pow wow mik

wish i'd just agreed with that! excellent!

if it's inaudible waffle, then the mic is EQed wrong or the PA is shit or the DJ is mumbling. I like DJs talking on the mic if they do it with a bit of charm & enthusiasm. I think it can enhance the atmosphere and 'frame' a record. Some records are simply so big they deserve a break before them, or an introduction. I think it gives a more personal & passionate impression too, rather than, like someone said, a 'human jukebox'. On a rocking night, talking on the mic really works, but on a crap night to an empty dancefloor, it can look ridiculous. So I guess there's a time and a place.

fair enough, but there's a lot of bullshit flying around in this topic. A lot of people say 'it doesn't matter' while quickly pointing out that they dont play boots, so it does obviously matter to them. No one admits to playing boots. Everyone is pretty much unanimous in their opinion of who the best DJs are, none of whom play boots. No one seems to dispute the DJ hierarchy. So if you accept that there's good DJs and not so good DJs, then you have to accept that if you play boots, you are one of the less good DJs. So it might be irrational, or based partly on ritual and tradition. But it's the way it is. Be good at what you do, or 'less good' - i.e. shite. By the way, I am not a Northen DJ or have any ambition to be one. It's just the high standards, commitment, attention to detail and purity of the scene is what makes me admire it. I love the fact that the dancers DO care that the DJ is playing originals, it's sums up what the scene stands for from my, outsiders, point of view. High standards. There, I've said it!

This post made me think: If it's fine and makes no difference to play boots & pressings then why has not one person come on and admitted to playing them?

we play latin tinged music from right through the 60s at Pow Wow club in Sheffield. From stuff like Bobby Scott - i gotta run now from late 50s / early 60s via stuff like David Coleman 'drown my heart' & Benny Spellman 'this is for you...' to stuff from the late 60s / early 70s, like this one which is pretty good, a Jimmy SAbater 45 on Tico. Middle 8's a bit dodgy but wait till the end...'roll wit yo bad self momma!':

Bad, boring Djs is another matter alltogether. A DJ can be bad if they Ebay the top 500 on original with their lottery winnings or if they have 100s of rare originals that no one wants to hear. That's what makes it so good: you CANT just sit at home and buy a good DJ set. Likewise, you can't go to a record shop and buy a good DJ set on re-issues. Of course having originals isn't the ONLY aspect to being a DJ, it's one of them and it doesn't make a DJ. Tis essential though.

surely the original artist earns money of 1000s of soul fans buying CDs, not off DJs, whatever format they buy? And if there really are so many DJs that a legit re-issue on vinyl would earn them money, then there needs to be a cull!

what so you're saying that bootlegs help because they kill tracks and force the real collectors to play new stuff? I'd agree with that, but I think it's more my argument! The bottom line is, why are there bootlegs?, why is there a scene? not because of people playing their favourite classics - that's for the rest of the world, but because of a hunger and demand for hearing interesting, different and new records. So many aspects of DJing are only possible if you have a varied collection that includes classics, unknowns, less knowns etc. It's not about whether the playing of one bootleg ruins a night, of course it doesn't. It's just easier to keep it black and white - original vinyl only. Keep the quality and excitement as high as possible, surely that is the best way for any scene to survive? The bottom bottom line is that we all acknowledge who the top DJs are don't we? do any of them play boots & re-issues? would they need to? I don't think you need to say any more than that. All this 'give the music to the people' bollocks is bollocks, if the 'people' want the music they can buy loads of CDs, if they want to dance, go to a proper do that keeps the traditions going and support the scene, or the part of the scene that keeps it interesting.

strange argument, anyone who wants to hear either can get them on CD and listen to them all day. If you want to dance to them, go and support one of the many clubs / DJs who will play them on original. The same people who will be finding the next Lou Pride or Morris Chesnut. That supports the scene and you enjoy those records in a better, busier atmosphere, because others have made that decision too. Everyone's happy. As for being 'deprived of owning a record'. What possible pleasure can owning a fake record provide? Surely owning a record is only of interest to a collector, if you're a collector why would you want a fake? If you cant afford an original, 'tough shit' springs to mind. Leave the DJing to someone who can.

