Introducing James Clark

This entry is part 1 of 5 in the series Collectors Corner 1

Good evening fellow NUT’ster’s. James Clark is my name, or Freakbeat James to some. I’m hopefully going to take you on a bi-monthly trawl of the magic 7″ vinyl treasures released in the UK in the magical musical period of the late 50’s to the early 70’s. I’m a complete 7″ vinyl obsessive and hope to share some ramblings and pictures of my vinyl loves with you over the next few months. Some titles you’ll probably know, maybe some you won’t, but I promise it’ll be kept light hearted and informative. My ears prick up at anything from classic 50’s rock’n’roll, r’n’b and doo-wop, through classic 60’s soul and Motown and they’re especially receptive to noisy British beat and psych,both well known and famous. So join me as we have a light hearted trawl through some of the great music of the past including London American R’n’B, The Creation, 60’s Bowie, Sue singles, Motown on Stateside, The Action, LaVern Baker, collectable company sleeves,  Kaliedoscope, Decca freakbeat rarities, and much, much more. Oh, and being a hopeless vinyl junkie myself, I promise there’ll be lots of pictures too!

See you at the record deck.


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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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July 8, 2014 By : Category : Front Page Picks Tags:,
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A is for Action and Artwoods

This entry is part 2 of 5 in the series Collectors Corner 1

Hello all, and welcome to my occasional delve into the strange and wonderful world of UK record collecting. I’m hoping to dip into some of the many different types of music that’s not just rare, but great and sometimes incredibly collectable too. Although I will mostly keep to the humble 7″, still the most coveted of form for the 60’s record collector, I will occasionally cover some of the lovely EP’s and LP’s released on these shores from the mid ’50’s to the early 70’s. What better way to start our musical voyage with two of the best UK bands to come out of the beat and blues boom, The Action and The Artwoods.

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The vinyl career of The Action can be traced back to March 1964 when as The Boys, Reg, Alan, Mike and Roger backed Sandra Barry on the beat mover “Really gonna shake” (Decca F11851). The track sank without trace and is incredibly hard to find now, especially as a stock release and will set you back at least £120 for a nice copy. Strangely enough a Scopitone colour promo film of the band performing the track actually managed to survive and can be seen in all it’s fine glory on youtube.

The Boys next cropped up on Pye Records in November 1964 with the Reg King penned and Kenny Lynch produced “It ain’t fair” (Pye 7N15726). Somehow this cracking two sider managed to flop too leaving behind a £100-120 collectors piece although both demos and stock copies seem to both crop up evenly. With Pete now on board they decamped to Parlophone where with the production genius of George Martin behind them conspired to make five of the most wonderous singles of all time, and each one somehow managed to miss the top fifty. The first release came out in November 1965, both soul covers, “The land of one thousand dances” backed by “In my lonely room” (Parlophone R5354). February 1966 saw the band raiding two more soul standards, “I’ll keep holdin’ on” and “Hey sah-lo-ney” (R5410). The A side is one of the all time great Motown cover versions but once again sales were poor. July 1966 saw the release of the up-tempo “Baby you’ve got it” (R5474) with Reg’s vocals working overtime on their cover of the smooth Temptations USA hit “Since I lost my baby” on the B side. After this also missed the charts February 1967 saw a change of direction with a self penned double sider “Never ever” / “Twenty fourth hour” (R5572). Such a good track it even got a US release on Capitol, it was alas another chart miss.

The last UK 45 came in June 1967, the two sided genius of “Shadows and reflections” and “Something has hit me” (R5610). After this too missed the band recorded an (then) unreleased album which was finally released thirty years later as “Rolled gold”. All five Parlophone 45’s do appear quite regularly with the first three appearing most often, both as black label stock and demo copies, whilst “Never ever” seems to be the hardest to find. Expect to pay £60 plus for nice copies of all singles, and up to £100 for excellent condition ones, though mint copies of “I’ll keep holding on” have gone for up to £200 in the past. Edsel re-issued four Action 45’s in the early 1980’s which are an easy and cheap way to pick some cracking tunes. All come with lovely colour picture sleeves and a couple of non UK B sides on them too.

