pow wow mik

Yeah fair point, I actually dont know what constitutes 'going big' these days, or who it goes big with. I agree, anyone serious would have records like this before now, or, like Phil, would have long since disregarded them. I'd like to think that it's enthusiastic younger folk, but like you, I suspect that it isn't. Cos if it is, where are they and what are there clubs? I dont know much about northern, but I see tracks I played years ago go for these crazy prices and wonder who is buying them. They're is evidently a demand spike for certain records, which is what I meant by 'going big', but god knows who with. ten + years ago, it was me doing this to an extent, buying tracks well known on the northern scene - otis lee, jokers, little nicky soul etc but very much later, at high prices, to play with different stuff to a different audience....but people could see who I was, and what i was doing with the records. These in demand tracks, I dont know where that demand is coming from. A legion of djs with more or less the same collection probably, all with their own night!

Getting plays is different to going big though isn't it? Look at the tracks that got played once or twice but didn't fill floors til years later - seems to annoy people for some reason, but it's these trends and dynamics that keep the scene alive - buzz tracks, rare or not - new discoveries alone aren't enough to sustain it. Sure, some of it is bandwagon jumpers - grabbing proven biggies only, at any cost and with little imagination, but it's a bit harsh to call someone a johnny come lately who might just be young, or not long into it....how can they hear it earlier!? Hard for someone in their 20s to have heard this in the 80s! Having said that, I see your point that these people all seem to want to be djs, which is a bit sad. Always hoped that these tracks would one day get their deserved recognition, but shame that it's mostly with wannabe djs. Still, got to defend this track, it's a track that's always fitted in musically with our club, and it's good to see tracks going big independent of the northern soul scene. It'll settle at around £75 I think, as Pete said to be fair!

I think it's a great track, are you saying I only like it because it's trendy, I liked it 15 years ago. Not saying you should like it of course, but clearly people do, so it's irrelevent anyway, what you or I think of it. And I dont think the 'if it was any good it would have been played before' theory holds much weight. That's to say that the scene has a constant taste over the decades, and is always efficient at playing the best tracks. It doesn't and it isn't. That rationale would dictate that every single track played on the scene previous to Irene & the scotts getting played is better than it. It also doesn't account for the scene's snobbery over common records. Luckily something younger generations of djs are less afflicted with. it's not a trad northern sound at all, more a funk / r&b track in style, probably why I like it, and you'll find that the newer generations of soul lovers are more inclined to this sort of sound, people less stuck in 'northern soul' parameters. Don't you want things moving on, tastes evolving, new generations deciding on their own favourites? Not sure who these new generations are, like, but hopefully they're out there, doing that! :-)

I respect you for, amongst other things, not being greedy with your prices, but you do accept the fact that prices of records rise with demand don't you? How it went from £20 to £60, it's since gone from £60 to £100. No idea why it's suddenly caught on after being known for years - just the quirky way of the record world, can't still be unsettled by it after all these years! We all moan about it, but ultimately it's a good thing : action and dynamics in the market, records going big, new records on the rise, show that at least there's some life & enthusiasm in the scene. Do you want it to be like the antiques market, where things have stable values for decades due to being decidedly uninteresting. Or the oldies scene, the musical equivalent. Apart from that, there's loads of real shite northern that's £150, just because it's always been £150. Even at £100, this seems great value by comparison. Funny how people seem more offended by £100 spent on common quality than on rare shite.

Irene & Scotts? thought this thread was from months ago...come on, keep up...just had a big thread about this record, it's £100+ all day. Sell it for £60 and it'll just sell to someone who'll sell it for £100. It's only just starting it's rise really isn't it, now people aren't so scared of playing common records. Probably settle around £150 like similarly common-but-great records.

Ah, I didn't know there versions of 'your love...' were different. Fair enough then, forget earlier post. edit - although just listened and they're not massively different. Different version or just different mix / overdub?

Will be listing various oddball funk / r&b / soul / breaks 45s over the next few weeks, all starting at £10 and some buy-it nows https://www.ebay.com/sch/m.html?_ipg=50&_ssn=hip-pocket-records&_sop=10 cheers

Anyone in uk got one to sell, seen them in the u.s. but dont really want to pay the hundred $ of combined postage,taxes, bribes and pay-offs now required to get an lp from there Thanks recordmik@btinternet.com

In the real world, and with the exception of iconic northern soul tracks, which this definitely isn't, I've never known an acetate to be more desirable than a normal release, if it's the same mix / version. Any time I've had an acetate and a release, I've always kept the normal record. A real fan might pay a bit more, but double the value? With r&b records, I've never even known much price difference between local and major label releases. I mean, djs dont particularly care about that stuff do they? that earl connelly passes through ebay a few times a year, my mate got one on master for around £100 last year. It's been known a while and its never sold for more than 200, I guarantee it. Same thing happens on ebay of course, people clearly in the grip of impatience, desire, bidding crazy prices not just moaning for the sake of it, these people actually should listen sometimes, there cannot be anyone who really wants to pay 3 or 400 quid far a record they could get for 100. There's another earl connelly that is 10 x rarer than that that I'm after, and even though it's good and rare, it's still only a 150 record, and that's all I'd pay. I wouldnt just throw 500 quid at it to get it, just not that desperate. That is actually how it used to work, you'd figure out a value based on rarity and demand and pay it, and you'd most times be up against someone operating in a similar way, not just saying 'I want it, therefore I'll pay ten thousand quid'.

