became part of the Kinney (Warner Bros.) set up, hence the ‘K’ prefix on post-1972 releases. Direction was CBS’s soul label, set up in 1968 and running until around 1973, by which time releases had long since stopped and soul releases switched to the new Epic label. Several Direction singles were still on catalogue in 1975, Brooks & Jerry and The Spellbinders to name but two.
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The only single of note would appear to be Time Marches On by The Peels. The Peels had a novelty hit with Juanita Banana , but they do not appear on Time Marches On which is a semi-instrumental with a girl backing group who repeat the title over an incessant beat. As you may have guessed, it bears no resemblence to the Lainie Hill number of the same title. This music was used by one of the pirate radio stations in the mid-60’s and is quite collectable. A short-lived mid-70’s pop label which ran for a couple of years without acheiving any major success. Information is scarce but going by the style of the demo it was probably manufactured by EMI.
- By the way, early Brunswick singles from the 50’s with gold lettering are highly collectable and include some of the rarest 7″ ever issued in the UK (e.g. Bobby Charles ‘See You Later Alligator’).
- This is, believe it or not, a cover version of Eddie Regan’s Playin’ Hide And Seek, released here as a flip side by a none too clever vocalist.
- Its Telegram group has over 19,000 members, which is creating a buzz ahead of release.
- This intriguingly monickered label saw it’s first releases come out in the UK on ernational before establishing its own imprint, primarily as an outlet for releases by the labels’ biggest stars, The Lovin’ Spoonful.
One of Northern Soul’s all time heroes, the Major never really made a bad record in the 60’s and all of his Columbia releases should be bought without hesitation. The Matador is my personal favourite if only for the mock Spanish horn riffs, but really, with a back catalogue like this guy’s you’re spoilt for choice; Monkey Time, Investigate, Um Um Um Um Um Um, Ain’t No Soul – take your pick. 7868 Barry St. John – Everything I Touch Turns To Tears. By far and away the best treatment of this Udell-Geld number (other versions include efforts by Brian Poole and Cilla Black!), though the heavy handed production by Mickie Most does it’s best to distort the sound.
I once had this in my collection and recall that the label was split horizontally, one half blue, the other orange. Nigeria’s President-elect proposes crypto-friendly regulations to stimulate economic growth. Celebrating our thanniversary promoting credible and independent news. Proudly celebrating our thanniversary promoting the public’s access to credible, independent news and sport. Any scammer or fraudster can code a token to restrict the selling ability of certain investors and not others.
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A Simon Soussan produced vocal version of Bok To Back, entitled Dance Of Love and credited to Suzy Parker appeared on the Port label in 1977, having been originally spun from Emidisc in 1975. Apart from Barbara, there’s only really The Newbeats who give us anything to search for on Hickory. After a couple of hit singles, their falsetto styling paled and they released several non-hits which were picked up by the Northern scene. Crying My Heart out is the best-known, and this achieved monster status at Wigan in 1977. The Newbeats lead singer Larry Henley released a little known solo single entitled Sticking Up For My Baby, and this is currently quite in-demand on UK Hickory.
An unreleased publishers acetate version of this turned up a few years ago credited to The Ambers. This was their last single and is a surpisingly powerful version of The Impressions classic with a thunderous drum and keyboards rhythm. Nice midtempo item with a breathy vocal by a 21 year old former actress from Kensington. A breezy pop stomper which sounds a lot like The Uniques – Not Too Long Ago in parts.
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Several projects have gained in the process, while many are still in the red. A lot of people are excited about how much money corporations and now the government are investing in this field, which can be seen by the popularity seesaw protocol token and price of metaverse investments. Another independent company called FIREPIN are also perusing this. It’s a well-known cryptocurrency in the metaverse, and the Sandbox has seen some crazy price changes lately.
Most of the black Atlantic’s are well known and you’ll come across many classic sounds. However, the Polydor Atlantic’s were under-promoted and many disappeared without trace. Some of the late 60’s red Atlantics are now being rediscovered and played as ‘crossover’ sounds, so there are probably still a few gems lurking around on those red labels. Much of the unsold stock ended up in Tesco bargain bins in the early 70’s, selling for 10p each. The two Ike & Tina Turner releases are highly recommended, Oh Baby being a thumping dancer and Everyday I Have To Cry being another Spector-ised version, this time of the Steve Alaimo standard. An Irish group who recorded for Columbia before arriving at decca and cutting three flop singles.
Someone must have liked it though, it was issued twice within 2 years. Classic dance number from the Old Town label and an in-demander since the days of the Twisted Wheel. The Gypsies later became resident in the UK where they were known as The Flirtations. With a tune built around a 150 year old piece of classical music, this powerhouse pop-stomper is one of several great cuts by a very good girl group and features a Wall Of Sound type production by Billy Sherrill. Candy & The Kisses were a New York trio comprising sisters Candy & Suzanne Nelson, plus schoolmate Jeanette Johnson. Crypto rug pulls have become a common way for fraudsters to launder millions of dollars.
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The problem is that the rest of it is lost – not lost actually, I threw it all away when we moved house, it was on those little floppy discs we used to have on our pc’s and I had no way of reading it anyway. I’d be happy to put all this stuff up somewhere like a wikipedia thing and people could add whatever they wante to it. Like I say, it was a long time ago, the mid 90’s, there were still tons of records to be discovered and who’d have thought things like “The Hoop” would go from £8 to £80 in that time.
The 70’s releases by Chubby Checker, Bunny Sigler, Bobby Paris, Yvonne Baker etc were credited to ABKCO Records. These are in fact all Cameo/Parkway recordings, the masters of which are owned by and leased from Alan B. Klein Co. Alex Harvey was a Scottish screamer with a great live act, his ‘soul’ band cut a fair cover of Edwin Starr’s Agent 00 Soul which is very collectable.
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This intriguingly monickered label saw it’s first releases come out in the UK on ernational before establishing its own imprint, primarily as an outlet for releases by the labels’ biggest stars, The Lovin’ Spoonful. Kama Sutra only has a handful of releases to interest the soul collector, but one of those is surely one of the most collectable records ever released – or unreleased – in the UK. Issues are mint green on a white background with a white logo at the top. Demos are white with green A and black lettering. 312 Mr. Flood’s Party – Compared To What – A popular Torch spin which was forgotten and then revived at Wigan and reissued on another President subsidiary, Bulldog, in 1975. This is a funky, organ and brass led dancer with very ‘right-on’ lyrics, and was at one point covered by Ray Charles.
One that absolutely everyone knows and which made no.12 in the charts in July ’65. The label was yellow with a distinctive ‘arrow’ logo and black lettering. Demos are very similar but have a small black A on the centre of the label and often, but not always, the release date above the title. 12041 Steve Aldo & The Challengers – Can I Get A Witness.