pow wow mik

tell me how - kh age 12 - - 11203 refosoul Rare!

cleveland - robinson - 11201 refosoul every f*cking day's an RnB day for me!

Tracy - barry white - 11200 refosoul and this too!

Brown Eyes - young jessie - 11198 refosoul hear with other great mod / r&b at 'Join Together' in Birmingham this Saturday!

this happened to me recently. I didn't understand because if I ask someone 'have you still got X' then it means 'I want X'. Obviously, I'd have thought. So out of interest, what is an 'enquiry'? Do you really get people who ask if you have a record but don't actually want it? Why? market research?

Roger Washington - you're too much (joe Davis) Triumphs - Workin (Okeh) Demons - goin to the dance (Clover) Francis Faye -comin home baby (Audio fidelity) cash paid. PM or mik.parry@talk21.com thanks!

45s crossed out are sold or reserved Leo Price - Hey Now Baby (UP DOWN) M- £400 Big Ella - It Takes a Lot Of Loving (LO LO) M- £20 The 5 Royales - Catch That Teardrop (HOME OF THE BLUES) lovely MINT first label issue £350 Levert Allison - Sugar Daddy (ELBEJAY) M- £30 Backyard Heavies - Chitlin Strut (SCEPTER) M- their rarest £75 Colleen & Teddy - Beachnut (MIRA) M- great oddball 60s dancer £35 Nathan Mckinney -Oh how I Love you (RAY-CO) EX r&b £15 Ruff Francis & the Illusions - Give Me Mercy (ESSICA) EX top boogaloo £20 Beth Bynum - I'll set you free (STAR-MAKER) EX rare Detroit r&b £60 Jimmy Dee & Universals - If It Wasn't For Pride (V-TONE) EX rare big voice R&B £30 King John - Something On My Mind (NARCO) rare funky R&B, seen at £200 M- £75 Little Robbie - I got troubles of my own (RSVP) M- £35 Frank Kinsel - Satisfaction (SUNDAY) VG+ rare r&b £75 Rudy Lewis - Baby I Dig Love (ATLANTIC) great R&B less known on label £20 Dorothy Berry - You Better Watch Out (PLANETARY ) EX £40 Baby Huey & The Baby Sitters - Monkey Man (SATELLITE) VG+ top mod garage R&B £30 Derek Martin - Breakaway (ROULETTE) EX £25 Dee Dee Gartrell - Second Hand Love (MAVERICK) M- £15 Gladys - Love (O-GEE) M- £20 Barbara Wells - My Baby's Name (CORAL) great girly R&B, some label damage £40 Betty Lavett - Witch Craft In The Air (LU-PINE) M- £10 Charles Hodges - Charles Shing-a-ling (ALTO) EX great boogaloo £20 The Trends - Dance With Me Baby (SMASH) great mod soul VG+ £25 Reno & Chosen 3 - Soul Bagg (LA VIC DA MAR) top rare organ mod / popcorn groove EX £50 Gene Burks - Monkey Man (AROCK) EX slight label damage, great funky boogaloo £15 Jackie Day - Come On Try Me (TUFF) EX- rare great girl R&B £45 Contrasts - Monkey 'Round (CONTRAST) M- rare Las Vegas label, cool boogaloo £25 Johnny Fuller - Heavenly Love (IMPERIAL) EX- great r&b dancer £35 Little Esther Philips - While It lasted (Lenox) EX lovely beat ballad £10 Tom Jones - Chills and Fever (DECCA) great version on nice pic sleeve OZ E.P. EX £15 Lloyd Nolen - Fun Fun (KING) rare R&B on label VG £10 trades welcome. happy to return. PM or mik.parry@talk21.com

I got that second chance offer too, definitely a scam I'd say, very similarly worded to a previous one I had that was definitely a scam. Just ask their name and address and Ebay user name, soon gets rid of them. Now, someone please furnish Phil with a nice minter of the E.D.s so I can have his old one and then everyone'll be happy and we can put this whole thing to bed

his 45 'Workin' man' is nice too, if you like r&B, well, if you like music. jordan__louis___workin_man.mp3

you never got back to me about it either. I'd have give you that price in cash off ebay, anyone else want to sell one, let me know, Quinvy's decided he doesn't want it any more I'm sure Martin Gavin used to play this up in Glasgow, anyone know what he's up to now? he had some great stuff.

you did use to see this for £25 all the time. It's ok, but i thought her voice was too squeaky then and I still do now. I'd sell it for £100 but I already did.

haven't heard them all but 'to get love you got to give love' Debra Johnson is my favourite

Jon Lucien - search for the inner self (Ampex) £150 Jack Hammer - Ode to a Discotheque (Polydor UK) £150 Arter Set - sermon (Musicland USA) £300 cash paid mik.parry@talk21.com or pm

both great imo. anyone got either of them for sale, let me know! mik.parry@talk21.com

no one has said it is soul though, except an ebay seller, who made a mistake. Why do you care what a random ebay seller mistakes for soul? No one has played it at a soul do, no one on here has said it's soul, it hasn't sold for $1000 because anyone thinks it's soul. You arguing, but with no one. Sorry, but WHERE'S THE F****** ISSUE HERE?

