Ged Parker

Done my bit Jayne. You should make sure Sam Williams doesn't let the venue "Slip through his fingers" Sorry I know this is serious but I couldn't resist.

The Cordells - You do A Thing to My Mind

Anyone?

lol what's Dave Rivers got to do with it?

I have no idea how much I've spent; tand this is the odd bit; or if it's been worth it. There's times when I have absolutely no doubt and would do it all again. Then there's othertimes when I've spent money on records that I shouldn't have and I realise what a selfish t**t I am and at that moment its not worth it at all and I curse the addiction just as surely as Jekyl must have cursed Hyde.

For a mate? It's OK Phil if you've given in to the darkside you can tell us

For me the Chandlers took about 15 seconds to become one of my all time favs. Even back then there were people who didn't like anything slightly "different". It was the ones with closed minds that left the scene and wouldn't have liked a lot of the output at Stafford etc IMHO. Why do we expect them to be different now they have returned?

Every credit to him. I don't suppose it's decided by public vote?

Superb tune . Also I think there's a lot more that was played then that don't cut it now The Parliaments is another that would have worked then. In fact the spectrum of what got danced to at the Casino was just as wide as it is now maybe wider.

I'm gonna stick my neck out and be controversial here but I think a DJ's job is: First and foremost to understand the needs of the promoter. The promoter, in turn, should book DJ's that understand their venue and what it is about. You can't do that if you turn up 5 minutes before your spot for example. The best promoters give the DJ's 'freedom within a framework' if they step out of that framework then don't book them again. Think of the best venues (whatever that means to you) and most punters will know what to expect and will moan if a DJ goes too far 'off script' or for too long. As a DJ you work for the promoter not the dancefloor. Its the promoters job to pick the right DJ's who can create the type of night they are trying to build. It's not the DJ's job to chicken out or reinterpret what the venue is all about for either an easy life or to satisfy their own ego. I'll get my tin hat

Nothing wrong with Yoda's; I mean John's; syntax there is

Thanks as ever Roger. The matrix markings on both sides of the double sided demo look identical to the OHIH one you have posted above and to the mispress. Your scan of the AGN side is harder to make out but in any case the side lables AGN on the mispress plays Game of Love and its matrix is 45-A-BMA-13 which is of course the cat # for Game of Love. It should match the label and read A-BMA-15. So it would appear that the pressing plant just put the stamper A-BMA-14 (OHIH) with A-BMA-13 (GOL) instead of A-BMA-15 (AGN). An easy mistake to make I guess and probably down to the unusual matrix numbering system Arctic used. Cheers Ged

Hi Roger, Its much more like your copy in colouring and the label design is identical (though I am at work so from memory) The deadwax on the OHIH side is identical to my white demo. Come to think of it the white demo has OHIH on both sides rather than one being blank as was the norm at Arctic. So there must have been at least two stampers for the OHIH side at the pressing plant. I may have another look tonight and see how the two sides of the demo differ in deadwax terms.

So not particularly rare then. Why is it so often the better side that's missing form the demos too most annoying

Loads yes my neice is doing gcse chemistry

Often wondered why lemonade is made with artificial flavours and washing up liquid is made with real lemons. Be interested to know if it works when someone tries it. I'd reather not be the first though:shades:

Any one else got a copy of Barbara Masons "Oh How It Hurts" Arctic 137 Issue that plays "Game of Love" instead of "Ain't Got Nobody"? The 'A' side come from the same plates as the demo I can't compare the Game of Love side as the Arctic 134 on which it was actually released I only have as a single sided demo. Funny thing is although they are consecutive Barbara Mason releases they are from different years. Ok this may be Jan 67 and Dec 68 but still wonder how this mispress came about. Just be nice to know how many others there are.

This is a terrible situation to be in John and I sympathise (though sympathy doesn't pay the mortgage). I'd name and shame now as it seam like you've been waiting a while in any case. I know how heart wrenching it can be to have to sell prize tunes you probably never get again and had to off load one significant tune to part fund my daughters wedding. Luckily I had a buyer stateside who I know and trust but he still did a bank transfer before I sent the record. I don't take records I can't pay for there and then so expect others to be the same.

I agree but you can't un-invent them.

The music, there is nothing but the music for me. I know you don't know exactly what will be played at any venue (well maybe just a few venues ) but the line-up of DJ's should tell you the venues attitude. I didn't know I would hear Cory Cornell at Maximes but I did know I had more chance of being pleasantly suprised like that by the DJ line up at Maxiimes than anywhere else. I have been to Rugby a few times and DJed for Sian and Dean who are perfect hosts. I always found Rugby to be great especially the mix in the small room but I was DJing at Maximes so had to be there . In any case I'd have chosen Maximes over anywhere in the country. For me it was a shame Maximes and Rugby ended up on the same night but that's another debate entirely.

You do Ginger a dis-service here he has a superb collection but just doesn't get chance to play some of his rarer peices. If you'd heard him at Middleton and then compared that to a set at Prestwich I think you'd agree he can match his set to most if not all crowds. Having said that I do get your point.

I feel such a system would need to be based on actual sales prices. Not what things were advertised at but what they sold for. If it could capture selling prices on items for a given period and average them out e.g. items in the £10-20 range over the last 6 months items in the £1000+ range over the last 5 years. It could also apply the current exchange rate to quote prices in £ and $ and apply a sensible formula to grading / price e.g. M= 100% of price VG= 50% of price. Come to think of it it could apply the formula and give the actual price for each grade. Now if such a system was available on could be accessed on a mobile device i.e. Blackberry I'd pay the price of a current price guide each year to access it. I'd need to be a collector that ran it not a dealer though. I wonder if some dealers would be willing to share their selling price data for free access to the site. They wouldn't be able to massively influence the guide prices because of the averaging mechanism. Food for thought for one of you web developer wizards.

Go to any music venue outside the soul scene with 300 or more people in on a Friday or Sat night. Then come back on here and tell us there's too many piss heads on the soul scene. You need either a reality check or visit to your local Oceana to get some perspective.

Nail - Head - Hit There's differences in the same town let alone North and South.

There is a well known psychological phenomenon called the "endowment effect" that applies to lots of sales by collectors. If you buy a record for a price lets say £100, you make a choice which do I value most £100 (or the opportunity cost of £100) or the record. If you are a true collector rather than a fickle hot boxer why would that opinion change if you need to sell a record. If you still feel that you'd rather have the record than £100 you will need to sell it for more than £100. If it doesn't sell you have to adjust your view or do without whatever you need the £100+ for. People are terrified of losing out and so their view of what a record is worth if thrown out by other sales, auction prices, dance floor popularity etc. My wants list is massive and growing all the time but I'll only buy records for what I value them at and with a massive wants list theres always something else to buy. Oh and Pete why is your "Last Played" track Buddy Smith I thought you hated it?