pow wow mik

aye, it's a good tune, will sound good out, if I can get a good loud pressing done of it. Thought it'd be too clippety-clop for you, but you can call me slow-jive-Clive!

didn't really think it'd be your sort of sound at all Rowly so that's OK, sounds good loud and a little faster.

no relation to me, and I've got the record anyway top tune!

they're totally different songs aren't they, not versions of the same song? I prefer the Minit one, but keyman one's nice.

i've both versions and can post up tomorrow. the Up Down has more oooomph in a club, but after a few listens it's a pretty bad bodge edit job with slightly out of time drums and out of tune foghorns! still great though!! The Hull version i think is a great r&b tune and stands up on it's own.

so no ones got one for sale then?! I know I want the Blues Busters version, Dont want the Keith and Ken version. I thought the Us label was Sunshine or something, or Liberty. Come on, a good price for this! mik.parry@talk21.com

brilliant selections Bongolia, Monitors is great. Remember the Blues Brothers doing a version of that Linda Hayes track on one of their live LPs! I used to love their LPs when I was a kid, they knew their stuff - versions of messin with the kid etc.

Will pay £125 cash for a good JA or US copy of this, maybe more (or less) depending on condition. Surely the most it's ever gone for, so pleeeeease someone?? Blues Busters - I wont let you go (kentone)

The popcorn scene, like the mod scene and northern soul scenes, quite sensibly realised that a tune that they enjoyed and liked dancing to was more important than a tune that was authentic to some non-existant parameter of musical genre but fairly dull. The popcorn scene just play what they like, seems a far more heartfelt and honest way to dictate your playlists than to get the 'black music' rule book out to trace an artist's ehnicity. I have never had any idea about what the authenticity of a tune has to do with if you like it or not. I've actually heard of people selling records when they realise they're by white singers . I guess some people are interested in genre collecting and the history and purity of that genre, some people are interested in music and therefore like a good tune. Some people perhaps both. All scenes need parameters of what can be played, but that is dictated by the reaction on the dancefloors and consistancy of the sound over the course of a night, not some rule book. A lot of popcorn records are by proper blues and R&B artists when they made better produced records in the late 50s and early 60s. i think they would have seen it as a progression of the style, not a pollution. A lot of the early Motown records were very pop styled but don't seem to get so much criticism, I guess because they fall into another convenient catagory - 'soul'. I mean, say Lamont Dozier 'Dearest One', it's a better track for him being a good soul singer, but I also like the tune, the groove and the arrangement, so if it was by a white artist, as in that style it could easily have been, i'd still like it. This new black pop-R&B sound became so popular that a lot of mainstream white artists started copying it, often using the same orchestras and writers, often recording the same songs, so it's hard to separate which are authentic and which are not. And if they're good, who gives a f***? If someone only likes the authentic R&B and blues sound then that's up to them. Personally I find a lot of trad R&B a bit formularic and samey, lacking hooks, good production and songwriting. But I don't slag it off as some sort of inferior form of R&B - some of it's good, some of it's shite like everything else. I'd rather have a good groovy pop track than an average but authentic R&B or soul track, and I think most people in the clubs would too. Sorry for the rant!

who decides where R&B becomes popcorn, you? It's maybe not the sound for the soul scene related r&b rooms, but most acceptable for mod clubs. And it's good, which is all that really matters.

could see it being played at an r&b do, no problem, bit trad r&b for me but a nice track.

heard it all now!

that's a beautiful thing!

it's saying 'old soul music is now up there / down there with 'transport enthusiasm' and giant vegatable growing competitions in the scheme of coolness'. When you look back at the cool people who made the music, it is a bit of a shame that tradition hasn't survived along with the music. This just makes it look naff and takes it another step further towards working men's clubs and 'nostalgia' weekends at Butlins. I happily tell anyone i'm into 60s soul and stuff, then they pick up this flyer...jesus. Apart from all that, AND them not being very aesthetically appealing so a strange choice for a promotional image, I dont like flyers that celebrate the scene, and British soul culture, over the original music. trouble, I think you should put a massive photo of yourself on the next Soul Revolution flyer though!

