Barry

...al that aside mate, when I re-read my posts following a response such as yours, I can totally see what you're on about.

F*ck me - concern!! I'll have to take a look at the positioning of my posts in future, I can't be seen to be garnering 'concern'. That aside, thanks - I'm touched. For once a response that makes me feel wanted.

Nice version and doesn't it sound like it was recorded in a big hall - it has a certain atmosphere to it.

I'm aware of that having spent 20 years behind a record shop counter dealing with, amongst others, hip hop kids. I believe that anyone attracted to hip hop and it's culture will never attain the level of understanding of it's obvious roots, simply by feeling the need to further their knowledge of hip hop by seeking out the samples that their fave artist utilised. It's a feather in the cap thing for when they speak to other hip hop kids (and why not? I'm not having a go at it), but they aren't going to dig out a Michael Wycoff album cos 'Looking Up To You was sampled on a track they know and sit in with it. I must say that lads that were into hip hop in the early 90's especially, before it became a bling thing, had a tremendous amount of passion for their music and I am in no way deriding the music or their love of it.

...therefore I am not stating my beliefs as fact. But.... ....I've been listening to a lot of stuff that is either currently in demand, or carrying high prices - stuff that I would deem to be doo-wop to stuff that I would deem to be cross over (as the scene has become more adult in it's appreciation of soul music, it has obviously opened a deal of doors that did not get the attention bitd). And I must say that I feel a fair amount of the current movers are, to me, fairly weak productions. Not all may I add, but some of the new (to me anyhow) stuff I have seen fetching serious dough are at best second rate and at worst poor. I know dancefloors need new material but I weigh up certain new sounds, and their subsequent price tag, up against more well known plays and there is no contest - again, for me anyhow. Your views on this subject would be appreciated.

Explain to me what will happen after the big guns pop their clogs, surely not far off now ay? Will the security disappear? What will happen when the much appraised thick-skinned, stage positioned targets aren't there? And who are the torch carriers (The Olympics, topical)? Or has it already happened, have I missed it with my lack of attention. So much music, so many people to appease, so little time.

About £400, I'd say. The only record at Wigan that you could pick out as a 'stereo' track on the speakers.

Christ! How to make a negative out of a positive, good old SS.

I see that I have not been clear enough with my post for some. Hip Hop and D&B and the ilk, I think, drew a different social devotee. In my time, Northern/soul/jazz/funk, all borne of each other, had a following, not so now. The feeling behind the music, our music, drew a certain person, for definate reasons. Likening Hip Hop and D&B to the form of music I believe we love, is like saying that Crass was similar to The Jam, or Jean-Michel Jarre were similar to The Stranglers. Am I to believe that I had to state the above, did you really need my assistance with the question - or were you just being nit-pickers?

I have no doubt that he does, but in the towns (Outside The City), the black music scene (other than pop R& appears to have no bed anymore.

Stevie, I'll let that one pass as you clearly, due to your age or [possibly] your cluelessness, have no idea who you are talking to. ( Bigger WINK than yours)

There has always been an underground black music scene with youngsters, stretching back to whenever. Not so now it seems.

Me favourite Blacksmoke track has to be: "What Goes Around Comes Around" on Chocolate City. Sorry, had to get it off me chest mate.

Is that Arthur Fenn & Brian Rae?

...and they never will Stanley.

I know that was the obvious answer P, but you've just knackered me thread son.

Realistic that is - not what your mate got it for or how much you reckon it's not worth - how much could I realistically ask for a very clean copy?

Fynal Vynal 7" - how much now?

Did your elders and betters ridicule your taste when you were bottom of the pile bitd? Now I know there's the usual ribbing factor, but didn't it sometimes go beyond that? I remember taking some beatings about my 70's and 80's purchases, but I rode them and here I am....but didn't it feel shit at the time? I told you I use this site as a form of therapy. Anyone else?

I see a certain amount of posts on here that meet this product with almost as much derision as Modern seems to get, when it comes to it's insertion on dancefloor playlists. Could I then say that these new 60's statement pieces don't reach the required heights in peoples minds of standard classic Northern Soul (in its Pak A Mac form) plays of yester-year? (I mean, could anything heard 'new' as an adult imprint itself so indelibly in the mind as something heard 'new' as a speeding teenager 30 years ago?) And if so, does this prove that 'Modern' isn't really shit, it was simply an early 'Back To The Future' form of Popcorn/R&B? ie: "Summat that I didn't hear when I grew up, therfore I don't like it"? (Bollox! I've just started another Northern v Modern post....no I've not....yes you have etc zzzzzz)

The wrist band is ironic lads alright!? The second pic doesn't show the lettering at all, sorry.

I don't know about the comment re dj's giving it a big diatribe at the beginning of their sets!? I too like to hear something from the bloke that has spent his hard-earned cash (see 'life') getting to the point whereby he is deemed able enough to give us floor fodder his knowledge by a promoter. The poor bugger travels all the way from wherever (for naff all in monetary terms), waits for his set, gets on (heart in mouth (understanding the 80% of dancers will enjoy his choices, yet secretly frets about the 20% that will gripe about one or two plays he makes), gets over his nerves, as he takes the mic, by rattling on for maybe 20 seconds before his opening salvo - and - before he's even played a record, he's in someones bad books. Lighten up, or get a jukebox.

Just loading it now - the letters etched on the back-side of the wooden slat are.... P CHEE BRAND M MA A4 ...I must say I'm doing this pissed and in a bad light but I think that numbering is right.

I've got a piece of the floor here, if I can find the lead for me phone/pc, I'll post a pic. I'll post a pic of the makers name on the b-side of the slat (a woodmakers ZTT number) which should prove it for the p takers.