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The Artwoods, like The Action, seemed to release a string of brilliant singles throughout the 60’s without once ever achieving any of the kind of success they deserved. Featuring some stellar musicians in their line-up (including Jon Lord and Keef Hartley) The Art Wood combo changed their name in late 1964 and the first single, a cover of the Leadbelly song “Sweet Mary” was released on Decca (F12015) in October that year. This sold in poor quantities and is probably the hardest of the Decca singles to find.

March 1965 saw the release of “Oh my love” / “Big City” (F12091) which was also a poor seller. August 1965 saw the release of “Goodbye sisters” backed with the mod classic “She knows what to do” (F12206). The top side should have been a hit and actually sold in quite good quantities, as did the next release, and probably the easiest Artwoods single to find, “I take what I want” / “I’m Looking For A Saxophonist Doubling French Horn Wearing Size 37 Boots” (F12384). The last Decca 45 came in August 1966 which coupled the fuzz filled cracker “I feel good” coupled with “Molly Anderson’s cookery book” on the flip side (F12465). Decca 45’s appear in demo and stock form in equal measures so prices should be the same on both, usually hitting between £50 and £100 each at auction, though occasionally mint copies can fetch more. Much more wallet emptying are two Decca releases that have collectors drooling when they do occasionally turn up. In April 1966 Decca released an EP “Jazz in jeans” which sold in such miniscule quantities it seldom appears and when a mint copy does it usually goes for well over £400. Decca astonishingly even afforded the band an album in the same year called “Art Gallery” (LK4830) which came in an iconic full colour band shot cover and should easily set you back over £500 in top condition. Luckily it was re-issued in Decca Eclipse in the early 70’s which is a much less wallet busting way of owning this classic album. A couple of great foreign releases worth looking out for are the Turkish only 45s of album highlights “Keep lookin'” and “Down in the valley” which are both incredibly hard to find in decent condition, especially with their original Turkish Decca company sleeves.

After Decca and the ‘woods parted company in late ’66 they soon re-appeared on Parlophone with a harder edged sound. April 1967 saw the release of “What shall I do” and it’s breakneck B side “In the deep end”. Stupidly rare, this is the hardest single of theirs to find, especially as a black label issue, and prices usually settle around the £150-200 for nice copies. Before the band went their seperate ways with varying degrees of success there was time for one last shot at the big time. Trying to cash in on the Bonnie & Clyde craze of 1967 and changing their name to St Valentine’s Day Massacre they released “Brother can you spare a dime” / “Al’s party” on Fontana in November 1967 (TF 883). Even a beautiful picture sleeve couldn’t tempt the public to part with their cash and this too spent years in bargain bins and obscurity until years later when it became a £100+ rarity.

Even though both bands couldn’t muster up one hit between them a full set of both artists original releases is truly a sight to behold and a full time hobby finding… happy hunting!

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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September 18, 2014 By : Category : Bands Front Page Music News Reviews Tags:, , , , , ,
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Motown Shop Around

This entry is part 3 of 5 in the series Collectors Corner 1

Collectable early UK Tamla Motown singles

Along with Rock’n’Roll, The Beatles, Stones and Dylan, it’s probably fair to say soul has been one of the most collectable forms of music since the first record collectors started scouring junk shops looking for deleted obscure 45’s back in the late 1960’s. With it’s massive UK fanbase, Tamla Motown soon became one of the most popular labels to collect and there are plenty of choice UK rarities to empty your wallet with. The first release came out on the most celebrated of UK labels, London American, which was set up by Decca Records to release the latest sounds from the USA it held the rights to release.

In the mid 50’s the explosion of great R’N’B tracks released in the USA and the fact Decca had the rights to release music from Specialty, Atlantic and Chess meant we were treated to all manner of classic American music in the UK. And so in May 1959 the Marv Johnson US Tamla single “Come to me” was released on London HLT 8856, this was followed in November the same year with the piano led instrumental “The Hunch” by Paul Gayten (London HLM 8998) which had been released in the US on Anna records the previous month. Neither sold particularly well but do appear for sale occasionally, neither should cost more than £80 in top condition.

