g'dischi: i don't know that he never did that - but i s'spect david betteridge & chris blackwell'd've taken a very dim view of such behaviour - not least because it would place _them_/island records ltd. at a severe disadvantage, ££££ly, negotiating with the actual rights holders to sort things out. . .
(- but some people did behave so, in publishing as well as in the record industry - dennis dobson was noted for it - not sfaik doing it deliberately, but through disorganisation: and he did sort things out after yukpublishing books he hadn't actually acquired the rights to first - sometimes, with his/dobson books ltd's share of the yuk p/b advance, when he'd sub-licenced yuk, yeurppean & commonwealth-excluding-canadadadian rights he didn't actually have; for his publishing business was run rather on the "proverbial" shoestring, and the typically £500-£3k share'd come in a lump sum with which he could mollify merkin publishers and/or e.j. carnell, later les flood, the yuk agent for many sf&f writers & merkin sf&f publishers...) Comment by giradischi:
yes ppint I reckon everything you said is on the money ....
.. although I do rather prefer the image of Guy Stevens in soul rebel mode allegedly issuing things he liked willy nilly and doing the paperwork 'as required' ....
- there's a good chance emi's stateside label manglement merely dismissed this amongst the long list of "singles that didn't sell well enough to make the charts", and never actually considered it individually again after the month after its release - the majors released a lot of singles every month, with success rates mostly in the low single figure percentages. . .
- which doesn't mean they were accounted failures, if together they nevertheless sold well enough to cover their share of the label's & corporate overheads; just that no-one may've thought much about them, unless they were someone's particular "pet project" - or passion; remember, releases on the stateside (& on decca's "london american") label would hardly ever have an in-house producer, or even a uk-resident merkin label rep, to push them inside emi.
- and they sold well enough, to not stand out as a waste of a slot on the month's release sheet, but not well enough to chart and continue selling, and justify picking up yuk (& yeurppean and some commonwealth) rights to an album - why pay out any more money, to prevent the rights reverting?
(yuk sue's manglement was different - there were at least two serious soul & blues enthusiasts - and collectors - in island records - and sue & island's overheads an awful lot lower ''til they moved to basing street - 108 cambridge road was not exactly "des res" - and i think they kept all yuk sue singles on their catalogue unless their merkin source for one advised them of the determination of their rights to it; and they'd possibly paid a flat fee for yuk rights to most of them (?), or else they maybe were taken on a very low royalty rate (?); or a combination of the two.
If the audio is from the actual Sue release then that could answer my earlier question - maybe Sue took the opportunity to put this out to meet demand ( It's a thin liiiine ...between dodgy and entrepreneurial)
...even though it wasn't a UK chart hit until the Mojo reissue, it presumably was a consistent seller through the more selective retailers - so any ideas why Sue had the opportunity to release this not even 18 months after it came out on Stateside? Did EMI neglect to renew a 12 month licencing deal ? (Or was it something to do with other Mayfield releases - still seem to be a few Impressions 45 out on Stateside around this time).