maslar

Within record collecting there's alway been a market for re-issues. it's only within the rather narrow confines of northern soul that re-issue is a dirty word. which is a pity really.

There's no such thing as "overplayed". Ask any classical music fan who's listened to Beethoven's Symphonies thousands of times over the course of a lifetime. Or an Elvis fan who plays Heartbreak Hotel every day for fifty years. Or the Beatles fans who play their catalogue over and over and never get tired of it. You mean you personally are tired of hearing it. Who's going to buy it? Anyone who wants an unusual legitimate format of a very rare record is a good starting point. Add other indicators such as "soul" Motown" etc.

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How much will the RSD release be sold for?

Indeed, you've got four copies yourself.

DG was perfectly entitled to use to use the phrase "Keep The Faith". It's a biblical quotation and therefore anyone can use it: The famous line from Timothy which has given rise to three well known phrases: Paul - "I have fought the good fight, I have finished the race, I have kept the faith".. Also I'm pretty sure the phrase "Right On" came from Shakespeare though I can't remember which book. again no copyright infringement.

cultural facility?

animal man?

Very true. Incidentally at the grammar school I went to we didn't have an after school blues club. There was woodwork and gym. sadly no blues appreciation. Ah those grammar school days. And if you'd left you wouldn't have been welcome at any of them.

Strange perspective. People of all ages are still buying the entire Stones catalogue today and listening to it. It's still relvant to many people. I don't think anyone who seriously appreciates music can deny the influence of the Stones and the Jagger/Richards songwriting partnership. Is that your point? What exactly is your point?

He didn't have control of either - it wasn't a trade mark. Just a moniker.

You seem to have a bug up your a*** about my grammar school attendance. I'm talking about a sytem that was in operation. I didn't leave as I explained to you the last time you tried to rubbish what I was saying on the matter of Grammar Schools and using my own experiences - wasn't it a few years ago now. I didn't go to a GS for only one year. I went when it was GS. The next year it became a comprehensive, merging with the local secondary modern. You only needed to be there one year to see how everything worked. It actually kept the name "Grammar School" if you want to be really pedantic -which Im sure you don't I hope this short diversion into my Grammar school experience has cleared up your obvious confusion. (seeing as how your post only makes sense if the reader realises you're refering to a previous conversation of about three? or is it four? years ago. Yes that could be true. I don't believe DG introduced MJ to black music. MJ was primarilly a Little Richard fan after hearing him on the radio. Again it's all down to dates - when was the after-school blues club started? The problem with DG is he continually made points that just aren't true - like crediting Bob Beckwith with being the driving force behind the Stones (Blue Boys) when he obviously wasn't. The re-writing of history to gain meaningless points scored that aren't of any real value anyway: It casts a shadow over everything else he writes about that particular period. To me it seems as though he attempts to paint himself as a sort of mentor to a younger crowd. I doubt they saw him as such - probably more of a contemporary who just happened to be significantly older. Just my own opinion from stuff I've read over the years. I'm always willing to be corrected. He seemed to paint a picture of a very exclussive, almost secretive scene when in fact the appreciation of Black American music was much more widespread. As was that of American jazz which was closely related eg through leading figures such as Chris Barber. Strangley as he got older (mid 20s) he seemed to move away to some extent from the more hard edged Black American music to the popier Tamla sounds. Muddy Waters and Bo Diddley are some distance musically from Mary Wells and the Miracles.

Hanway Street today is a sorry sight. Until relatively recently there were a couple of record shops but no longer. I often use it as a short cut if I'm walking back to St Pancras (avoiding the junction) to go through Bloomsbury. It's decline is very sad.

I've covered this before -relatively recently and not sure I want to get into any great debate again. It gets to the pont where you look as if you've got some grudge against DG (which I haven't) but then again I've never been one for swallowing BS however diluted or candy-coated. I read the "school story" years ago and straight away thought it was false. I went to a grammar school and the age gap (seven years) means you are not at school together. I gave DG the benefit of being in the sixth form but even that doesn't work. Some grammars like the one I went to had a "third year sixth". Tha would have worked in DG's story - but it was for pupils wanting to got to Oxford/Cambridge.. DG didn't fit into this category. Later I learned he left school at 16. So the story about meeting MJ at school is false. Unless he walked him home from primary school. The story about discovering the blues in 1952. Personally I think this is unture. I'm not sure whether it was deliberate or not. But it obvioulsy affords some seniority in terms of "time served" among his contemporaries (ie "I was into all first"). My own view - given DGs recollections about records on jukeboxs, etc, in a cafe he viisted - is that his introduction was probably in 1955 or 1956 (I've explained this in a recent thread). This would put him getting into black music at about the same time as MJ and many others (even though they were much younger). He certainly wasn't "senior" to any of the mainstream leading blues affecionados eg Korner, Barber. The story about DG telling MJ to f*** off - First of all Jagger didn't need any introduction to Gaye. But most importantly they had already met and were on friendly terms prior to Marvin Gaye ever leaving the States to visit Europe - at a concert in the States where James Brown also performed. There are photos of backstage meeting between Jagger and Brown. (no introductions needed). I don't doubt that DG may have been rude to MJ at some point (I always thought it was at the Ready Steady Go studio) and that Marvin Gaye may have been present but if so it would have looked very bad for Godin. Let's not forget that (outside the gospel according to DG) Mick Jagger was a huge star and he could have had Godin banned form the studio with a snap of his finger.

Excellent info.

Focussing on the 201 would it be possible to produce a (near?) definitive list of legitimate issue (and reissues). and then those that are not. Including styene and vinyl versions that could once and for all put an end to any confusion. The info tends to get fragmented then re-run, then misinterpreted etc etc. E.g. is it now established that there were pink (and grey?) label vinyl issues released originally?

I can answer that -because i bought one in the late 70s. -Demand. It was easy to get hold of on a Saturday afternoon and relatively cheap. Ive still got it -

I always thought only a handful of Revilots had been pressed: DB OLIITP, JJ barnes OLIITP, Rose Batiste Hit and Run, Parliaments Don't Be Sore At Me.

Was it released at the same time as the Quality? Or two release dates?

I've always thought it was pretty simple regading the US pink labels: The pressing are pale pink and obviously vinyl. The originals are darker pink (salmon pink?) and stryene. They may have stamped matrix or may not. As for the Canadian vinyl release. does anyone have an accurate scan of the label/colour. I'm guessing it may be easy to assume its a pressing when it isn't.

Bo Diddley's "Gunslinger" came out in 1960. DG would have been 23/24 by then. What school would that be exactly? Also by that time MJ had been into R&B for years. Bob Beckwith was one of two guys who joined some already established jam session when they were really all just messing around as schoolboys. The idea he was the the motivating force behind the Stones is completely absurd.

Well he cartainly talks as if he knew him. The Stones were London based then so I don't know. Actually looking at the interview again he claims 1953 was his start point (hearing Ruth Brown on the jukebox that also had Fats Domino and Smiley Lewis). I'd suggest 1955 would make more sense since all three had UK 45s (inc Mama He Done...)in that year. It also ties in with the start of the jukebox boom in the UK. If that's the case it would put him at about 19. I'm pretty sure (without checking) that that was about the time MJ first got into Little Richard. He'd be around 12 or 13.

So what? what exactly is the point you're trying to make?

I think he mixed MJ up with someone else. No other explanation.

MJ would have been nine years old when DG left school at sixteen. Even if he'd stayed on till upper sixth they would have still missed each other.