purist

Unless things have changed I'd have thought anything up to 30-40 quid, though I have seen people ask up to 200 (why?) Nice tune, but is it only of interest to label collectors? or is somebody playing it, which we all know can lead to a dramatic ( and short-lived) price hike. If its the RCA label collectors, then without doubt the stock issue will be the more desirable one, probably worth double the demo's. Worth checking out is their "Back Up ( against your persuasion)", which seems to have a decent collectable following with the midtempo & crossover crowds. I presume they're Canadian only release?, or should that be "not on 45 in the US or UK"? ( that "Back Up" 45 seems to sell for more than "Long Time", maybe 75+ ?) hth

I tried playing this for a while at the Lea Manor Albrighton, when would that be, about fifteen years back? (were you back living up here then Pete?) It did okay and always drew dance floor action, but for records to break out in that era you needed another DJ to be playing it as well, and can't remember any of the other Albrighton Boys playing it? Not saying it was rare, but when so many other underplayed/forgotten & not known/new tunes were vying for attention, it's easy to give them the " 3 spin wonder " treatment ( think this lasted longer than that tho) For clubs which championed Soul & the original explanation of " Across The Board", this type of sound fitted in perfectly, nestled in as it was amongst the 60's R'n'B stompers,the Y2K modden movers, the Detroit dancers and the ol' Mecca Magic 70's :-) but having said all that I didn't know there'd been a previous 45 on New Voice

Mace, can you let us know what the prices were before you wrote SOLD or RESERVED ? as per the guidelines ;-) 6. Do NOT remove any details from the ads after selling [or obtaining a want]. You can edit to show "SOLD" but leave the ad intact please as the information therein contributes to a database other members can refer to when looking up current prices, availability etc

I seem to remember this label first showing up mid to late 80's, can anybody fill in the info, the who, where when & why. How many releases? 401 Metros " Whats wrong with your love/ She's not everybodys girl" 402 Nelson Sanders " It's real / I hold the key" 403 Doni Burdick " Candle / Whatcha gonna do "

Wolverhampton had it's own Rollerdrome, just a few yards down from the Catacombs, and it was there that many of us congregated in our youth. Blue Max did northern disco's in there, as well as others, but they regularly played soul amongst the playlist when folk were skating ( it always had a live DJ playing records) and apart from certain favourites like "Glad All Over" the tunes were largely black music, thanks in no small part to Winston who became the main DJ They booked a number of live acts, always to pretty full houses (from Gary Glitter to Limmie & Family Cookin) but one great memory was when Al Green was playing at another club in the same street (The Pink Elephant?) he came into the coffee bar of the Rollerdrome as we were in there. https://www.youtube.com/watch?v=P3qd0bFzAuM

I could be wrong but the JayBoy release wasn't exactly a reissue (because it was a different, slower, meatier, take ??? or was it just messed up in the mastering ?? ) also another note worth making is that the (fabulous) instrumental version only showed up on the Contempo releases I think? (the lucky Germans got a pic sleeve with their Contempo release) All others, inc non US or UK releases all seem to share the same flip (I'll Keep Running Back") Having said all that, these days I think " Oh Baby Doll " just edges it out as my favourite by the pair.

Somebody was asking for a Shirelles LMM either on the wants section here or on FB wants, in the last week or so hth

Dont know Spencers tune, but could it be "The Breaking Point " by Deena Johnson on Wild Deuce 1004 ? also a version by Brad Lundy I think?

Something in the back of my mind keeps nagging me. Years ago I was in a record bar conversation (at the original Bretby I think it was) about alternative takes being released by mistake and I vaguely remember being told that Motown had released two different takes of this track. Maybe one was on a Canadian 45, or one was on the promo's and not the issues. Anyway I seem to remember somebody saying to me that they'd played me the two versions and I'd commented that the one version was " More Northern ". Does anybody know about these different takes or am I talking complete nonsense, or getting mixed up with another song called "Goddess....." Help !!

You sold it to me Ted.....for more than £30

I remember the shock that went around years back (90's maybe) when somebody sold a Lenny Curtis bootleg for seventy pounds. Honestly I don't see any difference in somebody selling off old bootlegs for a fiver, thirty quid or seventy quid or eight hundred quid. Where is the line at which point the soul fraternity jumps up in alarm and says " we must protect the fools from paying too much for a bootleg" ? Is it too much to pay 20 pounds for an old boot? what about 40 quid is that too much? Is the line that shouldn't be crossed at £99 ? At the end of the day the seller is offering an illegal item for much more than what was originally paid back in the 70's - so the amount the buyer pays is only relevant to them. Unless you have some emotional attachment beyond monetary value, they are valueless Sorry if my logic has spoiled all these " Shock, Horror" tabloid type threads 2 s