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In March 1960 London took up the option to release Barrett Strong’s classic single “Money (That’s what I want)” (London HLU 9088) which was at the time moving up the US hot 100 on it’s way to a #23 chart placing. Unfortunately the same thing never happened in Britain and the single flopped making it the most expensive London single to locate, a mint copy usually selling for around £100-£120. Britain had to wait another eleven months before the next UK release, but what a release it was.

The Miracles had just had Motown’s first million selling 45 in the USA , “Shop around”, and the track was released over here on London on HL 9276. Although it wasn’t a chart hit sales were respectable which is probably what tempted London into releasing a follow-up “Ain’t it baby” in September 1961 (London HL 9366) and even an EP release the following month “Shop Around” (London RE 1295). The EP is by far the hardest of the London releases and when it does appear is usually guaranteed to fetch way over £100.

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After six releases and no UK hits, Decca gave up and the releasing rights for Tamla and Motown moved to Philips subsiduary Fontana. A real mixed bag of a label, early releases ranged from Aretha Franklin and James Brown tracks to Cleo Laine and Sooty & Sweep! And so in November 1961 The Marvelettes debut US single and Hot 100 #1 smash “Please Mr Postman” was released on Fontana H 355 in Britain. Although not a hit over here it had steady sales prompting Fontana to release three singles from the label in quick succession early the following year.

The first release was from The Miracles “What’s so good about goodbye” (H 384), The Marvelettes “Twisting Postman” (H 386), and Eddie Holland “Jamie” (H 387). Not one of these singles bothered the UK charts and the Miracles and Eddie Holland singles are now prized rarities for the collector, the former usually selling for around £100 and the Holland 45 easily doubling that in perfect condition.

Around the same time (August 1961) a Motown anomily gained a UK release, The Spinners US Tri-Phi release “That’s what girls are made for” which was a Fuqua / Gordy composition sneaked out on Columbia records in the UK (DB 4693). Some discographies list this single and some don’t as it isn’t an official Motown release but we’ll go with the former as it is a £100+ rarity!

The fact that Fontana’s Motown releases were not selling as well as their Johnny Mathis releases was the probable reason the label was on the move again in autumn 1962 to the upcoming independent Oriole label.

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Originally set up in the mid 1920’s in Whitechapel, London, Oriole had begun to have regular chart hits in the late 50s and early 60’s with artists such as Chas McDevitt, Russ Hamilton and Maureen Evans all reaching high positions in the UK. Head of A&R at the company at the time, John Schroeder brought Berry Gordy over to London to sign a twelve month distribution deal and In September 1962 the company launched their “Oriole American” series with three singles leased from the Tamla-Motown stable.

Mary Wells “You beat me to the punch” (CBA 1762) was swiftly followed by The Contours “Do you love me” (CBA 1973) and The Marvelettes “Beechwood 4-5789” (CBA 1764). All three were steady sellers, unlike the next release in December 1962. Mike & The Modifiers “I got myself a brand new baby” (CBA 1775) must have got lost in the Christmas rush as it sold pitiful amounts hence it’s rarity today. This along with the other ultra rare Oriole / Motown release “I found a girl” by The Valadiers which was released in March 1963 (CBA 1809) have both sold for up to £1000 each and are jewels in any UK Tamla Motown collection.

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Oriole released a total of nineteen singles in just under a year, including UK debut discs from Marvin Gaye, Martha and the Vandellas and Little Stevie Wonder. Most can be found at a reasonable price apart from the Eddie Holland “If it’s love (It’s alright)” (CBA 1808), The Marvelettes “Locking up my heart” (CBA 1817) and Martha & The Vandellas “I’ll have to let him go” (CBA 1814) 45’s which are all £200+ rarities.

