THE MOST EXPENSIVE SOUL RECORD EVER

This is the story of the rarest, most-wanted soul record in history and the fascinating journeys that the two known copies of the record have taken since one was borrowed from the Motown record library in 1976 by a notorious Los Angeles based bootlegger and the other was purchased from the original pressing plant, ARP in the late 1970’s by a legendary Motown collector. Both copies have gone through a total of 9 different owners over 31 years making it one of the most fiercely collectible records in history.

In April 2009, one of the two known copies in existence is being put to auction where it is expected to become the most expensive record ever auctioned.

A Brief History

In the early to mid 1960’s Frank Wilson was a moderately successful Producer/Artist/Singer-Songwriter who was working with West Coast acts like Mary Love, Connie Clark and the Autographs plus early Motown acts like Brenda Holloway, her sister Patrice Holloway and Chris Clark. By mid 1965 Frank was just about to embark on what he thought would be a successful career as a solo artist for the increasingly powerful Motown group. His first release, “Do I Love You (Indeed I Do)” was scheduled to be released in December 1965 when Berry Gordy, the founder of Motown, decided that Frank would be better suited as a Producer/Singer-Songwriter working behind the scenes at the busy label. Frank reluctantly agreed realising that to disagree with Berry would effectively kill his career anyway. The pressing order at the ARP pressing plant was haulted immediately with orders that the initial pressing run was to be destroyed save for a reputed 3 copies which were sent to Detroit and a further reputed 3 copies which were to be retained by the pressing plant. Frank then embarked upon a highly successful ‘behind the scenes’ career as a Producer and Songwriter at Motown working with acts like Stevie Wonder, Smokey Robinson, Marvin Gaye, Brenda Holloway, The Temptations and Diana Ross & The Supremes amongst others whilst writing or co-writing such successful songs as “You’ve Made Me So Very Happy”, “I’m Gonna Make You Love Me”, “Up The Ladder To The Roof”, “Stoned Love” and many others.

The unreleased Frank Wilson record(s) then got filed into the Motown Record Archive with the remaining three other copies retained at the ARP pressing plant.

Motown Records eventually moved to Los Angeles in 1972 and the Record Library was re-located to the West Coast headquarters of Motown, where, out of the 3 copies which had been sent to Detroit in 1965, a single copy remained in the master library.

In the summer of 1976 a UK based Northern Soul DJ called Ian Dewhirst moved to Los Angeles and met up with an L.A. based Record Dealer/Collector called Simon Soussan. Soussan was notorious for previously bootlegging Northern Soul records but had re-invented himself as a legitimate businessman and fledgling record producer. Dewhirst and Soussan decided to collaborate on co-producing a Disco record – a medley of old Motown tunes which was eventually called “Uptown Festival” with the name Shalamar given to the studio group.

In the course of trying to get the record signed to a major company, Dewhirst dropped in to the Motown offices to try and make an appointment (as “Uptown Festival” was a Motown medley). Whilst he was in the reception he met a young Promotion assistant called Tom DePierro. Tom invited Dewhirst into his office where they played the Shalamar record which Tom then passed to Suzanne DePasse – the then Head of A&R at Motown. Dewhirst and DePierro agreed to keep in touch until they heard back from Suzanne.

In the intervening weeks, Dewhirst’s 6 month visa was about to expire, so he instructed Soussan to continue the talks with Motown. Soussan subsequently met DePierro and had a couple of meetings with him before Motown declined the Shalamar track (which was eventually signed to Soultrain Records where it subsequently became a million-selling hit). . However, Soussan remained in touch with DePierro following the success of the Shalamar release realising that DePierro had access to the Motown vaults. On one of his subsequent trips to the Motown offices, Soussan managed to get access to the Motown archive library where he then ‘borrowed’ a number of recordings and acetates. Among the records he ‘borrowed’ was the single promotional copy of Frank Wilson’s “Do I Love You (Indeed I Do)” which was from the master library. It would be the last time that Tom DePierro or Motown would ever see the records and acetates again.

When Soussan got home and listened to the record, he realised that he had a major Northern Soul hot property which had never been heard. Within weeks Soussan had some acetates cut and sent the record to some Northern Soul DJ’s in the UK under the title “Do I Love You” by Eddie Foster. The record immediately took off in the UK and became an instant hit on the Northern Soul scene, primarily via plays by Russ Winstanley at the UK’s biggest Northern Soul venue at the time, Wigan Casino. Soussan subsequently then bootlegged 2000 copies of the record on his Soul Fox label and sent them to the UK where they quickly sold out. Meanwhile Tom DePierro was unaware of this activity and was being rebuffed by the smooth-talking Soussan whenever he requested the items to be returned (it should be noted that Simon Soussan had a long history of obtaining goods and records by deception and was notorious within record collecting circles for his devious tactics).

