pow wow mik

A change from the highest ever prices often achieved on these; the Melvin Davis might be the lowest price for it ever achieved! a lot were found of it though, probably should be set sale item now, like sherri taylor

If I'm ott here its cos of last ebay result, make offer if I've got it too high

Definite original UK copy of 100% PURE POISON - COMING RIGHT AT YOU (EMI) sleeve VG bit of dirt, small writing on back, VINYL EX £250

legal or not, its a pointless piece of tat, and letting 500 more people play it in their shit DJ sets really is a problem that didn't need solving. If you make the things, don't pretend that it's some democratisation of the music, the music is out there on multiple formats already. It's simply exploiting the desire of lazy people to be trendy djs without committing much to it. In summary: the only market for your product is crappy DJs who play bootlegs. That's it; must give you a lot of pride.

Lil gray...wtf?! Been 150 for ever and hasnt got any better!

OK, this thread itself is titled 'too good to be true?' and dates from when all the 45s were still 'available', proving that some people, at least, smelled something fishy here. So if you didn't, especially when considering throwing money at this, then to some extent you have failed to smell the fishy smelling something which kind of edges you towards the reckless / sucker category. If the lust of big trophy records that dont really have any use yet cost the same as the average worldwide annual wage blinded those people to the air of fishiness that seemed apparent to many, then that might be likened to the sort of greed that regularly leads people to the fraudster's trap. I don't know if this is a fraud or not, and of course I hope not, but the point is is that it seemed fishy enough to warrant some caution no? As proved by the very existence of this thread. And honestly, if you really want me to feel sorry for people who have $10000 to splash on a single record then i'm afraid they're pretty far down the queue. And if it was me on the end of it, I wouldn't expect anyone to cry about it. Fact of life : big money corrupts

People actually fell for this...really?! No conmen without greedy suckers

is the Nolan Porter the LP version or something? Lonnie Lester crazy too. I get that prices of things go up, but this was £100 for 15 years with always one available, so why didn't these bidders grab one in that small window of opportunity? they cant all be youngsters, spending that sort of money.

I had 4 or 5 copies of this from charity shops in london in the 90s and got decent money for them even then. Still got one of them too, love the tracks 'windy c' and 'holes in my shoes'

Thought it was a fair question you grumpy prick

A confused thread already. I dont think that the definition of Pop music is that its popular, that would mean that an r&b, soul, dance or rock track ceased to be one of those styles on achieving popularity, which doesnt make sense. It would also leave failed attempts at pop / chart hits with no genre at all. I think the simplest way is to judge the intention, not always possible of course but none of it is exact science. Its absurd to seriously believe that some of the more hardcore or deeper soul records were expecting or hoping for mainstream success. I know from making dance records aimed squarely and purely at tbe dance maket that popular success isnt the intention of every artist. So id say that if a record is aimed at mainstream radio and the pop market - black or white - then its pop music and will be identifiable by sharing qualities with contemporary pop trends. If its aimed at a niche market - the soul / r&b specialist stations and charts, then, unless its widely off the mark, it can be described as soul / r&b. Consistant with that definition, my vote would be for dana vallery and judy hughes and ellie greenwich

I thought that but then got one for $40 last week. Said vg- or something but there was a soundfile and it sounded fine. Never been sure if this is rare or not, has it had a lookalike boot done? Thought it was just the outtashite 45

Wow nice one mate, thanks for the info, new to most of us I'd expect

What, the ray terrace? Wow, does it sound loud?

Sorry, Phillipines yes. Never seen another in the 25+ years I've known the track. Tower was Capitol records so it'd be a crafty con if it is one

And its on tower in the US

Lp only except for a possible malaysian 45. The lps on ebay all the time though but watch out for the lookalike boot

When you say I make it easy for 'them'...the music I play has generally all been booted by one person. Just one person thought it was ok, somehow his calling, to make bootlegs, and mostly from his own records, or other peoples'. It wasn't youtube. The worst youtube does is give knowledge to other djs, but I get so much from there myself, I can't just have it all one way. I take it that as you dont agree with it, you dont look at it either? and that knowledge lets people buy originals, so fuels the second hand record market. None of it encourages people to make pressings - those people encourage themselves with greed and had a pretty efficient operation going in tne 70s didn't they, so not sure how youtube is to blame? In fact, with youtube offering free rare music to anyone, you'd have thought that it would have killed the re-issue market and it should have, however it seemed that the human desire to pretend to be a dj is strong enough to sustain that whole market. Butch shares his one-offs by playing them, though might well have some that he doesnt share, I dont know. The fact that he doesnt put things on youtube or facebook is incidental to his integrity or quality as a dj - there are top djs and collectors who do those things, maybe who find that that is their best means of promotion or social interaction. there's much about facebook that is crap, and enabling to the crap; I eventually succumbed to it, feeling obliged to do all I could to raise the profile of our club and actually found it to be quite good natured. I just avoid anything or anyone that doesnt relate to my purpose of being on there, and anything to do with peoples' dinner.