Just as Oriole looked on the cusp of a UK chart hit with Little Stevie Wonder’s “Fingertips” (CBA 1853) which was released in August 1963 the US label was snapped up by the giant EMI group of companies and after one final release from The Miracles “Mickeys’ monkey” (CBA 1863) in September Tamla-Motown found itself being released on the legendary Stateside label in Britain. But that’s another story altogether…

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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November 10, 2014 By : Category : Front Page Music Picks Reviews Tags:, ,
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Fontana nuggets Part 1

This entry is part 4 of 5 in the series Collectors Corner 1

The magical worlds of The Misunderstood and Kaleidoscope

Whilst it’s fair to say that most of the prime British collectible 45’s from the golden age would have been released on either the Decca or EMI group of labels, the Philips group wouldn’t have been far behind in the label pecking order. The Philips group itself was founded in the late 19th century in Holland originally specialising in X-Rays, Television, Radios and electric shavers! The record label itself was founded in Europe in 1950, and finally launched in Britain in 1953. Early Philips releases for Johnnie Ray, Doris Day, Winifred Atwell and Frankie Laine resulted in massive number one hits and the label soon flourished into a major player in the UK by the late 50’s. In January 1958 French label Fontana (part owned by Philips) was launched in Britain with Jimmy Jaques  “Come walking” (Fontana H100) its first release. Early records were usually pressed on 78 rpm only with an eclectic mixture of UK singers (Matt Monro), US easy listening (Johnny Mathis) and sublime R’n’B, including Screamin’ Jay Hawkins sole UK 1950’s release “I put a spell on you” (TF107). Between the late 50’s and 1963 Fontana pressed some amazing 45’s, resulting in some great rarities including Tamla Motown productions, UK jazz from Tubby Hayes, doo-wop from Little Joe and the Thrillers and early recordings from James Brown and Aretha Franklin. In 1964 with both beat and soul music exploding in popularity in the UK Fontana began to throw out classic releases every month until the TF series came to a halt in 1970 and the label was split with pop returning to the Philips fold and the progressive artists relocating to the new, hip Vertigo imprint. It’s the golden age of Fontana between 1963 and 1970 we’ll be concentrating on over the next few months and two of the labels greatest artists, who both co-incidentally will be onstage this Easter at Le Beat Bespoke, Kaleidoscope and The Misunderstood are the focus of our first article.

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The Misunderstood have a long and very mixed up history. They were formed in California back in 1963 originally playing surf music but soon becoming something altogether more sonically adventurous, particularly in thrall to sounds of the Yardbirds et al. By 1965 band members Glenn Campbell’s incendiary steel guitar playing and Steve Whiting’s bottleneck bass came to the attention of the then-unknown legendary UK DJ John Peel, back then based in the USA. By now feedback, raga and burgeoning psychedelia was present in their way out music, so in 1966 John and the band decamped to the then swinging UK. Initially minus vocalist Rick Brown who couldn’t escape the US draft, the band arrived in London in 1966. Brown eventually made it over but then Guitarist Greg Treadway was called up to the US navy and was replaced by Englishman Tony Hill. Promptly signed by Fontana in late 1966, under the eye of great underrated UK producer Dick Leahy the band set about recording there debut 45. Released in December 1966 “I can take you to the sun/Who do you love” (Fontana TF777) is one of the crown jewels of British psychedelic singles. Way too complex for British chart tastes it sold poorly and is now a prized item, copies usually change hands between £60-80. Continuing line-up problems involving visas and dodgy managers meant the follow-up 45 didn’t get released until 1969 but what a masterpiece it was. Recorded much earlier than its release date, “Children of the sun/I unseen” (Fontana TF998) literally explodes out of your speakers and the guitar squall is like being punched in the face by sound! Yet again the British public didn’t agree and this is arguably harder to find than the first 45 changing hands for around the £100 mark. One note to be wary of are bootleg pressings of both the above singles, easily identifiable by a large centre hole and the lack of a grooved ridge on the outer label rim. In 1969 Glenn assembled a new version of Misunderstood and soldiered on with no success, releasing two last singles under the name: “You’re tuff enough/Little red rooster” (TF1028) came out in May 1969 and Fontana even wrapped the 45 in a picture sleeve (their cheapest 45 at £25 – £40) then finally in July 1969 “Never met a girl like you/Golden Glass” (TF1041) was released, prices hover anywhere between £40 – £80 for this understated beauty. As the new decade began the band morphed into heavier territory under their new name of Juicy Lucy, finding a new home on the Vertigo label…. but that’s another story!