By the early 1980’s Soussan’s luck was beginning to dry up, his record productions were less successful and he required some urgent surgery for a stomach ulcer which had plagued him for years. In order to raise some quick cash, he agreed to sell his record collection to a UK entrepreneur and business associate called Les McCutcheon.

Les eventually acquired the records and promptly forgot about them for several years until a chance meeting with Nottingham record collector called Johnathan Woodliffe resulted in Johnathan buying the record and discovering that the Eddie Foster record was actually Frank Wilson. Johnathan realised that he had one of the rarest records of all time and kept it for a while before eventually selling it to Northern Soul DJ and entrepreneur Kev Roberts.

Kev then kept the record for 10 years before eventually selling it to his then partner in Goldmine Records, Record Dealer and Collector Tim Brown, for a then mouth-watering £5,000.

Meanwhile, on the other side of the Atlantic ocean, legendary Detroit Collector, Motown engineer and archivist Ron Murphy managed to obtain a 2nd copy of Frank Wilson from the owner of the ARP pressing plant, where the initial handful of copies of “Do I Love You” were first pressed. Ron was informed by the owner of the plant that only 6 sample copies had originally been pressed with 3 copies sent to Motown and the remaining 3 kept in the archive at the plant. However, of these 6 copies, 2 were destroyed when the plant was told they only needed to retain one copy of each record in the archive and to save space they destroyed all but one copy each of everything they’d manufactured. This last remaining copy was the one which Ron purchased from the owner of the plant. Ron eventually sold the record to Toronto based Record Dealer and Collector Martin Koppel who eventually sold his copy to his UK partner and fellow Collector Tim Brown, who by now was in possession of both of the known copies of “Do I Love You”.

Tim then sold the copy obtained from Ron Murphy via Martin Koppel to DJ and Record Collector, Kenny Burrell for the then-staggering sum of £15,000 in 1997.

Now, after a further 12 years, Kenny’s copy will be auctioned by the world’s premier Record Dealer and authority on rare records, John Manship.

Since the original discovery of the record in 1977, only two known promotional copies of “Do I Love You (Indeed I Do)” have ever surfaced – both of them being ‘relieved’ from Motown’s library and Motown’s then pressing plant. No other copies have ever emerged despite the record being the most sought-after record ever on the collecting scene.

The history of the record would indicate that it has every chance of establishing the Guinness Book of Records highest price for a 7” legitimate record (as opposed to an acetate).

KEB DARGE & LITTLE EDITHS LEGENDARY ROCKIN' R&B ALBUM

Another rockin' compilation has been put together by celebrated crate digger Keb Darge the man who is always ahead of the curve of the taste makers with the assistance of his wife, Little Edith and between them they've selected a set of tunes that are raw and dirty. The album is out to expose lesser known or forgotten lights of R&B music from the 50s and 60s.

Here's a sample of whats in store for all you R&B freaks.

BRING BACK THAT WARM ANALOG SOUND

Have you ever wondered why vinyl records sound so great? There are some factors that contribute to a great classic record. One is that its sonically done in analog and you cant argue that in the 60's and the 70's some of the best sounding albums were recorded in analog.

In today’s musical climate, where heavily produced pop songs dominate the charts and airwaves, Digital equipment makes things faster, which can cut down on studio costs the main appeal of digital is it’s quick and easy to edit. But for a lot of people the faster editing capabilities of digital tend to outweigh the fact that the recordings themselves lack the character hence digital takes the soul of an artist.

Some bands and hip hop groups are now going against the grain and trying to replicate the classic sounds from the early 60s through the 70s bands like The Aggrolites, Sharon Jones and The Dap Kings, The New Mastersounds and People Under The Stairs their records drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. If you think those bands are retro think again they are just bringing back the soul that was lost in the process when digital took over.

One particular person that is championing the analog sound is Liam Watson, owner of Toe Rag Studios, The studio began in 1991 the idea is to build a studio like it was in the 60s with all the analog stuff and vintage music instruments. Nostalgia perhaps? Maybe not He isn’t interested in what’s trendy, his techniques reflect the sounds of the 60s and 70s and haven’t changed since.Toe Rag along with a bunch of analog studios the likes of Tardis, Akron Analog & Echo Mountain is unusual in that it specializes in recording in the traditional, old-fashioned way that just goes to show that you can't mess with old school. In the sea full of sewage Toe Rag Studios smell like roses.

