Kegsy

I reckon a suit between MFSB and all the other Phil. Int. artists is in the pipeline.

Just imagine how many calls other people, who really know their stuff, are getting

This is gonna be a bonanza for the lawyers, expect ads on soul source from law firms wanting to use the in depth knowledge on here to identify and initiate claims. They will have a field day with Larry Atkins/Ty Karim not to mention all the vocal versions of This Beautiful Place . I know these examples were probably legit at the time, but will the lawyers know that ?

Well said that man.

TWO ? wimp

Isn't that Kym Fuller ?

Pm'd on Johnny Jones

I reckon there are 100's of examples of what you describe, mainly due to tastes changing on the scene over the years, thereby allowing modern/crossover stuff to be played. Ruby Andrews Just Loving You is a perfect example. Many people bought "blind" by Artist, Label etc., when they played them, although they were great records, they were not uptempo enough for the scene, the record was just filed and often left unplayed for years. I found about 10 copies of Big Daddy Rogers on Midas in a box of about 500 singles which had been gathering dust in the garage for years, plus loads of other stuff. I dread to think what that bugger Derek Pearson relieved me of when I let him look through, what I considered to be, my others/non northern racks.

Cheers for that Greg, as I said not dissing Tim just trying show how the perceived discoverer might not have always been the actual discoverer, as you say Tim did find plenty in his own right.

No disrespect to Tim but wasn't he teamed up with the aforementioned Greg Tormo, obviously Tim will also found stuff in his own right.

Do you realise the dreadful image this conjures in terms of how he got the needle onto the record

Precisely my point, nobody could ever accuse you of being a big name DJ

I've always thought that somebody would turn up an LP version of this by The Tijuna Brass or The Mexican Jalapeno All Stars and it would turn out to be the original recording.

It would appear that appear that some don't care whether its legit issues/re-issues or bootlegs, as long as their originals don't lose any value. they simply don't want any more copies on the market.

Ian's house on a Saturday afternoon was a veritable pandora's box of new sounds, loads of which were brought there by people from all over.

Sorry I'll stick to Horace in future as I can spell that. I stand corrected on both points, but I think my point about value still stands.

There are a lot of people on the scene who don't get the credit they deserve, that's basically my whole point. Its all about the DJ's. I had a CBS copy of Lynne Randell long before it was played out, I was too young and too far down the pecking order, to have any influence on the DJ's. The daft part is I found it on a market stall in Blackpool before a night at the Mecca and left it in the B&B when i went out. Although I quite liked it, when the stallholder played it, I didn't think it stood up to the likes of Eddie Parker or Johnny Sayles.

Bit of a spin off from some of the points made on the Another repro thread. It would appear that many on here linger under the impression, that the only people who ever or have ever discovered records are DJ's. What a load of tosh, ok fair enough some have, Ian levine and Richard Searling spring immediately to mind, going to the states and actually finding their own sounds. There are probably a few others too. However, how many of the so called big Dj's actually take/have taken other peoples discoveries and play them out. How many have never actually found a dusty original. There are dozens of people, under the radar, who found records and recognised their potential. Gary Field, Greg Tormo, the London lads who used to bring new sounds to the Torch/Mecca and countless others, these people, hardly if ever, Dj'd anywhere. Even now do the top Dj's actually rummage, or do their contacts in the states find them and give them the heads up ?. ​I think its about time we exploded this myth, just because a DJ has a box full of extremely rare records it does not mean he discovered them.

I didn't reply to the original post. I replied to others who seemed to be more concerned with their precious originals being devalued, rather than the wider issue of spreading the music. Plus a couple of points about a record perceived value and actual rarity. I can see your point about look-a-likes being passed off as originals by unscrupulous dealers. But as somebody has said fakes and snides are part of all collecting arenas. As for the point raised about DJ's never playing re-issues or pressings along side originals its total nonsense, it happened in mid week venues as far back as I can remember and I've been here since 1971.

Obviously if nobody had found the originals none of the tracks would have been known, and if nobody had found the original nobody would have booted them either. Nobody is arguing the importance of original vinyl to the scene, I just don't understand your point on bootlegs since no tune was EVER originally played on a bootleg. In terms of time and money to buy originals, it may come as a surprise to you that almost every original when first found probably cost a few cents/pence when first discovered. Fair enough people did/do spend time/money going to the states but if they find a new record in some warehouse/thrift shop or wherever i'll bet they pay next to nowt for it even today, no matter how rare it eventually turns out to be. Back in the day it probably cost n times more to ship a container full of records over here than the actual cost of the records themselves.

So everybody who buys these freshly pressed records is a DJ. I would suspect that thousands of copies are sold otherwise it wouldn't be worth it. So now we have thousands of DJ's knocking about, how does this work, do they all do five minute spots at the available venues, and you say my argument is flawed !!!!!!!.

Great post and I agree 100%. However the central idea that runs through it, people buy records because like the tune, isn't always the case. How do you explain "label completeists". Take the Shrine label for example, how many releases are simply collected due to the Label's rarity and myths that surround it. Lets face facts not all of Shrine's output passes the lughole test.

I know Mitch Ryder is legendary on the northern scene due to his dance floor fillers like Breakout and You Get Your Kicks, but I often think that these records plus I'd rather Go To Jail are actually some of the first Punk records ever made. Long before Punk was even thought of.

Have you actually read the whole of this thread, have you seen which posts have the most likes, perhaps the powers that be on here could run a poll about the issue.

So all the youngsters getting into the scene now SHOULD know better ??????????????