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Of all the UK groups that never tasted chart success, along with The Action, you would have to place the majestic Kaleidoscope in amongst the most baffling musical failures. Between 1967 and 1969 the band managed to release five ridiculously great singles and two perfect albums and all to no avail. They were so good it took years for the public to realise their greatness and they are now held in the high esteem they deserve. Originally known as The Key, band members Peter Daltrey, Danny Bridgman, Eddy Pumer and Steve Clark were signed to Fontana in early 1967 where they adopted their new moniker Kaleidoscope. “Humbly, we offer you the colours…and more”, or so said the beautiful full colour picture sleeve to the debut 45 release in September 1967 “Flight from Ashiya/Holidaymaker” (TF863). Although it’s a wonderful psychedelic track, the A side was probably a bit too strange for mass consumption and the single flopped. It’s priced at around £50-80 now, this does usually depend on the condition of the picture sleeve, which is very flimsy and easily tearable. At the end of 1967 the band were afforded a full-blown album release “Tangerine dream” (S/TL 5448 mono and stereo versions were produced), a perfect mixture of melody, great lyrics and psychedelia it bombed upon release making it a top end UK collectible in years to come. With LP’s, condition is paramount, meaning an original pressing of this beauty would cost over £500 for a very good condition copy, rising to way over £1000 for a mint copy with an undamaged sleeve. Into 1968 the group moved back to the singles market hoping to make a breakthrough. January 1968 saw “A dream for Julie/Please excuse my face” (TF895) followed in September by “Jenny Artichoke / Just how much you are” (TF964). Then in March 1969 “Do it again for Jeffrey / Poem” (TF1002) was followed by “Balloon / If you so wish” (TF1048) in September of that year. All four were perfect commercial tracks and any of them, to these ears anyway, should have been nestling in the UK top ten with the other great late 60’s pop classics. But due to a mixture of bad luck, promotion and management all sold zilch and all are prized collectors items nowadays. Prices for these singles range between £30 – £100, “Balloon” is especially hard to find, particularly as a stock copy. The final release as Kaleidoscope was the majestic album “Faintly blowing” (STL5491).  I can’t put into words how magnificent this album is but it is a travesty that such a musical masterpiece didn’t catapult the band to fame. As usual though, the album sold so poorly it’s impossible to find today in any sort of condition. Most copies have a watermark at the start of the track one on both sides but this doesn’t affect the value too much. The gatefold sleeve is prone to damage and ring-wear but prices easily fetch between £700 and £1000+, condition being very important here! After this lack of success, one last hurrah was the I Luv Wight 45 “Let the world wash in” (Philips 6006 043). Housed in a fetching picture sleeve in 1970, the single was supposed to receive lots of airplay due to its tie in with the Isle of Wight festival but this didn’t help it up the chart. As ever, sales were minimal and the record flopped leaving one last great Kaleidoscope rarity for you to collect. As the new decade dawned Kaleidoscope became Fairfield Parlour and decamped to Philips records groovy new progressive label Vertigo… but as I said earlier, that’s yet another story!!!

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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January 27, 2015 By : Category : Bands Front Page Music Reviews Tags:, , ,
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The Who 1960’s UK releases

This entry is part 5 of 5 in the series Collectors Corner 1

‘Out in the streets’ – Collecting The Who 1960’s UK releases

If you’d have told the four teenagers from Acton calling themselves The Detours back in 1964 that 51 years later the surviving members would be headlining a massive concert in Hyde Park they’d have probably laughed in your face, then Roger would have punched you. But as testament to the lasting power and magnificence of The Who that is exactly what they are doing next month. With this in mind I’ve decided to have a trawl through their original golden age from 1964 to 1969 and shed light on a run of records that are equal of any of their fellow bands of the time.