TONIGHT AT SAZI'S BAR

Tonight at Sazi's Bar we are bringing you 12 bands of ska, oi, punk rock and mod. The Rude Maynila Sessions will be featuring THE GOSIGNALS if you are not familiar with this band, well you are one sorry ass poop. The band is a favorite amongst the mod scene their music is an equal mix of mod, power pop and punk. If you still don't know them by now, well it 's time to name drop some bands in which they came from, the band consist of Private Stock and Throw members. Now that's something worth hearing and seeing don't you think so?

Next on the list is a band that was formed during the mid 90's EINSTEIN CHAKRAS A politically charged punk band that is so diverse that they can be seen performing along side protest / folk singers the likes of Jess Santiago and Noel Cabangon.

Also on the bill are new bands coming in to add flavor to The Rude Maynila Sessions community. Ska band from Cavite City called FINGER TRAP, Manila's ska punkers 12xU, and Oi! band from Bulacan TARTARS. And of course the mainstays PINKCOW, STEADY MOVIN' BEAT, THE SNEEKERS, THE EXSENDADORS, EARTHLINGS, THE OUTCOME and GOFORTHEGOAT.

For a measly sum of 60 pesos you will get to hear these bands plus you will get one ice cold beer for doing that. So swing by at Sazi's Bar tonight to see whats the fuzz is all about. One more thing PiliSKApinas goodies will be on sale at the gate so if you missed last Saturday's Ska Fest now is the time to make up for it. Show starts at 8 see y'all tonight.

KEEPING THE FAITH

Another round of floor stompers coming your way on October 2 at B Side stay tuned.

THE RUDE MAYNILA SESSIONS THIS SEPTEMBER

If you still cant get over last Saturday's PiliSKApinas' 2nd Skafest we are giving you another blast of The Rude Maynila Sessions this coming Saturday, September 11 at 8PM. Swing by at Sazi's Bar to hear and see The GoSignals, Steady Movin' Beat, PinkCow, The Sneekers, Finger Trap, Earthlings, GoForTheGoat, The Outcome, Einstein Chakras, 12xU, The Exsenadors and Tartars live and direct.

The show will be a mixed set of Ska, Punk and Oi! So be there!

BEERS AND CHEERS TO PILISKAPINAS

PiliSkaPinas had done it again raising the bar last Saturday night as I hold witness to a historical musical event that unfolded. The event billed as The 2nd MANILA SKA FEST. The first one was held last 2008 if I'm not mistaken as I fondly remember that rainy night that they asked me to emcee the show.

And now I am back for another round of duty, hands down to the folks at PiliSKApinas , mainly Mae of Shuffle Union for upping the ante! I had noticed that the vibe is somewhat different this time around because during the first year it was somehow tense, nervously waiting for something unnecessary to happen, a fucking drunk bonehead moron almost ruined the show last time. But now it's much more relaxed probably because a camaraderie amongst the people within the scene is slowly building up that I felt kinda at ease now rather than before. This is a good sign for the things to come that evening. With a bottle of beer in hand i surveyed the surroundings and lo and behold! Cubao X was once again invaded by skinheads, rude boys, mods, casuals and punk rockers as the regular patrons of the place mainly hipsters and fashionistas and wannabes with their 80's throwback threads, glow stick electro muzak and cowboy boots stood in awe.

As sharply dressed people spend their weeks worth of wages dancing and singing along to the bands as they laughed and drank copious amounts of alcohol. I saw long lost friends that i knew from way back passed by me as I nodded and shook their hands and giving them high fives. Old faces abound and so does young bloods as far as my eyes can see with their Fred Perrys', Ben Shermans', Lonsdales' and Doc Marten boots. The whole place was beaming with nothing but fun fun fun! Take note that the beer at Mogwai and the other shops that sold beer was already gone before the whole shebang ended. I've noticed that these always happen when the sort of people who loves ska and punk rock comes along Cubao X. (case in point Bisikleta Productions and Trash Radio Manila's Louie Louie event and PiliSkaPinas's 1st Manila Ska Fest).

For those of you who have no idea what ska is all about you can easily Google it and watch it at Youtube but there is nothing much satisfying and much more enjoyable when you experience it first hand instead of staying at home, sitting in your chair staring at your computer screen and dream and drool about it I strongly suggest you get off your ass and buy some records and go and support your local ska band.