Why is everyone assuming the buyer isn't aware it's a boot/2nd issue - just because they've paid rather a lot of money for it ? Last "proper" one that I saw go through ebay about a year back was 4616, so maybe the buyer just wants one that looks the same, and is happy to have paid a tenth of what the "proper" one fetched ? I think there's more than just a few who like to pretend they've got " real " records when they've only got lookalikes, and this pressing is a case of 'looks the same at a distance' (try asking some so called DJ's if you can look at their records when they take them off the decks, as I've done, and often they don't want to show you because they know you're calling them out on playing boots) Last thought, in every walk of life you pay to learn. If it is a case of an ill informed buyer then they've paid to learn. Equally they could have bought a bootleg guide which would have cost somewhat less but again it wouldn't have been free, so they'd have paid to learn that way too. Anybody who's collected for any amount of time has been 'turned over', not always on purpose by the seller, but be honest if you've never bought a boot for a real record then my guess is you never lived through the scene in the 70's because we were all conned back then. The onus is on the buyer, there's been thousands of examples of misinformation on ebay since it started, we've discussed hundreds on this forum, smart folk as questions, and if you don't ask, then bid 300 in hope, you are a fool. My favourite quote to apply to any transaction, not just records, is " If something looks too good to be true, it usually is ". 300 for a real Tomangoes ? Do me a favour....

If only they'd had Laptop's to DJ with in Hitlers day. He'd have been alright then....

I just had my laptop go a bit mental and it opened my email programme in about half a dozen windows???? seems like a virus to me the screen shot was grabbed from my inbox, so yes i opened the original email. worried of wolves

Thanks for that info Mick. Hope you are well

So have we all allowed access to our email accounts by opening this email? have all of us who read it now got this problem?

sorry, hadn't seen the previous thread. if neccessary i'm happy to have this thread removed ?

In my inbox was the following email purportedly from Ady. I first read it and thought how awful, then I got suspicious. Anyone know for sure?

In the 80's, as has been said, the scene was much further underground, but there was just sooo much of it. I was doing a Northern show on Beacon Radio which covered the middle chunk of England (almost Bristol to Manchester on a good nite, as well as some of Wales) even though it was meant to just cover the Midlands, and we'd get letters and requests from far and wide to prove the coverage. The reason i mention this is that we'd do a weekly round up of soul nites and Niters, and it got to the point where the list was so large I was asked to trim it so it would be too boring to the audience. Perhaps the biggest thing we forget is how many regular midweek nites there were. In the local area, Black Country to Birmingham, if you wanted to you could go out every nite of the week, and many mid week nites you had a choice within ten miles of several (I remember one month where I DJ'ed at 31 different clubs in the space of a 30 day month, and still never went more than 20-30 minutes from home) Now I'm not saying these were all fabulous ground breaking nites, but we always had somewhere to go. Two clubs that ought to be on any list of important 80's venues are - The Old Vic Wolverhampton ( also known as The Cavendish Suite) which ran for ??? a fair few years (albeit with a break, and slight changes to the promoting team) but could possibly have held the title for most important non Niter in the 80's, due to it's progressive resident DJ's who all knew how to blend new and classics, a who's who of the best and brightest DJ's and collectors and that all important huge crowd. On some occasions I remember it being so overfull even the bouncers looked worried ( at the time I think they were using the local chapter of Hells Angels?) as the queue around the dancefloor was 7 or 8 deep, and that's when the bar was also experiencing the same numbers ;-) The there's Walsall Soul Club. Started by ex pat Jack MacDougal, a man on a mission of soul. The reason this club must be mentioned is that it ran, and ran, and ran. Year in year out. Whats so different about that you might ask? well it was a Thursday nite, not monthly but weekly, and like all clubs had nites with low attendances but also had nites with ridiculous attendance (compared to the size of the venue) If Christmas fell on a thursday we'd still be there, such was the dedication and love of the club by it's regulars. When Jack moved back to Scotland the group of regulars he'd built up moved the club to a venue in Wolverhampton and kept it going. In the end it was a badge of pride as all concerned tried to pass Wigans weekly total. Again as with the Vic mentioned above, some of the best were invited to get behind the decks and some of those nites will live in my memory forever - Pat Brady playing his brand new TOTW monsters and some as yet untried newies he was planning on adding to his Stafford sets, and the time we persuaded (after much begging) Tim Ashibende to come down and treat us to his brand of Rare Soul, he really should have DJ'ed more down the years. The beauty of these mid week clubs was twofold, that they became gateways for youngsters, some from the Mod thing, others not so, to join the scene and move up to Niters far and wide, and secondly as a way of keeping us together. It's weird to think in this internet age that we'd go on a thursday nite to arrange who was going to which Niters on the weekend and who could give lifts, or arrange buses up to Perth for example. Jack MacD, the scene owes you a debt of gratitude, and not just the west mids branch. I think it's hard to define the 80's as simply a decade. Better imho to think of it as the period after WC, and before the bulk of the returnees came back late 90's early naughties, because most of the folk remained the same for that period and the attitudes remained the same, the purist pursuit of New Tunes whilst not forgetting the best of the rest. Was it the best of times? Well if we could stretch it to include the fag end of wigan when the best DJ's where starting on this mission and we were heading back underground I'd sign up for it being my favourite time, not neccesarily the best because surely when ever you start on the scene is the best time, but still....

