pow wow mik

Anyone got a decent playing copy for me? cheers

After a copy in VG+ or better please cheers

Might be of interest to some on here : An original hand-painted late 60s poster advertising British soul band 'Johnny Johnson & The bandwagon' playing at Sheffield City Hall. Quite likely the only in existence. Came with a batch from the psychedelic era so i'd guess it's from around 1968. https://www.ebay.com/itm/Original-60s-handpainted-gig-poster-soul-group-Johnny-Johnson-and-the-Bandwagon-/252734500006?hash=item3ad8266ca6:g:ttkAAOSwopRYg6Vm

two versions of Noel Owen, one on STAR and one on MYOWN... which you after?

It's a recent press - a boot

Lou Lawton - Knick Knack Patty Wack (Wand) styrene DJ copy VG+ One mark NAP and cue-burn on first clap of the intro keeping it off EX. Still a nice copy £350 inc. postage

WENDEL WESTERN - NAG ON ME (SOUL SAUCE) VG++ nice clean playing copy of one of the ultimate funky r&b / soul tracks £550.00 PM or e-mail recordmik@btinternet.com thanks

ON HOLD Original Ex copy of INELL YOUNG - WHAT DO YOU SEE IN HER (LIBRA) Bought in 90s as old stock mint, played a handful of times £550.00 (including recorded & insured postage anywhere)

Is this confirmed? I heard it from someone, posted a tribute on our pow wow facebook page, but I cant find any official report of it.

Anyone got a staccatos on rocket please? PM or email recordmik@btinternet.com cheers

It got three issues, this one is the first I guess, then 'Top Level', then Tri-ode? It's strange how the issues credit totally different bands though. Always assumed that it's the jazz musician Frank foster who recorded for Prestige and Blue Note. Quite a big artist so maybe this started as a community project or something. Or maybe its the other way round, and Gramblin College just nicked a tune and pretended it was their band... Grambling college is in Louisiana though, and the famous Frank Foster was from Ohio / Detroit so might be a different guy. And then Tri-Ode is a New York label...Hope that clears it up!

Lou Mayer - Lose that man (Rae Cox) e-mail recordmik@btinternet.com cheers!

Do you especially need the bert hunter version of good humour man? It has his vocal obviously but the backing track is the same as the clifford curry and mighty sam versions, which are £5 records...never thought his take on it was that much better than the others, but it is the rarest.

A house dj playing known old records on a usb stick is unlikely to be doing anything that creative actually, but might still be mixing on a midi interface type thing, beat mixing and adding effects, loops etc. You know - things that require a bit of skill and creativity? Cant quite see how doing the same with old soul records would leave room for any creative input from the dj except picking the tunes and playing them after each other...wow. Whatever era of the soul or mod scenes - the creativity and excitement hasnt been predominantly due to djs' skills but their ability to find unknown records. As digital djing doesnt involve any of that, it wont have the creativity and excitement of the past scene. Pretty much as I said before.

Vintage music scenes are inextricably linked to record collecting though, and for good reason. I dont think so many people would be attracted to the culture of DJing if it really was reduced to downloading mp3s of known music and 'putting them together in an order that works!' - there is some skill to that part of DJing, but not much, and it's a skill that is a lot more easily acquired than an interesting record collection is. The thing about collecting as a component of DJing is that it is the creative aspect - the bit where you can genuinely do something no one else has, the bit where genuine cultural influence can be in the hands of a normal person. That is - finding unknown or barely known music and presenting it to the world. That and that alone is the real pay-off for djs, filling dancefloors is great, but without the process of bringing new tunes through, is creatively vacuous, and makes you little more than a hipper wedding DJ. Considering that, it stands to reason that when there is the sense that there is nothing realisticly left to find, for the average collector / dj, that is fresh to their audience's ears, the thing will gradually fizzle out. At that point, record collecting will be reduced to an individual enterprise, based on individual collecting goals, will lose any relationship to social culture and will fizzle out too. Thats the reason tbat the creative end of the soul scene has explored new genres and styles, and is why the mod and r&b scenes are still relatively creative - they're a generation or two behind northern soul and have a wider musical scope, so, whether 20 or 70, theres still things to find for the DJ that will let them do something individual and creative. Listening through tunes on youtube or downloads lists, and chosing the ones you like isnt only tbe preserve of young people anyway - why would that be more popular with a 20 year old than a 40 year old?? - but in any case I can never see it giving people the sense of expression and adventure that djing via record collecting does. When every decent tune is either pressed or digitalised then djing as we know it, and the culture that goes with it, is over; it might well be the case, as you suggest, that a new culture of selecting tunes from a list and putting them together well develops, where I suppose effort and knowledge would come through in its own way, but it wouldnt be the competitive, creative and varied adventure that this, in all its variations, has been.

Maybe, but we won't be playing pop at weddings ;-)

Might trade for the right thing

Already happened, I've just heard. As we see in every field of human endeavour that you can imagine, greedy corrupt shitbags always around to ruin it. No wonder aliens wont talk to us.

Dont want to get into bootleg ethics again, but old records aren't comparable to art. Art's primary function is visual, so a fake - cheap or not - is going someway to serving it's intended purpose. records were made to be listened to, but the means to do so is now free, so its a fake of superseded technology and has no purpose. Old records have two functions still - the means to hear new music, if the record is unknown, and the collectibility as historic artefacts. Bootlegs dont serve either purpose, I dont see how having one is second best to owning an original as is often stated - surely just listening to and enjoying the music is second best, not owning some fake piece of modern tat.

Yeah, would be great, except for the shortage of newies and exclusives

Forget the soul packs, the scoop here seems to be that there exists a secret society of bootleg biggie sharers...and no doubt the seedy things have been hitting plenty of club decks over the last year or so, passed off as originals!? Ha ha, lads, your scene is fucked and looks like you've got your own Dr Evil to boot...the shadowy puppet master with his pretend records and lionel ritchie anthems... Enjoy! :-D

These days, I think it's precisely when records have had their day that they start fetching daft money; This indicates that the slow to catch on are also the biggest spenders; makes you wonder how they got so rich, unimaginative plodding i suppose! A few went for £600 yes Matt, I just missed them and paid £800

the $6000 one in 2012 was bogus - two willy waving deperados collided and the winner refused to pay what he'd bid and it ended up going for around the third highest bid, which was about $3000 I think. I love it, but it's fairly well played out now, so paying this much for a barely listenable copy is bizarre. I find it all a bit distasteful...it's like some people's whole self-esteem is resting on record acquisition

Jonathan Capree - Gonna build me a mountain / Big city (Ox Bow) Ex Not a new copy, one of the first two found in fact, been treasured by me for ten years. Signs of use but no scratches, plays clean and with big booming sound £2000 pm or e-mail : recordmik@btinternet.com

got an ex one £30 if any good