But just to give you a hint here's a little information about how this music began in the Philippines and the birth of ska and Jamaican music in general. During the 60s you can hear the great comedians Panchito Alba and Dolphy singing a song about family planning under the guise of Toots and The Maytals's song called Monkey Man and the star for all seasons Vilma Santos rendition of Millie Small's version of My Boy Lollipop done originally by Barbie Gaye and Vilma Valera a Filipina singer and actress sang a Desmond Dekker tune (go figure it out). and in the early 80s a group of pre teen singers named The Nailclippers sang Pass The Dutchie a song originally done by The Mighty Diamonds then in the 90's you could hear ska at the movies where in Vic Sotto together with the late great hip hop artist Francis M, Michael V and Richie D' Horsie spoofed Prince Buster's produced song Oh Carolina by The Folkes Brothers and of course not to forget Yoyoy Villame's original version of his hit song Magellan with his band The MB Liner Rondalla is influenced by ska's grandaddy - mento. The music itself in the beginning when it landed to our shores was more of a novelty thing but Reggae on the other hand is more on the serious tip since day one bands like Eurasia, Coco Jam and Tropical Depression sang about politics and everyday life of the common man but as the years progressed what had been deemed as a novelty thing it would later evolve into a more serious form of music picked up by the people who loved Jamaican music mainly the skinheads and punk rockers.

In the 80's as punk rock took a hold of Asia the music began to take shape via Brave New World Concerts, groups like The Lost Boys who arguably is the first ska band in the Philippines during that year. Punk band Betrayed were the very first to embraced reggae, Skavengers and Skalawags embraced ska. (members of the band consist of Tropical Depression, The Jerks and Tame The Tikbalang) These pioneering bands planted the seeds of ska. This music would eventually gain more local adherents in the 90s through the greatest band that consolidated it was none other than Manila's finest Put3ska comprised of Philippine's punk and reggae stalwarts that things starts to fall into place.

Fast forward to 1998 A couple of British expats namely Northern soul enthusiast Shane Cosgrove and Darryl Skataba Orchard along with members of Put3ska developed a monthly event called Club Ska Manila through this endeavor the ska scene was further developed This music was worshiped by its new found disciples and clubs like Mayric's (now called Sazi's Bar) and Club Dredd went from strength to strength as if there was no end in sight. The type of people who attended these venues is crucial importance to the scenes strength and future development. They were generally like-minded escapist who refused to be directed by the music and fashion barons that proliferated the airwaves. They had their own ideas of what good music was and what shit was. Ska bands slowly coming out of the woodwork eventually due to the tireless efforts of the men and women behind Club Ska Manila some of the bands that came from that time period will eventually put out independently produced records by the time Y2K had started groups like Jeepney Joyride, Skabeche, Shuffle Union and Coffee Break Island to name a few. Through this the scene burst wide open gaining commercial ground a sign of a bright future to come but the scene had a bad reputation during those days violent fights broke out too much aggro threatens to halt its growth.

As the years progress so does the scene continue to flourish gone were the days when some people have second thoughts on going to a gig to watch a great a ska band play that's because of the tumultuous past it had represented back in the day. Today the torch bearers spearheaded by like minded people consisting of the old and the new have picked up the pieces and learned from the past mistakes and is now determined to keep it from happening again.

The fire is still burning as the scene had sprung from left to right from north to south, east to west you can hear ska music from Cebu City, C.D.O. down to Bicol region and Baguio City. The Rudies All Around from Angono started to do events, Bisikleta Productions and Skamax, Tellayouthska crew from Batangas City and To People Who Ska from Bulacan and small underground collectives scattered all around Metro Manila. They are now the keepers of the flame they helped propagate this addictive form of music for us to enjoy now and hopefully the next generation will pick up and then pass it on to the next.

The seeds were sown by these people who took Jamaica's finest export and called it their own. Big thanks to the people who had bled, lived, breathe and fight 24-7 365 days of the year for this music in keeping it alive and well. Last Saturdays festivities is a positive sign that the bad things that had happen in the past is best kept in that era. I hope things will be much bigger, brighter and better in the near future, time to move forward everything is changing but let us not forget the tradition that had kept this scene alive for years and is continuing to do so.

As i have said last Saturday that its much fun and much better if all of us can get along this time around. Now is the time to stop the hate and the petty bickering within the scene. Now is the time to give the middle finger to the outside forces that threatens to malign the scene that we all love. The Specials sang that It doesn't mean you've got to hate him It doesn't mean you've got to fight. Being mean and intimidating doesn't earn respect in my mind bullies are intolerant of contrary opinion, domineering and rather cowardly so please stop it now. After all you are not that different from the person beside you, who love listening to ska, punk rock, reggae or whatever music he or she is listening to. If you take a closer look at it is all the same. All things are related in one way, shape or form all we have to do is to respect each other through this it will guide our morals and eventually gain respect. As Desmond always say U-N-I-T-Y. and so does Sham 69 shouted if the kids are united we will never be divided.

Big up to PiliSkaPinas for the uber wonderful night! And thanks to the bands and the crowd who kept their cool. Nuff' respect! I raise my beer to all you mates! CHEERS!






if you wanna know more about what PiliSkaPinas is all about its humble beginnings and where will it be heading in the future do check this site: http://clubskamanila.multiply.com/journal/item/1