er, not be a DJ? It's not like there's a shortage. People will always collect records because they love the music, why not let them be the DJs, they have the most knowledge and are in the best position to find new tracks. Without that culture, there wouldn't be any fucking re-issues, doesn't it follow then that that culture should be respected so that it continues. If the incentive to pay big money for new records was taken away, that would be it for new discoveries. If the incentive had been taken away 20 years ago, how many records would never have been discovered? The point that gets missed a lot is that you can only have the knowledge to do a good, interesting set if you're an experienced collector. So I guess a top DJ could do a good set off CDs, but that's not what we're talking baout is it. Even that would be too open to cheating! Sure, a big DJ with a big collection might play 10 records that you can get on re-issues and wouldn't sound any different played off them, but it'll be the new tracks he / she plays that aren't re-issued that complete a good set, and that are essential for a good set. DJing needs to be exciting and interesting. How exciting and interesting, and progressive will it be if you're playing tracks that get played everywhere and that everyone has at home? re-ssues etc fine for back ground music in pubs or parties. But If you're asking people to travel, what are you offering them? Scenes like this require people to travel and people will only travel for something that's worth travelling for. A mug playing CDs, or even worse: fake originals, is not IMO. Not even worth paying for.

Wow, thanks for posting that, I've just had the same thing with an Otis Lee. I thought it was strange cos I wasn't even the 2nd highest bidder and so it was a right bargain! I just looked and no Ebay message so it's definitely a scam. I'm going to try and string em along - draw it out for ages , make them think I'm going to pay then tell them to f*** off

heard about this but never seen it. Amazing, thanks. what a top record, like both versions & would like either too. How come this record was such a miss?

Arter Set - Sermon (musicland) Hustlers - Boston Monkey (Musicor) Sugar And Sweet - Hands out my pockets (Foremost) Ray Rivera - Troubles troubles (Dayhill) cash paid x mik.parry@talk21.com

Sure, I just saw them while I was looking for the track but got the EP in the end.

seriously? bizarre

Stange thread this, someone comes on saying they love Joannie Summers (how can you not?) and wondering if that well-produced, often major-label pop northern soul sound was an acknowledged sub-genre or not. No one slagged it off yet everyone defended it! I love that style of music myself, soul or not. It'd be nice to have a definitive CD of that sort of sound, any out there?

The LP crops up on Ebay all the time, usually about $40. I think the version on the LP is longer too, but can't say if that makes it better or woyse.

Think it's fantastic & been playing it lots. Not rare, but they're hardly everywhere either...

I know their manager. they're not into northern

This version aint bad:

Humdrum Blues on a Swedish Colombia/CBS EP, nice loud pressing and not that hard to find. Maybe £50 or so. Junior Lewis ' Tears on my face' £50 - £75. a 45 on Colombia too I think

Personally I much prefer the b side 'why'. a quality track as a bonus if you buy it for the 'oh baby' side, but to my taste much cooler.

the one that went for $800 on ebay was a scam, there have been 2 on since that have not reached over $500. £500+ is excessive, it's a simple as that - I think there's a lot of collectors with this record and if you offered more or less any of them £300 they would probably sell it - so what's the market price £300 or £500? shows how abstract prices are. There must be people who want these rare records but are unable or unprepared to hunt around a bit. That's fair enough if they've got the money but what I wonder is: who the f*** are they?? I guess those auctions are just very high profile and attract far more potential buyers. And as long as prices go like this it shows there's some real enthusiasm out there for the music. It'll be when prices are half what I paid that I'll be bitching and moaning!

worth pointing out that they are different versions too. One has an unnecesary drum over dub.

Clarence Hill - Lot of loving going round (Mainstream) Johnny Taylor - Blues in the night (e.p. or LP) cash paid, thanks Mik mik.parry@talk21.com