I dont think you can expect US sellers to always get it right when it comes to describing a record's genre. It's a particularly British thing to be so obsessed with what style to call a record, this seller's had a guess and got it wrong. This seller is obviously aware that this is an in demand record and has assumed wrongly that the demand is from Northern soul collectors. Really, how would he know or indeed give a f*** what a Northern soul record sounds like? Pointing out a mistake like this is fair enough, but no one with any authority was claiming this to be northern... and why does there always have to be the barrage of 'it's shite' posts? Bach isn't Northern soul but that doesn't make it shite. I think this is a good piece of music, regardless of what style it is. I'd rather listen to it than a lot of 'soul' that never gets criticised because it has the 'right' pedigree even though it's tuneless shite. A good tune is a good tune and personally I'd rather listen to quality teen pop like this than shite soul.

a record can be perfect, but not perfect to dance to. A few bpm can be the difference between easy to dance to and hard to dance to. The instruments and vocal being a tone up is not a massive insult to the original work and doesn't detract from the quality of it. Pick any track you like, if there was a version that was a tone or two higher and a bit faster or slower, would you hate it so? you wouldn't even notice if you heard a track for the first time speeded up, so you can't really argue that it ruins anything musically. If it means a great track is easier to dance to then I think it should be done.

heard Damien hewitt play that 'Francis Faye' version years ago but always thought it was someone else, no wonder I never found it! some other good versions on 45s: Ronny Pellers Satin Sound (Swiss ) Peddlers (UK) Casey & the Group (holland) Denna Shenderey (UK) + god knows how many versions on various easy listening LPs...

but Dodger, playing original vinyl is about so much more than the format. It isn't a case of orginal vinyl makes you a good DJ, it's a case of a good DJ will have original vinyl. Because a good DJ will be a collector, an expert who has the original vinyl before the bootlegs & re-issues come out, and still has it after. That's the standard. I dont know how many different ways i can phrase it.

standards exist that aren't just subjective though. Like the standard of trumpet playing or brain surgery. I think this scene has set a standard already with regards to DJing.

but we're not talking about general 'soul people' are we? we're talking about DJs. People who have already decided to be a DJ. For that you need something else as well as passion. And you hit the nail on the head: obsession. Sure anyone can be as passionate about music as the best DJ, and the clearly are - hence all the dancers and people who travel to do's etc. You can be the sort of DJ who strolls down to a record shop and buys the latest biggies on boot, or you can be the sort who is obsessed with finding new stuff, obsessed with getting all the tracks they love, the type who wants to be aware of every soul track in the world in case there's another one to play out there somewhere. So I'll agree with you, everyone on the scene has passion. What you need to be a good DJ is passion for soul music and an obsession for records.

I have this theory that even on these quite insulated scenes, the current 'sound' does in some way reflect mainstream musical tastes in a subtle way. If someone says 'this sounds right for todays scene' about a record, you sort of know what it's going to sound like. Why? people can't help but absorb the mood around them and reflect it in their tastes. That, to me, is why many 70s spins sound so wrong now, despite being massive at the time. Whenever those records were actually made, they reflect 70s tastes not current tastes. Obviously, some fit in in both eras. Therefore, I would want to hear the current floor-fillers and biggies. If an oldie still sounds so good, it probably gets played still anyway.

Thanks Phil, be nice to meet you. I just think the world is becoming a very bland, soul-less, dispassionate and uniform place, with most entertainment and standards dictated by corporations and commitees. Therefore I reckon that self governed cultures like this, that are built on high standards and commitment, not bullshiting, chancing, smooth talking and corner-cutting, should be preserved and appreciated. It's so easy now everything is available at the touch of a computer key, to forget what spirit it was that made the music in the first place and then what spirit it was that created the culture to appreciate that music. It's a culture of seemingly irrational effort: Getting a string and horn section and band in to make a 2 minute masterpiece that would barely sell 200 copies. Doing a 500 mile round trip for a night out dancing to it. Paying a months wages for it. None of it was built on it being easy. It's the work that goes into something that makes something good. With musicians it's practise. With DJs it's knowledge and experience. And that's something you can't download or bootleg. If people have to make that bit more effort, pay that bit more money, you know they mean it and the gene-pool of the scene improves, adding to it's reputation and legend. Sorry about all this, i'm in some sort of Braveheart mood this week

well, I get the impression that the Northern scene is generally united in loving the quirky traditions and aspects of DJing, collecting & dancing etc. The people I've met speak about things like record values, and the playing of originals, with some sort of pride, even if they dont collect themselves. It's the standards and quirks that made the scene such an enigmatic beast, that has real fame and credibilty, sort of against the odds if you dont mind me saying! Basically, the 'original only' rule i always assumed was enforced to ensure that the best collectors, providing they were also good DJs, got the DJing jobs and no one could 'cut corners'. Surely it's in everyone's interests to have the most commited and passionate people DJing? Collectors just will have the big records. So it's not so much a case of 'why not boots' but 'why boots?'. For me, complaining about elitism on a scene like this is like complaining about the Navy wearing silly uniforms. It may be quirky and sometimes irrational, but it helps make it what it is. The Northern scene is famous the world over and that's not for playing the same shit over and over offa fake 45s is it? When there's a documentary about it, they focus on the cover ups, 'discovering' and 'breaking' of records, prices etc? Why? because it shows the excitement and competitiveness that only occurs when people want the best and are passionate about something. When you hear about the 70s cover ups and stuff, who thinks 'what silly elitism'? or who thinks how exciting that must have been...for the DJs and the punters?

you say that, but all good hip hop / house / jungle clubs i've ever been to have had DJs using the mic, and no ones ever accused them of being like working men's clubs. So what's all this about it being 'old fashioned'? If your club has the look and atmosphere of a working men's club during a meat raffle, then it's not purely because of the DJ talking on the mic, that's for sure. I talk all sorts of gibberish and shite on the mic & people love it cos I'm off my head and I mean it ! Like singing or telling a joke, if you do it with confidence it works, if you don't, it don't.