Chalky

It was definitely around before the 25 give or take the odd one turned up early 2000, I'd go for later 90's when hearing it out and about. Didn't hear Keb too much when he was into his Deep Funk. Keb was as far as I am aware the first to make anything of the record.

Butch found it in the early 90's but it was a few years later when Butch let Keb have it. It would be early 2000, around the time Lifeline was starting when the box of 20 odd were found and it hit the Northern/Rare Soul scene big style. Most of the copies went to DJ's or collectors who were DJing.

From the beginning, 82 & 83. I will check when they stopped. Two eras if youlike for Tony's as well, The time when Guy ran it and then yourself Mick.

It is such a vast story, you need to get the venues and the timeline as suggested and then decide what you wish to focus on and take it from there. Some of the venues despite being popular were not ground breaking and featured mainly oldies, especially during the 90's.

Recent Clifton Hall topic.....

Maybe as many good as bad was off the mark but from what I do know are Wigan records, there is many that are extremely poor, many that haven't stood the test of time BUT I could say that about other eras as well. Younonly have to look at the vast number of records played in the past and how many most DJ's rely on to satisfy the dancers, a small percentage when analysed. The point I was trying to make is when you are attempting to be ground breaking dross is going to get played, Mecca, Wigan, Cleethorpes, Stafford and today. The Hamilton Movement, well if I had a choice of some of the Wigan pop or records like the Hamilton Movement I know which I would choose.

Topic regarding 80's venues.

Oh nearly forgot Ruff Cutt, Shotts!

Previous topic with link to my flyers on flickr...

If you go to my site you will see the most complete record of who played what at Stafford, still more to do. There is almost 60 podcasts, nearly 300 photos of the rogues who frequented not just Stafford but Oddfellows, Blackburn, Chesterfield and may other 80's venues. I have echoes from the year and half after Wigan and there are a lot of bleak weekends but the two mainstays were probably Cleethorpes and Clifton Hall until early to mid 1982. You then got Stafford, Oddfellows, Morecombe, 100 Club, Warrington, Blackburn, Chesterfield Winding Wheel, Bradford and countless other venues, some just a nighter or two, some a year or two. i have loads of flyers, many on my flickr page, echoes and other magazines. Let me know what you want specifically and will help where ever. I will be doing a definitive written history of Stafford with hopefully Dave Thorley when I get to the end of the podcasts.

Whenever it was it wasn't when Stafford started in April '82 unless it was another DJ.

I don't need to go anywhere to form an opinion about any particular record, just like you are forming an opinion about this record. You seem to have an opinion about more records than anyone on here witout out justification of ever attending a venue where it was played.

It's been played out by one or two in the past. there has been a recording about for soemtime, was said to be taken from the tapes, given to a few and played here and there. I'd never seen nor heard of the acetate till it appeared on JM's facebook page. Great record and surprised it went so cheap really, same for Out A Sights.

Don't forget for some unexplained reason the postage is included in that £36 and £135. Another back door tax aimed at screwing every last penny put of us.

Years gone by those fewer djs had some imagination now the large majority don't...they are the ones that are limiting the scene not those with records only a few exist, one offs etc.

It doesn't limit or undermine the Soul scene, some people just don't seem to get it. The scene is built and based on rare obscure records, records you have to travel to hear, records that make a dull working week wothwhile. It is that 0.01% who make it worthwhile not the lazy ones who play the same records as the majority, those that cannot be bothered putting the hours in and seeking out a decent imaginitve set and a set that doesn't have to cost the earth either. The whole ethos and values of the scene are being eroded away by the mentality of many out there. As for downloads or cds, if that is the original format then play the sodding thing, people make hard work of something so simple.

If you saw this for a fiver you would definitely buy it, you'd just come on here and sell it for a vastly inflated price

Do the lazy f****** who play boots and pressings get paid less than someone who does it right? No I doubt they do so why do promoters book them, do they have their own promotion that they wish to DJ at as well? Probably! When in tescos or whatever supermarket you use you don't pay the same for the value line as you do for a brand line. Plenty of DJ's who do have the real thing so do your customers s favour and book them. Promoters should worry about giving people decent surroundings with a good atmosphere and a good sound system. If everything is right they will pay the money and return. When people are paying hard earned money to get somewhere and get in to the venue then promoters shouldn't cut corners.

There has been plenty of copies about recently, it ought to be £50.

Pressings have been selling for daft amounts for some time now, long before the film came out

Just got round to watching this, absolutely fantastic. They can all clap in time too..

I will have tickets for this night at Lifeline tonight and the 100 Club next week, come and see me if you want one. Don't leave it late, it was sold out the last two years and if Debbie Taylor last year is anything to go by this will be a fantastic night.

R.I.P. Jimmy.

Yu d talk some rubbish. No amount of lateral thinking can get away from the fact it is a bootleg, unauthorised and illegal. No matter how you look at it, no permission was sought, no rights obtained no royalties were obtained by the rightful owner. I don't need to read any magazine nor look into any collection. Neither does a discography legitimise a bootleg.

I did read that unreleased material goes into the public domain after 50 years, that being the reason the Beatles have been issuing unissued material of late. But back on topic, I find it incredible people attempting to legitimise bootlegging simply because it wasn't issued