pow wow mik

Variations...wtf?

It's a strange situation with records like this; if you're a record collector or dj you're generally going to specialise in a genre that you think is where music peaked. If you're a soul or r&b collector, it seems reasonable to pay big money for an archetype of the genre - such records on top of being popular in clubs or on scenes feel culturally and historically important, so in a sense you're getting a lot for your money. with this, great as I think it is, it's a throwaway type pop record, and outside of northern soul and mod dj circles, does it have any significance? I love a good tune more than anything, but looking at it as an investment, as you have to now when big records seem to be priced in increments of £500, you'd probably do better buying tuneless and inept but ' culturally important' private label funk and soul than perfect pop like this.

Dont agree with threads about live auctions. But i guess everyone who's likely to win it has seen it ... There was a thread about this a while back. strange case, this record. Great track, at least one tv appearance, decent size label....why a flop and so rare? when you think of the utter shite in a similar vein that hit in the 60s, it's really strange and tragic that this didnt. She looked the part too. proof, if any were needed, that the measure of musical quality, even with pop music like this, is not success or contemporary popularity. Being a builder and over 35, I listen to radio 2 at work - some of the crap that's played to this day just because it got to number 7 in 1976 or whatever is shameful, especially as it's at the expense of stuff like this. but it vindicates a life of hunting obscure records.

But noone would manufacture them or sell them if people didnt buy them. like drugs, the total responsibility for the product's existence lies with the purchaser. ]

so what are you saying? that no one collected funk until keb darge got on it? You're thinking of their slightly ridiculous 'deep funk scene' surely, which was much as you describe? People were buying funk records before and after that - it was a continuation of the acid jazz scene and the people were people who came from that and hip hop. I played funk records at a night from 94 to 2000, nothing to do with keb darge, although he did turn some good tunes up, and it was packed every week.

Think what Nev's saying is that there's a serious market for rare funk records that has nothing to do with the soul scene or soul clubs, so the fact that its not in demand by soulies doesnt mean its not in demand. my guess is that they're rich hip hop guys. a bunch of us on here used to use the funk45 forum back in the 90s - when funk scene was a bit more than beardy nerds in man-caves - which was ferocious in its day... and a lot of todays funkier spins were first unearthed by folks on there - adam leaver, wrighty, trouble, tommy etc my own first swap cd on that site kicked off with ricky allen on tamboo, for example, and was around 1999 I guess. Every little detail of northern soul history gets reported, might as well bring light to this. anyways, good luck with the record!.

No one sells a record when it's hot, except for top money. strange one this, should be my kind of thing but I'm just not feeling it - got it at a fair for a quid in the 90s, sold it for £2 soon after...maybe £3...

You're wrong, I bet plenty of us have got similar tunes on the shelves that are only worth a fiver, I know I have. This just happens to be rare. Not northern maybe, but music lover's soul ]

I think the 'keep away' side is even better. Great record ! ]

probably not a misunderstanding. Djing with carvers of rare tracks is really crap, selling carvers of rare tracks is really crap, buying carvers of rare tracks us really crap. if that's your business, get a proper job.

So your career has actually been spent dealing with parasites and shitbags? (No need to answer, I've 'worked' in the 'music industry' as long as I could stand it). Not so glamerous then eh, despite the undoubtedly soulful supermodels? And I think you're sound so this isnt a personal dig but are you saying Mastercuts was the best compilation series ever? Really? good sound and that but funk mastercuts...Linda Lewis? Wicky Wacky?!

hang on a * second...are you saying that everyone being off their face was...a...negative?!?! :-o

What an incredible band and sound. Respect to all involved, what a great tribute to the artists these nights are

Dont know much about the whole demo / issue subject - why would there not be a demo of a 45 on a label that did demos? Great track by the way, despite having shades of 'lady marmalade'! Did / does it ever get played?

Dont think it's that relevent in the case of this 45, as the multicoloured is vinyl, so more desirable than the other which is styrene, whether rarer or not. I think thats right anyway

what, like James Coit?

Is the united sounds 'its all over baby'? Great track on an interesting label. Strangely, I much prefer it to the tommy dent as a piece of music, but would rather go to a night that played the tommy dent. that raucus, messy in-between funk and soul sound that went big these last ten years; couldnt give it away in the 90s, sometimes it's a lot of noise. I'm always a bit dubious when I hear 'it works in a club not at home' although I know some tracks do, and I know I've played and bought my share of them. it's just that we're talking £1000 records here...I'd want the fucking thing to sound good at home personally.

Yeah, me, I love it. (Sorry bit late, just to emphasize the different taste point). I dont get the chuck flamingo dancing thing...I dont love the tune but it's great dance tempo, bit of swing fuck you all up or something?

t'old denbo, he's pretty attached to that wrong end of the stick :-) ]

I understand that mate. It took a long time for me to stop being depressed about all the great records I couldnt buy! I had two choices I guess: to let it go or to chase it, trying to be at the top of the game, and get in a financial pickle. I wrestled hard with a temptation to do the latter, but same as you, have the sense to realise its not worth living in stress over, it'll be there still when I'm ready, if its not, ima happy just listening and dancing, always have been. The only difference is, so far, I cant let the ones I love go. Who knows; give it a few years, I might be driving a range rover, going on holidays and talking shit at dinner parties and forgot the whole thing. Aye, right.]

Of course, but like with hip hop, where some people are rappers, some breakers, some djs, some writers, some people on this scene are record people, some djs, some dancers, some just listeners. All aspects are necessary and of equal value Maybe its self-selecting, if you can give one aspect of it up, then maybe that wasn't the aspect for you. Even though its fashionable to bash them, I guess cos its become a lifestyle / investment choice for the borgeous, I for one really value the record obsessives, god knows how many records tney've saved from the dump]

I probably will Paul, but if you want to know the truth : the only thing that gets me through this period of grafting and not buying records / going out much, is the thought of buying records and going out dancing again in the future when I'm doing a bit better. I did it because I f**king love it. I've had a good life and tried lots of things - this is what I loved the most. the next best things are good, but nowhere near as constructive! maybe it's just me; i look at the cunt who's on top of everything - nice car, nice house, good job, family holidays, going to live to be 150 and feel overwhelmed with boredom. I see that same cunt out dancing to a great soul 45, i feel happy to be alive and could kiss the c88t, same as how I feel about the artists who made the records.

I'm 100% for ovo but dont agree with you. The problem with lps, in our style of music, isn't that they're heavy, it's that there just isnt enough that anyone's playing to justify taking an lp box out. Taking 2, or 3, lps out is actually a right pain in the arse - you cant use an lp box, so you put them in a bag, they're likely to get bent, the sleeves creased etc. It means taking a whole other bag, which still wont protect them. If you played 20 lp tracks in a set, it'd actually be less of a problem. I'm a right stickler, but I'd be happy fir folks to play lp tracks off carvers. Like the man says : I'll know that they've actually got the lp. the volume issue is right too; mostly you cant get much more out of systems set up with 12"s, 45s or cds, not enough to boost an lp track anyway, not in our average venue. The only time I would forego ovo, is for better sounding music, which isnt to say I'd appreciate someone playing a boot cos their original was crackly! A carver might well be the only way to play an lp track so it sounds good out. its not the same as a carver of a 45 you might or might not have, cos there'd be no reasonable explanation for doing that. ]

even rb freeman 'I'm shaft'!?!?

Its in no way a masterpiece, not exactly classy! Pure club music but it is brilliant club music when its loud and you're dancing. I know of a copy in the uk since the 90s.