As a footnote to that - I think that a worse offence than playing pressings is to own a brilliant record of which you have the only copy, and keep it to yourself indefinitely - as in, not even pkaying it out covered up or anything. This will be happening all over the world, some instances of which I know of, and it's a truely arrogant thing to do. True, like that nazi's art collection, it may surface one day, but the people are ready to dance to it now, they might not be in 20, even 10 years time, when these mean old hoarders eventually die.

Thats an interesting point and the answer rests on the duality of a record : while I own a record, I do not own the music on it, so the record is my property and can be stolen, the music isnt and can't be; at least, not from me. the music is everyone's to do what they want with; the reason for djs being required to own the real records isn't because in doing so they somehow own the music, it is simply because it qualifies them to present it. if everyone djed with digital files - a scenario anyone who plays any re-issue stands for - and every track was available, there would be no way of knowing who was any good without listening to every single person. Ovo is a selection process, and only the first one ideally. Because so far, no one has shown to know more about music than record collectors.

God No! No one cares about vinyl except a few weird fetishists who wake up on record-store day like its christmas; it only gets played because it was the contemporary format to the music. If we were playing modern dubstep, it'd just be weird to be playing it on vinyl. If its a non-contemporaneous issue on any format its a no-no cos youve been spoon-fed it while others have done the hard graft so you're free-riding. Lookalikes are the ultimate worst - worse than mp3s or anything - for on top of playing a modern issue, you're pretending not to and being a sad fraud. I dont mean you personally of course! the devil himself wouldnt play a lookalike and try to blend it, because while he's the epitome of pure evil, he's not a knobhead.

I do, and good. I want the world to hear great music, ideally for free, that might otherwise remain obscure (but to put it into context, my jt parker has had 10,000 views, by far the most of any of mine, while 'cute cat begging', for example - not a song but in fact a cute cat begging - has had 250,000 views so its not like the world gives a massive shit) So I'm happy to help a few 100 people all over the world encounter great music and cant see a down side to it except that for some reason, a bunch of them tape the damn thing and start djing with it. That's not my fault for posting it up, but their fault for being wank, lazy djs.

love the expression 'waving with someone else's willy'!! but a bit cynical, even for you Phil. On those grounds, anyone who ever djed is 'willy waving. Look at me, look at me. Like my great taste in music and tell me what a great dj I am' ...aren't they? and besides, it's irrelevent to this thread, as the youtube posters and djs without the real records, and theres plenty of them, are guilty of that exact same conceit, yet lack even the achievement of having the records!

that's the thing - most collectors and djs are eager to share the music in any way possible - tapes (in the old days), compilations, cds, clubs, youtube, mixcloud are all about that. All this has happened for decades - music being collected by enthusiasts and shared with everyone who wanted to hear it as is their respobsibility; and generally a good job was done of it. And here's the whole point then - the boots and the vinyl re-issues aren't and never have been about spreading the music - music is spread far quicker, wider and cheaper on youtube than on a £10 500-run pressing - they're about spreading the djing.

there will be 1000s of such dos, hence the price of lookalike boots! And no one's saying that they're evil, or doing much harm...in fact, if the northern top 500 along with a few funk, r&b and disco classics gradually supplants the traditional pub-dj fayre of abba and bobey m etc then maybe it's something of a progression for mainstream culture... which is nice for mainstream culture but not so nice for music lovers who live to witness beautiful tracks desecrated by being dad-danced to in pub beer gardens, played from fake records by people who never lift a finger to find a new or lesser known track that might be just as good. Not so nice for djs who try to do something different and see themselves replaced at events by bootleg djs who play all the biggies... There is a constant cycle of important underground culture eventually being swallowed up and commercially exploited by mainstream culture and it always leads to ossification. The only consolation is that it usually occurs when the underground culture concerned has run its course anyway. This part of the cycle may be inevitable, and may in fact prove the importance of the original culture, but it's sad to see nevertheless and I know which part of the cycle I would rather be invloved with. these dos, and djs, aren't evil or doing much harm. But they are regressive, exploitative, terminally late to the party and generally crap, and i for one will continue to look down on them.