Our story starts in 1964 when, after changing their original name from The Detours to The Who then, along with another name change to the High Numbers, the band secure an audition with Fontana arranged by manager Pete Meaden. This led to a debut release on 3rd July 1964, ‘Zoot suit’/‘I’m the face’ on Fontana TF 480. Basically rewrites of r‘n’b hits by The Dynamics and Slim Harpo the record sank without trace and is now the jewel in any Who collectors crown, with nice copies usually hitting £1000+. In late 1964 under guidance from new management team (Kit Lambert and Chris Stamp) the band were recorded by Shel Talmy who leased the resulting tapes to Brunswick records in the UK. And so on 15th January 1965 ‘I can’t explain’ (Brunswick 05926) was unleashed upon the public and eventually became a smash single hitting No.8 in the charts. This was followed in May with the perfect mix of pop-art and mod, ‘Anyway, anyhow, anywhere’ (05935) which hit No.10 in the chart. October saw the release of their early masterpiece ‘My generation’ (05944) which surely is one record which needs no introduction and is a must in any collection. The single reached the heady heights of No.2 in the chart just before Christmas, being kept off the top spot by ‘The Carnival is over’ by The Seekers! Soon after this release came one of the most iconic 1960’s albums ‘My generation’ (LAT 8616), chock full of high octane mod, pop-art and r‘n’b tunes and wrapped in a superb eye catching cover. The album was a strong seller but copies still sell for over £100, and nearer to £500 for truly mint copies.


Come 1966 and The Who’s management were in wrangles with Fowley and the band found themselves signed to Robert Stigwood’s Reaction label. Fowley countered this by releasing spoiler releases on Brunswick every time a new single was released. This makes for a confusing catalogue, especially with the debut on their new label, ‘Substitute’ (591001) which had no less than three B sides. ‘Circles’ was the original B side and is the hardest version to find, copies can fetch over £50. This was swiftly replaced by ‘Instant party’ and finally ‘Waltz for a pig’ which although credited to The Who Orchestra was actually Graham Bond Organisation. The single reached No.5, and was followed by ‘The kids are alright’ (05965),  then ‘I’m a boy’ (591004) which reached No.2,  then ‘La-la-la lies’ (05968), and finally in December, the number 3 smash ‘Happy Jack’ (591010). Reaction records also found time to release an EP ‘Ready steady Who’ (592001) with a beautiful picture sleeve which is hard to find in mint condition and can reach £100 in top condition. The second LP was also released this very same year, ‘A quick one’ which was also a good seller. The Reaction singles all sold very well and are easy to pick up quite cheap but the 1966 Brunswick 45’s didn’t sell so well and can fetch between £30-£50. All The Who Brunswick 45’s were also originally pressed as red label ‘demo’ discs which are highly prized artifacts and regularly reach way over £100 each.


From 1967 onwards the band found their new home on Track records where they would stay for the next ten years or so and release most of their most celebrated records.  Singles wise the band started the year with another top ten smash, ‘Pictures of Lily’ (604002), a Jagger/Richards support flop single ‘The last time/Under my thumb’ (604006) which fetches between £20-£40 and then another top tenner in ‘I can see for miles’ (604011) and a third album, the ridiculously underrated ‘The Who sell out’ which was released in mono and stereo. The album originally came with a stickered sleeve and beautiful psychedelic poster which is ridiculously rare and can turn a £80 album into a £500 album! By 1968 The Who were drifting towards albums rather than singles and all their releases were pretty poor sellers by the bands standards. ‘Dogs’ (604023) and ‘Magic Bus’ (604024) both missed the top ten and the makeshift compilation LP ‘Direct hits’ also sold poorly despite it’s great colour cover.


Townshend was now hard at work on his forthcoming rock opera ‘Tommy’ which would catapult them into the major league forever. The first fruits of his labour in 1969 was the 45 ‘Pinball wizard’ (604027) which became their last 45 of the decade and also hit No.4 in the chart. Released in May 1969 the album ‘Tommy’ originally came with a laminated gatefold sleeve, and a numbered booklet. These are the pressings that get collectors dribbling with excitement, but condition is very important regarding prices. A standard copy with an un-numbered booklet can be picked up for as little as £15 as the record sold untold copies, but numbered copies can easily fetch £100+. There were also four promo only 45’s released to promote the album to radio stations and these are much sought after (PRO 1, 2, 3 and 4) though the first one ‘The Acid queen’ is rumoured not to actually exist as a copy has yet to be found! So there you have it, one of the most amazing, original runs of music ever released, and a great collection which can be gathered at a quite reasonable price… what you waiting for?, go out and complete the set!

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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April 24, 2015 By : Category : Articles Bands Beat DJs Front Page Objects UK Tags:, , ,
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