Chalky

Unless you are on the receiving end of the rude and obnoxious comment

Dave would have played this at the same time as you would he not? Certainly before the demise of Clifton Hall.

He fell out with everyone didn't he? He could be down right rude and obnoxious. Never really bothered with him to be honest.

For another insight go to my website and read Pete Lawson's and Jock O'Connor's magazines from back the, great reading and Pete doesn't mince his words either. They are there in PDF and ebook, took me ages to scan them. Shades of Soul was a fantastic magazine, the best IMO, I have all the issues.

One of the reasons possibly why we can't believe the prices today compared to what we was paying and how many copies we saw back then of each title. Some pretty common records back in the 80's fetching stupid money that some wrongly claim are rare.

I think by 1987 prices were beginning to rise, wouldn't be long before "offers" was to be introduced. I have some lists in the garage from then, will dig them out and see if anything interesting on them. but even up to the late 80's you could get rarities for a couple of 100. I paid £150 for Sir Ceasar (my first three figure record), half a dozen or so known copies at that time. £150 for Jesse Davis on Era. Most of the stiff that goes for £400/£500, even records that are now £1000+ today were as little as £10/£15.

Sure Clarkie said he has this at Yate, certainly had it early Stafford.

Tunde Aleem

I still have the list we compiled on here some years ago of Deyroit, New York labels etc. will dig them out over the weekend. Great bit of work this one and like Robb sure I was sent a link for studios few weeks ago.

Sarch Gold Soul on here, more or less the full story, I posted newspaper clippings etc.

How much are the manchester tickets!

Wouldn't mind a copy

Security and Satisfaction doesn't ring any bells at all?

Have you still got the tape? Hearsay, What I Say, is it modern soul? If so probably Electric Express - Hearsay. The other could be as Andy says Ringleaders Win You Over, flip to the All My Life acetate.

I takethat back, his latest very best of latest releases is videos and I am having trouble opening.

Randy in his defence has taken note and just put links in his post, loaded straight away for me his latest.

Milton may own the rights as writer but Ollie probably owns the masters unless there was a contract to stipulate ownership was Milton Wright's.

what Steve says Great show.

The North East always had a presence. Top lads and lasses.

By British do you mean 60's releases or something done recently? If recent then they aren't the original if they have had a US release already, even if they have been done right. Again it goes back to tailer made for the scene Agan it just undermines the DJ's who are doing it right adn I'm not saying Nige or Sean aren't doing it right, I know what calibre of DJ they are etc, two top lads. there are enough original records without resorting to tailor made material IMO. There are enough DJ's with the biggies too so they should be booked.

Personally if a 45 has seen a US release already then I wouldn't play a UK reissue. If it has never been released then I wouldn't have any hesitation in playing something and I often drop an unreleased Kent 45 in a set. No hesitation in playing an LP either. That is just my own opinion and if I was promoting or paying to hear a DJ then I'd expect the same philosopy.

T first two were excellent. Julie Cullen let others tell the story which is how it should be. Some honest accounts of the times and a hreat insight if you weren't there. Winstanley undid all the good work of the first two. Did he tell any actual facts. Did he have the FW to sell for a grand, I thought he got a dub and only borrowed the real one late. Did he really ring Frank Wilson to say He had the only copy in his hands and was playing it at Wigan? I know he was a key element of the Wigan Story but I would have preferred less of Winstanley and more from the people who went as dancer, record dealers etc and also something from Richard.

As said it is really quite simple, some just muddy the waters or complicate the subject, usually to justify playing a dodgy sevens or other dodgy release out in the name of OVO.

The original release is Mary Jane, it is the copy I would expect any Dj that I was to employ to play it off or any Dj that I have paid good money to listen and dance to to play it off, it isn't as though it is super rare on Mary Jane either. If it is a UK release and unissued then fine play it as long as it is legal but if a US release, released at the time of the recording exists the. that is the copy that should be played at any OVO night as it seems to getting called.

I don't think anyone would disagree with that would they? Pressing though, the term has become somewhat legitimised dues to way items are described on ebay and more recent collectors don't understand the term as we do/did. People have also over complicated matters in their own quest to be seen doing it the right way when they know they are doing it the wrong way.....if you get my drift.