Friday, May 31, 2013

Tri centred London 45s

As well as being a superb guitarist, my buddy John Spencely is also an avid record collector, with a particular penchant for tri centred London 45s. The Decca Group released most of its early singles with tri centres, not only on London but also on the Decca, RCA, Brunswick, Coral, Vogue and Felsted labels, but around 1959 they started to issue them with round centres. Quite a few were issued with both tri and round centres, but the information isn't complete. It seems that some 45s believed to have been available only with round centres have also turned up in the tri format. John has made it his mission to track down any others not yet on the list.
The records in question mostly bear the numbers 8900 to 9070 (although there are a couple of much later anomalies) and these are listed on this website http://select45rpm.com/pages/londontri.html    which John describes as a 'record collector's wet dream', and he is seeking help with extending the list of London 45s that came with a tri centre that are not on the list.
I've looked through mine but haven't come up with anything very exciting. In fact many of the records I have that are known to have tri centres have round ones. My highest numbered London tri centre is Bonnie Came Back by Duane Eddy (9050) but that was known anyway. The only tri centre I have which is listed as a round centre only is Bonsoir Dame by Bud and Travis, which came out as London 8965, but as this is a demo I'm not sure if it really counts. If any readers have others that aren't listed please leave a comment - John would be very interested!

1 Comments:

At 2:55 pm , Anonymous John S said...

Thanks Nick for highlighting on your blog. The demo is a great find as if some demos are pressed as a tri then a stock copy tri is far more likely to turn up (this seems to have been a good predictor so far). If any of your blog readers have any interesting late tri's I'd be interested to see as many of them seem to have only been pressed Tri as a handful of copies (like Carl Mann 'Pretend' and Marv Johnson 'You Got What it takes')

 

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