'smokestack lightnin' and 'spoonful' could be the best and most influential r&b records ever made. amazing

got the simplest definition yet: think of the hour's worth of tracks you'd most like to hear: the latest record you've heard and loved, the oldie you wish you heard more, your favourite current biggie, the mega-rarity you've been after ages, the new discovery or over looked cheapie you think will go down well, the classic that goes well with it.... think of a set's worth like that, then go fucking get them. Whining 'I can't afford it' is no excuse, don't be a DJ then. You achieve that, you've got a hot box. Every tune will mean something to you and the enthusiasm will show and show in your set. And as James says: a young DJ can achieve this without worrying whether they've got every track played at Wigan or not.

not soul, but latin funk boogaloo monster 'Hit The Bongo' on original 45. Unless someone tells me different, the only known copy.

yes but we have quite defined taste, when it comes to our DJing styles anyway. I think people who just like soul find it a lot harder to make their set flow. Personally i love 70s, but find it very jarring when you suddenly hear a disco track between two 60s records, even though I'll like all 3 records. I'd certainly never play a record i didn't love and i dont think many DJs do, but I think you also need to know when not to play a record you love. Er, anyway, the point is, the hot box DJ will struggle to play a set that smoothly flows from one style to another more than someone with a big collection might. For example, I just bought a rare big 60s funk record but I hardly play any funk records at mod do's, so thank god I've kept funk classics like Hector to play before it. If I was a strict hot shit-box type, it would stand right out in my set and sound odd and i might not even have dared buy it for that reason, even though I love it, but i'll be able to blend it in nice...but still probably clear the floor!

think that's the problem with some hot box DJs, their 'taste range' becomes dictated by what's new, obscure and rare, rather than what works well together, or even what they actually like the best. Hence super rare 70s newie followed by super rare 60s newie etc etc. Heard it. I like to hear new stuff, but I'd rather hear Elipsis precede a new discovery in a similar style, even if it's considered over played. And I'd always rather hear a brilliant classic than a shite or average newie.

I'll have a go at explaining what a hotbox is. It's a playbox where every tune demands to be in there, not just a box full of 'quite like that, could play that' records, selected from a collectors vast library. They could demand to be in there by being massivly popular but not over played, a great new discovery, something that fits in with the current sound, a great lesser known track, a great rarity that not many have got, a floor filler that isn't cheesy and over played... It's NOT a box full of current biggies! so no one without a lot of knowledge but a lot of money could be an effective hotbox DJ, cos it requires exclusives or near exclusives, which requires new or recent discoveries, which requires a lot of research and knowledge. Something that people often fail to acknowledge on here is that new or recent discoveries are often really expensive. Probably more often than they are found for $3 in a crate somewhere. I think hot box DJing falls down when it's the sole buying method because the tunes are often too dissimilar. A collector who keeps nice records they've had years may find a new discovery that's in the same vein as a bit of a classic. Great DJing would be to play the classic and then the new discovery. A hot-boxer wouldn't be able to do this, so sometimes do dis-jointed sets in my opinion, with too much emphasis on the rarity of each indiviudual record and not enough on the flow of the set. They dont seem to mind at Northern do's if a track from 1975 follows one from 1965, but that's not good DJing in my opinion, however good or rare either record is.

pic of Shaft in africa 45 wouldn't upload, got the main theme on too, which is just as good. Not a plug, just of interest to this thread: one of the rarest blaxploitation soundtracks around by J J Johnson & Geraldine Jones, released by the film's private production company: https://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...E:IT&ih=013

I appreciate the 'hot box' DJs, who dont keep every record they ever like, but sell to buy top rare stuff, because that obsession with finding and playing the latest big thing often leads to more interesting sets that really reflect current tastes and discoveries rather than collectors just playing tunes they like. But I've heard collectors who manage to do that too, maybe they've just got more money. My problem with the 'hot box' method is that you end up with a box of 30-50 records that are not your favourite records or even the best records, just 30-50 records that are impressive to the scene at some point, and that's all your collection will ever be. Personally, I'd like to die with a collection of as many as possible of what i think are the best records ever made, whether they're worth £10 or £1000. But each to their own in that respect, when i hear a half hour or hour set, I dont care that the DJs got the entire run of 5 soul labels or whatever, I just want to hear a half hour of great, fresh tunes, however they manage that, good on em. If they don't they're not a good DJ, however big their collection is.

you wouldn't believe it mate, I just found a copy in a charity shop today! No, I wouldn't dream of hijacking your post, 2nd copies mine though!

good, it's a mod track!