Geeselad

How very dare I! No room for cynicism here.

I wasn't around in the 70's but I find the bootleg factor indicates a tunes popularity.

I recommend these https://www.hanacartridges.com/products/hana-umami-red

I do remember a superior system at Keele

Can't recall the quality of sound reproduction being discussed on here. Was it loud at Wigan? Good acoustics, decent system? How about the wheel, cats or torch? I know it's all relative to the era. but it's not something that folk talk about that much, unless it fails, every promotors nightmare, I can speak out of experience

He's also made a decent living from it. You might say he had a vested interest

Can't agree with you there. I'd love a copy, but different tastes are crucial Played world column out to a good response, it's not that fast, I'm guessing around 115-120 bpm

I'll have this from my early days on the scene And this I'm struggling to think of any proper crap that was played in the late 80's

How does a journalist come up with this crap and not ask, couldn't I talk to someone who was actually at Wigan? and if this is about now why don't we get someone into the scene now? And we could all be slagging off RS and one of those self proclaimed yoof leaders of the scene instead

I think Stef orlinski, of Biddulph had MB's copy, not sure who he sold it on to.

I can't justify it but always had a weakness for BA. GJC, just played it again, and from those first horns, I think, muck fe! Two and a half minutes of this!

Can't believe that GJG has doubled thought people would get over it quickly, sadly not

https://jazzage.thelostestate.com/book/ Thought this might inspire an intrepid promotor to do a similar themed northern do, for the yoof' "The Wigan age, flooded bogs, getting rolled and sold duff gear. Coming to a venue near you..."

I don't think the wheel or torch had a record bar, did they? When I started going nighters it seemed to me where the action was, as a music fan primary, obviously the dancefloor was important but perhaps less so than in the Wigan era. By rarity I do indeed mean more focused on rarity than quality at the expense of easily available but truly great northern records. Rarity+ quality, in terms of dancefloor appeal, seems to elevate a records status to mythical proportion. I've heard comments like; 'its just not rare enough to get played' hundreds of times over the years. Since the 80's an unwritten rule seems to be; it has to be Rare, and good, obviously that's subjective ,so let say: good as in having dancefloor value, to get played at all on the scene. But it always starts with rarity or at the very least scarcity, it's a prerequisite.

Two different entry points here, that was my point initially, and two different experiences. Rarity was certainly embedded when I started in '87, but the desire by everyone to DJ wasn't. Getting involved was through social aspects, collecting or dancing. Exclusivity and rarity now mean practically the same thing, in 1972 I don't think they were. Someone must have been the first to play landside, but I can't have been long before most djs, playing decent size venues, had a copy, weeks? Due to its relative abundance as a nationally distributed record in the US, not quite the same with the mello souls was it? That's why I make the distinction between between rare and exclusive here.

It's not always as straight forward as you might think, herb ward- honest to goodness, I know minshull first played it off the funky bottom congregation compilation on UK RCA.

Tbh I hadn't considered this factor which in turn ties in with the rise of bootlegs

Obviously I wasn't around but im speculating that the focus was in the music rather than the djs, and indeed the atmosphere, dancing and other pleasures.

I've heard so many punters from the wheel and torch era say that it was never about rarity, and reference many common records and new releases that were played. When did rarity or perhaps exclusivity become of paramount importance in terms of northern soul? As I'm writing I'm questioning my motivation, recent discussions on trophy DJs and ego's dominating playlists. Tin hats on standby

I see parallels with Skate and BMX freestyle, that started around the same time, incidentally. Lots of coaching and training for these activities around now but I don't here the old school bemoaning the pursuit of excellence in kids through instruction. I'd say it's more to do with the likely quality of instruction, in this case, sounds like an OAP's aerobics class tbh, rather than somewhere you could actually learn how to pull off gymnastic floor moves, in your 50's. One beauty of 'the scene' is surely that's it's both inclusive and exclusive at the same time, once you start to break it down into technique you begin to lose expression and interpretation. Some of my favourite dancers have distinctive styles that would never win any competition but in terms of expression say so much.

Love diet is a great to track by them on 20th century