Quinvy

What’s SPG?

Most of these records are acetates with unknown artists.

Can anyone help please? A while ago, someone put a tune up on this forum. Male vocal, 60’s. Only a cheapie, but the backing track was almost identical to the great Mr Lucky, Born to Love You, mega rarity. I meant to get a copy at the time, but have totally forgotten about it, and can’t for the life in me remember what it was. Any help would be greatly appreciated.

I’m sure that an email to Craig would provide the answers.

On the other side of the coin though. Discogs is responsible for a race to the bottom for prices of common records. Every seller has to beat the competition in order to generate sales. At that end of the market, it really is a buyers market.

Why are you calling everyone mush, Mush?

Very good Rod.

I only ever saw this happen once, and I won’t mention the person’s name, because his set was totally ruined by the tone arms constantly jumping on the records.

How the heck do you change the carts/head shells and set them up, at an event? It’s dark, and you’ve only got three minutes max?

Yup, seen loads of dealers using those.

Well I don’t know what’s happening there then. When I clean records they end up sparkling.

This fits in with my own personal findings, and it’s not just confined to dealers either. The decks and PA at many events is also either of terrible quality, or badly set up. Makes me cringe thinking of the damage being done to some incredibly rare vinyl, and to peoples hearing.

Once you get to the classics, most aren’t rare, but are so popular that everyone wants to own them. Therefore they become scarce to obtain, but will be plentiful in Dj boxes and collections.

Apologies for going off topic a bit. I agree. When I used to go out regularly, I could hear when someone was playing a carver or boot. The quality just dropped. In my humble opinion, digitisation of music has been the worst thing to have happened. I can hear the difference when MP3’s are played. I refuse to use them and record all my vinyl onto WAV files. I’ve never tried playing my files through a big system, but would be interested in hearing it in comparison to playing vinyl.

They have been skimmed, or polished. A disgusting practice, where knackered records have the surface removed with a light abrasive surface while being spun. I’ve had loads over the years. I just send them back straight away.

I’ve remembered number two, Barbara and the believers on Capitol. Sorted now thanks.

Many thanks Alan, much appreciated.

So I've been trawling through my minidiscs today. Old recordings of my vinyl from years ago. I've tried Shazam, but just can't remember who these two are by. Any help would be appreciated. Mystery 1 _1.mp3 Mystery 2 _1.mp3

Thanks Mike. Nobody could get it, tried shazam etc Not really soul, but very catchy.

Just going through loads of old minidiscs, and can't remember anything about this track. Sounds like a Carolinas thing? Mystery 1 .wav

The original copy was in Andy Killick's possession last time I heard it played out. [Burnley allnighter]

For anyone who loves this track as much as I do. I never knew this existed until yesterday. WILLIE HARPER - HERE COMES THE HURT AGAIN - on a 7” single. Backed by the Lee Dorsey version on the flip!!!! Cheapest I’ve found is on Discogs.

This is Tim’s answer to the warp questions. It has a slight edge warp. Jonathon stated it was there when he bought it...but from where it came i dont know. The chip shop story is not that record ..its the Jades.Manships assertion that it doesnt play is incorrect, i once played it at the Ritz Rarest of the Rare allnighter. Lee Jeffries bought the 2nd copy ex Burrell that Kenny let Frank write all over.

Well I don’t, but I think Tim was unimpressed by certain people rewriting history. I simply posted it as a point of interest for members to read, if they actually gave a FF.

DO I LOVE YOU - THE WHOLE TRUTH! Many of you will have seen the recent Guardian online / Observer newspaper article concerning the furore over the legacy of ‘Do I Love You’ in the wake of Bruce Springsteen’s recent version. If not, we apologise for bringing it up again, but quite simply, Russ Winstanley’s version of events is so distorted (as reported in the article) that I simply had to put on record the TRUTH. I cannot allow the history of the scene to be re-written. Richard Searling’s alternative account in the same article is largely accurate. Quite simply it has to go to arbitration, so here it is… In 1977, Simon Soussan sent at least one acetate of ‘D.I.L.Y.’ over to England identified as Eddie Foster. Winstanley played the cut at Wigan, and it was an instant hit. Shortly after, other deejays were sent early copies of the vinyl bootleg (actually styrene) ‘Eddie Foster’. Soussan had earlier borrowed several Motown discs from Tom De Pierro who was in charge of the Motown archive in L.A. ‘D.I.L.Y.’ was amongst them. Soussan later, upon failing to retain the discs, gave De Pierro money for them. By 1978, Soussan was having big success with disco productions and had turned his back on Northern Soul. He sent his collection over for Les McCutcheon (Colin Bee) to sell for him. McCutcheon had become Soussan’s major outlet for N. Soul. At this point he offered to sell McCutcheon the original of ‘D.I.L.Y.’, bearing in mind no-one knew who it was really by. Upon handing over £200, McCutcheon was astounded to find out that it was a Motown recording. It then remained in McCutcheon’s ownership for a year or more and was lent to Winstanley to play the original for a while. Russ Winstanley never owned the original disc. In a meeting at Colony Records in Nottingham, deejay Jonathan Woodliffe asked McCutcheon if he would sell. “£500” was the reply (bear in mind that the highest price for a N. Soul record was £180 at this time). A deal was done under which Woodliffe paid for the disc in instalments. This was in 1979. By the following year and now deejaying in jazz funk circles, Jonathan swapped the disc with Kev Roberts in exchange for £500 of 12” releases. It then remained in Kev’s possession until sold to me for £5,000 in 1991. At this time the only N. Soul record to have sold for a thousand pounds or more was Robby Lawson’s ‘Burning Sensation’ (sold by Anglo American to a Yorkshire collector). It was at this juncture that Martin Koppel located a second copy in the possession of Detroit record guru Ron Murphy. Murphy also had a test press of Chris Clarke’s unreleased version which had been destined for V.I.P. Records originally. In 1995, Murphy sold Anglo American his entire collection, which included a mint, unmarked copy of ‘D.I.L.Y.’. This, in turn, was sold to Scottish deejay Kenny Burrell for £15,000 in 1999. 2001 saw Goldmine Soul Supply bring Frank Wilson over to sing his songs at the Fleetwood weekender. This saw Wilson (who was no pauper after writing many Motown hits) offer me £35,000 for my copy (which was refused). Wilson had been unaware of an original SOUL label release until the nineties, or even of a re-release of it. At this point the story becomes rather better known and we will leave it there, suffice it to say that a few years ago a test pressing turned up in Detroit and was purchased by Jack White, formerly of The White Stripes garage rock band. The two original copies are the only ones known to exist. Tim Brown 24.11.22 (exactly 57 years and a day after the original was ‘approved’ by Norman Whitfield at Motown’s offices)