In the right room this could " go ", so thanks for sharing. Impossible to price it tho', whatever somebody wants to pay for it. File it under "more than £30, but less than £600" I'd say, so I'll give you £31 for it ;-)

sorry if I made this as clear as mud Tony & co, I wasn't saying Keb had found them, or that he'd ever owned them, I was saying that Keb was going through Ian's collection with a view to helping (Bernie Golding ?possibly?) get it all sold off (by this point the collection had been gone through for traditional Northern by quite a few, think Tim told me that this was the second time he'd gone through it, the first time with JM, so we're talking about the remnants, although the number of records was still very significant, five figures (10,000+) maybe? - off on a tangent wasn't there some tale about these remnants ending up in a shop in London about 10-15 years back, in black bins bags??) - sorry back to the tale - and one sunday afternoon, presumably invited by Keb, Butch & Tim went down to look at the records. Unless I'm getting mixed up with some other monster rarity ( which is of course entirely possible) or I'm getting mixed up with a story Pat told me about getting both copies off Ian (not sure if this was direct from Ian or from Butch who'd pulled them out of Ian's collection) I'm beginning to think that perhaps with my memory as shakey as it is, that I'll refrain from commenting on any further threads. Maybe it's Alzheimers, I sat the other day thinking for half an hour solid and I couldn't bring to mind the name Martha Starr, no matter how hard I tried. If you can't remember the names on your top ten lifetime wants then I think it's time to give up

From my sketchy memory two copies were pulled out of Ian Levine's collection when it was being sold off, late 70's or turn of the decade? so it was Ian who had it first in the UK, although I've never heard him claim to have played either side in a club. Ian had asked ???, oh darn can't bring the name to mind, to sell them off and think they were put in a caravan or cottage in Wales. Think it was Keb that was going through them, and Big Tim & Butch were there to help/buy stuff, and that's how the first copies got out. Somebody with a better memory than mine should fill in the blanks. Did Butch keep one, and sell or trade Pat for the other, guess that's how it went? please fill in the gaps

Don't know if you are a rarity collector, but in case you are, look out for the vhtf, and presumably withdrawn stock copies which have the misprinted title - https://www.facebook.com/#!/photo.php?fbid=154986977893418&set=a.154986961226753.33678.100001463516070&type=3&theater hth

From memory doesn't the original have a raised capital X in the run out groove? (maybe it's the lazy capital S?) I thought it was always one of those records in pre-internet times that's nigh on impossible to find (you can have 3 or 4 copies of his Veep gem for every Sky-Disc original at least) and have seen it sell in a venue for 350-400 quid for a tidy looking copy. Maybe in these "you can find anything on the web" days more copies have been turned up, but my guess is maybe folk think they're buying originals when they're not, and you cant take it as correct when looking through popske etc that just because the seller says "original" that they are correct because visually they look identical, and i've looked through lots of the photos on popsike and non of the ones I looked at (which all fetched decent money)appear to have the raised capital letter, which imho makes them "second issues" at best, outright boots at worst? Or is it that this 45 is no longer fashionable? or all that well known with the younger "I started in the later 80's crowd", and hence suffering 'triple dip recession/you can buy any non current floorfiller for 25% of what it was at it's peak' ? Or perhaps it's just some of us old farts fought long and hard to get one into our collections and don't care how much guide books say 'cause we ain't gonna sell it at any price ;-) (if nobody else confirms which raised capital letter it is I'll go digging over the weekend) hth

I'm sad that so few think highly enough of the Albrighton Boys (n' girls) to give just two from 25 a mention (Gary H. & Butch) in 60 posts. In that pretty awful 90's/naughties period when Nostalgia threatened to completely drown the real soul scene, the Albrighton DJ's stood up to be counted, and continued breaking tunes (and attempting to break tunes that others later managed to win through with) and reviving former 3 spin wonders that most had never heard. Des Parker, Chris Anderton, Martyn Bradley, were the tip of a large iceberg and fit your critieria of "no longer regular DJ's on the 60's Niter scene". I'll always applaud one young lady who more than made her mark, Jodie, and she summed it up perfectly because she played what she believed in, not what was known, or what was "currently in", and all the DJ's collectively pushed the boundaries, in tempo, style, genre and era. I'll finish my rant with this - When major record sellers and DJ's came along to guest, often there was an element of unease on their part, because the reputation of the club was that they'd have to dig deep to compete (and much as I hate to admit it, it was that sense of raw competition between the regular DJ's that drove the club forward) But perhaps my proudest moment came when one total legend said " I honestly didn't know half the records played tonight, and they were all great"