Simon T

I'll admit to liking them as an aged chin stroking rarebod I particularly like 'sliced tomatoes'

I thought they were still together and coming to Northampton soon?

I own demo copies of the first two (OK I admit it and and issue of B&OMB too) plus a pressing of MPC ..... and no I don't want to sell them!

Lockettes - I love the boy next door

Click on your post here and then choose to edit it. At the bottom there is a button to 'choose' an attachment; track down the mp3 from your hard drive, select it, press open, and then resubmit your post with the mp3 attached

OK, but nowt special, forr me anyway

I posted it up in the sounds section a while ago: /index.p...cmd=si&img=3147 Paul Capon sold a copy for a friend a couple of years ago or more, for £200 I got mine off Nige Parker in a swop about 15 years; I seem to remember he got it off Dave Raistrick as a cover up.

me?

I do have a question that I would hope the people on this board will answer for me. Is having the stock copy with Northern Soul records a significant plus over a promotional copy? I know in the record collecting I have done over the years the promos of rock records are likely more valuable because they are more rare than the stock copy. In this case it seems to be the opposite, the stock copy is rarer than the promotional although I would guess that the promotional is likely to be in better shape than a stock copy. Again, thanks for your forum and any answer I may receive. There are no firm and fast rules here only that whatever is the rarer is the more desirable!!! There is a slight trend in that any thing rare on demo on the large non-independent labels (RCA, Capitol, etc), where a issue exists, they tend to be significantly more scarce!

ba, da, ba, ba , ba Anderson Bros 33 later! Buy it !!!!!

Why do you always cry when I say goodbye? When you know we can make it (let me hear you brother) That hurt I can't deny (now let me hear my soul brother yeah, yeah, yeah) Now love makes me suffer, you and I are still one We can make it my darling, yes, just you and I Why do you think I tell you every day? Cause the feeling that is so deep, darling it's deep down within me now Let me tell you girl, no, no, no, no….. Love, since we have ????, oh my darling, brings the hurt out in us now We can make it my yes, just you and I Sax break - Oh, say that you want me, girl - I'd die, if I didn't love you so - And I’d die if I’ve got to you go Let's put our feelings together, we're supposed to be one Because there's one thing that you have to dig girl ‘All be all’ with us now, let me tell you girl, no, no, no, no Love, since we have ????, oh my darling, brings the hurt out in us now We can make it my darling, yes, you and I - Oh, say that you want me , yeah, yeah - I'd die, if I didn’t love you so - And I’ll die if I’ve got to let you go Baby Every hour of……

'Broadway' etched in capitals then 9/26/67 then 3012-B

About 15+ years ago my mate Nige Parker bought a Pye studio acetate (Pye UK, solid centre) of Richard Searling, i seem to remember. I'm sure the PYE bit was printed on the label and David Rhodes was writen on the label in biro. When Nige sold up it went to Carl Fortnum who then bought a vinyl copy of Pat Brady (Chi-City) for about £130, and then then let the 'original' acetate go to John Manship (?) About 5 years ago JM had a copy on his list for £15, but refused to sell it to me because it was 'a Levine job' and if I didn't believe it I should check out the B side, as it was a typical Levine instrumental (something Lakeside??) Despite whether you love or hate Ovenchip, I'm sure he's never knowingly sold a boot, so I left it that

I think it's "changing my life, another cares"

I did try to work them out ages ago and either posted them on here or sent them to Chalky (?). Can't find them now, sorry.

Featuring Diane Keaton, in the wooly hat, before leaving to make films with Woody Allen!

A mutual old friend of ours paid £2K around 1988 and sold it to a certain Scottish chap about 1995 for around the same amount. So yours must still be worth £30 -£40 now!

He probably meant it was worth £150 per side!

Not sure about respect, probably a lack of appreciation. The scene always has had people who have turned over records in quick succession, particularly the big ticket numbers or the ‘in’ sound of that month. DJ have always had a prolific turn over of stuff, to keep sets fresh, but I do agree there does seem to be a few people who appear to want whatever they been told to want and then sell it to get the next ‘want’ I think twenty five plus years ago there were few big money records and significantly less collectors and dealers to be interested in buying and selling such records. Nowadays, there must be fifty fold the numbers and so the ‘must have’ mentality and subsequent attaining, and then moving on, is now amplified significantly. There seems to be thousands of four figure records now and so it may seem that so-and-so has a copy of some expensive sound one month and not the next, as they’ve let it go to buy another over-price bit of vinyl. Despite what people would like to portray, there ain’t that many rich people on the scene, well not after someone grassed them up to the tax man!! (Top tip: if you’ve got cash to splash, send your wants list out in the spring, when the tax demand start coming through letter boxes!) Aside, Seven Day Lover was reputed to be the first £100 record (? To Ovenchip?), any ideas what was the first £1000 platter?

There's a realy "girly" outing by a Sweet Nothings called "Baby Please" on Destination

Seem to remeber Nige Parker getting it off Poke in the eighties, so it might be with Carl Fortnum now.

SOS studio acetate. I seem to remember it was one-sided with an orange label and red writing