Chalky

So would I but I guess when you are Butch you have so many great records you can let some wait their turn. TBH I thought I heard it first from Butch but could well be wrong, memory not like it was.

Rod Shard had it first as far as I know and sold it Butch in the 90s. Andy got the one that came from Barry James and was going to Ian Cunliffe originally. Brian Wakelin from Blackpool found the copy in Blackpool. That went to Sam.

1200 or 1500 pressed not 500

You would have labels like Dore probably using the wrecking crew. They did use Gold Star studio where Spector did a lot,of his work with the wrecking crew.

Pmed you

Robbing cnut. 1200 copies sold and you get people like this expoliting the scene.

Butch has the original acetate.

You will probably always get good attendances in the cities, particularly with a good student population, Leeds, Manchester, Sheffield etc. Most probably perceive it as a night out. In reality that is all it ever will be for the vast majority of them once they leave Uni and go back to the real normal world. It would need a high percentage of these kids to really get into and travel for them to continue the scene in ten, fifteen years and that is far from what is happening. I was at King Georges Hall recently and the vast majority of the crowd were nearer their pension than a student grant....even I felt good about my age

From what I have read the bassist on "I Want You Back" was Wilton Felder. Some info in the link below regarding "I Was Made To Love Her", most of those behind the song claim it was JJ. https://www.songfacts.com/detail.php?id=14131

The original use of the backing and the best for me.

But its marketing strategy was white kids and the pop market, not the black ghettos. Anything "too" black was canned. Again we digress

I know Wikipedia isn't always correct but it says Wild Bill Moore played tenor sax, no mention of George Benson. It also tells you which tracks Bob Babbit and Jameson played bass on. https://en.wikipedia.org/wiki/What's_Going_On_(Marvin_Gaye_album) Not sure how accurate the article is but it does go into the recording of the album in some depth.

It is well known Motown used the wrecking crew at times for West Coast recordings but I doubt CK ever went near Detroit and the Motown Studios? Whether she played bass when the wrecking crew was used is not clear either is it as she wasn't the only bassist in town?

But the scene, especially the Djing side of it is built on rare original records. The are loads of Djs young and old with decent originals so if you haven't got the equipment leave it to those who have.....or start your own night (not that any more are needed) and play your boots. But let everyone know what you play and they then have the choice to part with their hard earned money. But a very good set of originals can be built with little money, just needs some imagination. I doubt any collector worries about who is gonna swell their pension in the nursing home.

I always believed the Carol Kaye claims were rubbish and the document of David's finally dispels the rubbish. Interesting read.

That's because they hadn't been hammered for 40 years.....we got into new discoveries so what is wrong with that for todays crowd? Surely it is about the quality not the venue it was played at? There is some fabulous brand new soul music as well. Take the blinkers off, as long as it is good enough there should be no problems.

I never saw any discounting for the US buyers when the pound was strong?

I thought when the price reached around £200 I thought that was too much but jeez £521 is balmy.

Why do some expect the US sellers to discount? We have had it good as far as currency rates are concerned for a long time. A high pound isn't the norm. I didn't see many Brits discounting for the US buyers.

Most at a venue are out of the old folks home these days

Spoken to him today. He is and has been tied up fitting bathrooms at his and his mothers and decorating. He said today he's nearly done and can get back to records but I'll pass on you are seeking him.

Great record IMO but it has never really worked or taken off. We used to play it at Lifeline but always struggled with it.

By comparison though Azza, whilst the scene in Europe and further a field for that matter, is healthy and growing it is small by comparison to the UK. The amount of venues in the UK alone on any given weekend is probably more than the rest of the work put together, there's probably more venues in the North West than Europe on any weekend You are right though the scene in the Uk will change. Whilst there are more youngsters than say five years ago, there still aren't enough to replace the mass exodus that will happen given the average age of allnighter and indeed soul night attendees. The average age has to be in the 50s, I have little enthusiasm at the minute for nighters, mainly because of my job, 60-70 hours per week and away all week, and the recovery time. I cannot be alone in that regard. The large majority at any venue are getting on and they will leave the scene one way or another in the next ten years. I doubt there are enough or will be enough to replace them but that won't be a bad thing. Hopefully the commercialsim will recede and the divs with it. But far too many youngsters seem to be going down the oldies route, not sure if that is to get on the DJ bandwagon or if that is their preferred taste but hopefully that will change otherwise it will be as stale as it is now. But in reality no one knows how the scene will look, will the youngsters still be as dedicated and hard core when they have bills, mortgages and have to hold a job down...not to mention kids? P.S. i don't really care how it will look, it is up to those who will keep it going to define how it will be at the end of the day. I doubt anyone really cared 30 or 40 years ago, we were just youngsters living the life, I doubt any of us thought it would still be thriving today.

There are no bands performing heir own material that can be considered "Northern Soul". There is no such genre anyway, Northern Soul is the scene. As said there are bands doing covers of old US soul tracks, many that are played on the Northern Soul scene but they have little relevance on the mainstream scene itself.

The above is nothing new and has been happening in many university cities/towns for years. Yes they enjoy it but it is whatbhappens after the night and especially more so when they leave university, hardly any get into the scene, it is just a night out, hardly any have the dedication to take treat it more than a night out once a month. Practically none of them will travel to nighters etc. That in itself is fine, nothing wrong with that but it isn't going to help the scene prosper.