That's right, it's the other issue that has the funk track so this blurb is just wrong. Suppose the buyer didnt buy it for the funk side, but you'd sure rather have it if you were paying that money, a great version of the james brown song. some of these prices, like the earl connelly, you'd be laughed at if you put them up at set sale for that, and definitely never sell them, so what happens - is there something about the fact of appearing on the auction that makes records loads more desirable than they are any other time, all the talk of investment and history make the things seem rarer and grander than they are, elevating it to a status where £100 seems like peanuts, when actually it is a lot of money

Think I bought that copy from her mace, but cant remember. Got one from somewhere

Like it, but always thought the drum track was like someone hitting a cardboard box. Prefer versions by s.o.u.l. and kenny burrell Brown sugar is a version of zuzu man on a&m, not whiz ]

On tune-kel wanted please recordmik@btinternet.com

Saw this yesterday. Thought it was outstanding. it wisely sacrificed big chunks of his long career, in order to create a real insight into the man, which it did brilliantly, making it a good film rather than a documentary. but the general authenticity of the studio and concert scenes and dancing is incredible

https://m.youtube.com/results?q=joe%20lee%20hang&sm=3 Like Joel said, instrumental music is a fundamental part of black american dance music, but northern soul is a song based scene and as instrumentals tend to be more groove based, the two were never going to get on that well. So when this subject comes up, I dont know why we only have to suggest northern-soul friendly instrumentals instead of all the great r&b, jazz, boogaloo, ska or funk ones, but frank foster is a belter, and despite it being naff in most respects, I love night of the wolf. other favourites - bo jr on tailgate, mauricio smith - el green hornet and how about this one for a bit of that frank foster feel - oh the link's gone to the top for some reason

I first found it and played it in uk, around 2007. Might as well claim my credit before it goes to someone else ;-)

Maslow's hierarchy of needs has been adapted to : health - safety - social acceptance - being a dj - self actualisation.

I think that you'd be filling a much needed gap in the market, adding to the sparse city nightclub scene a rare and high quality opportunity to introduce frustrated music lovers to this currently neglected and little known field of music. does that sound ridiculous? Like I'm playing opposites even? there's your answer then.

Well, you could say that no one can complain about or criticise anything, because it's not as bad as the first world war. Illogical argument. Wars are more likely to start if people impulsively follow or tollerate banal cultural trends like a pack of sheep instead of thinking about the true meaning of things, so you could argue it either way. And I do remember being a kid, and I was cooler than I am now and wouldn't have been seen dead doing silly dancing in a shopping mall. Only thing I'd be in a shopping mall for would be robbing. come on, do we want the world to be cool and reflect the emotions and interests of intelligent adults or do we want it to just be a big family fun trivial joke? The antidote to the bad things in life isn't triviality ]

funny, what different people and generations get from the same records. I only ever knew this for the 'Watch out...' side, and when I started playing it, hardly anyone knew what it was, despite the record being well known. Similarly, I bought Troy Dodds and Tobi Lark for what were at the time their lesser known b sides - the Northern flips were the neglected sides for me. Speaking of which - Manship's got that Tommy Rodgers on his auction and I'm sure he's got it the wrong way round in his blurb - surely it was first played, with no great success for it's trad northern sounding side 'tell it...' and the side it's in demand for now is the Pass the word side...? https://www.raresoulman.co.uk/auction/9470/ill-tell-it-to-the-wind-cw-pass-the-word

thought so, I like the other side just as much though. just sell us that side then Des :-) Gav's played that Andy Williams on dal sagno before, quite nice too

which side you playing Des? Joel, which side you dancing to?!

Totally guilty. I thought I was so sure of the sound I liked, I barely played a single b side in years of buying, same went for the other tracks on 'one track' lps. really ignorant behaviour but on the plus side, when I eventually got round to listening to them, it was like getting a pile of free records. as already mentioned, vibrations is the obvious one but found some great deep sides which I now prefer to the side I bought the record for. sign of a maturing taste I guess. still doing it though, pulled an obscure sonny knight out my sales box the other day and listened to the flip 'the quiet man'. Had the thing years and never even played it and I love it.

It did, but a few others have gone for less in the past too. Not a mainstream sound or instant floor filler but brilliant, I'd be right behind it if I had one ]

Great book, as muso biographies go, I won a signed one off Big Daddy in the 90s, for whom he did a great in-depth interview.]