Wrongcrowd

Absolutely brilliant.....

Lust very cheap Brian, not surprised you moved it so quickly - bargain

Yep, it's the difference between buying for quality and buying for rarity. Outside of filling in the odd cheap label or artist number, I can honestly say that I've ever bought a record for the sake of rarity alone. I've also never bought a record solely because it was "in demand". You have to want a record for the quality, (and yeah if you're a collector, you need to have it on original vinyl) otherwise you're just collecting rare labels. It's the rare label collectors that'll give you your three figure sums for crap and tired old "rarities" that sit in sales boxes or get pushed out on sales lists priced at their highest ever value, usually on the basis that it was once an "in-demand" tune, though completely disregarding the complete absence of any recent interest

Demand is fuelled by too many of the 16,486 DJ's on the scene chasing the same records. Easy. ====================================================================== YOUR WRONG MATE 5 MONEY MEN DJ,S ARE CHASING THE UNCHASABLE 25 BARNPOTS ARE CHASING THE NEXT LINE OF UNCHASABLES 50 SOUL FANATIC DJ,S ARE GOING WITHOUT FOOD ,CLOTHING ECT ECT CHASING ANYTHING DIFFERENT IN FACT THEIR CLOTHES ARE THAT OLD THEY,VE COME BACK IN STYLE 1000 DJ,S ARE CHASING RARISH ORIGINALS 15,386 DJ,S ARE CHASING THE SAME TUNES LIKE SAM FLETCHER, SAM DEES ECT

Yep, I'd agree with that call, closely followed in no particular order by Milton Wright & The Terra Shirma Strings, Emannons Orchestra, Steve Karmen Orchestra, and a tune I've not heard out in years RPM Generation's Rona's Theme

This arguement has been going on, and will go on for ever. In my view it's demand first that influences price, since if nobody wants a record, no matter how rare it is, then it has no value. Demand is obviously created through exposure of a record to an audience, could be that demand is based on quality, or rarity, or both, if it's both then the value rises accordingly, and that means to the price that people are willing to pay for it. We're a mad, competitive bunch, and more often than not it's the need to have a record ahead of anyone else drives the early pricing up. It may well be that more copies of a rare record turn up over time, but then the demand will also increase over time, but then the demand usually will peak, a record will get tired, fall off playlists, and drop in value, and it's true worth will bottom out, that's when you find that you "rare" Ace Spectrum that you paid 50 quid for is only worth a fiver. On the other hand if the record is actually both good and rare - Parliaments - Cabel, then the vinyl will hold or improve it's value, it's the risk you take As Chalky says, there's some great tunes out there valued at less than 100 quid, but that's only because they're not widely known, and demand is low. You have to get to 'em early, there's no point in wingeing about the price of Ruby Andrews or any other mass appeal tune if you've missed the boat.

Awesome......!! Would have been a great addition to her Prestatyn set Cliff

A great tune, it's been around for a while though and caught some plays as a new release. I haven't heard it played out in years - shame because it's a quality tune

Errr....completely my point Pete......"around in 100's". Of course it's common Just becasue it was priced at 1.25 doesn't make it a pressing, there was quite a few new, legitimate US releases (as opposed to bootlegs), being current plays, about at the time.

That's because you've only got one dance, you should try moving your feet a bit more, and in time to the music Candi Staton's It Hurt's Too Much To Cry leaves me in knots, great tune but the beat's all over the place

Don't know it, but would really like to - any chance of a sound file Cliff

Nice selection Pete, you should play out more

Yep, absolutely agree - it's an original issue of a 70's reworking of the original 60's tune, which I don't believe ever got past promo press. As for the price, it was around in 100's when it was released thanks to Soul Bowl's front page, but you don't see it for sale too often nowadays 'cos it's a helluvatoon, and stays in collections.

Gotta agree with you there - top deep soul in my book - killer tune. Does anyone know if she's one and the same as Lori Rudolph, who had an early Motown release for Tri-Phi - Don't Let Them Tell Me. I found a reference to her on tinternet that suggest she might be - The Freedom Ball - Gala Reception is being hosted by the Kentucky Committee, chaired by Motown songstress, Ms Lorraine Rudolph of Louisville, Kentucky.

I reckon 50 notes is about right, it's very rarely seen for sale, and I don't think I've ever heard it played out - shame, because it 's quite a chooon

Try this - Ralph Weeks & Telecasters - Something Deep Inside -- too good

Just checked my copy and it's the regular A4KM-4317-2, though flipped it over to find a great deep side. Is the flip different too on your copy? I guess there may have been mix up on the masters since Syl Johnson was involved in the production and may have recorded a take to steer Nate Evans in the right direction. Cliff

Bang on! Most DJ's may want to have an exclusive or two, but then there's those that don't recognise a tune unles it's got 2 or 3 zero's in the price tag, and completely ignore all of the underplayed, quality tunes that are out there on the basis that more than 5 copies exist. Value quite often dictates the play list rather than the quality of music and soul content. :angry:

Funniest thing I've seen since Woody's wig at Cleethorpes, you see that's where we all went wrong, just not enough baco foil jump suits on the scene nowadays.

Mine almost made it's way to the sales box, but then I flipped it.....killer deep soul !

Wasn't Nabay Israel's Eurovision entry before soul was invented?

Well there's a thing, I've just put a CD together including Smoothing Sailing, choon and no mistake! Others include - Jerry Hilton - Complete Oposites Leslie Drayton Orchestra - When Will You Be Mine Wendell Johnson - Call Me Freddie Waters - You Promised Me Kenny Ballard - There Will Never Be Another Fully understand the different piles thing - only way to work it out.

Not sure I'd call these "modern soul" tunes, they were both played in main rooms at major venues as new releases. I remember Candi Staton being played regularly in the main room to an appreciative floor at St.Ives alongside most of the tunes that Pete has listed. It just goes to show the differences in definition of "modern soul" that abound. Given that the term was coined over 20 years ago to differentiate a type of soul that included the likes of David Sea, King Tut, Will Collins, Bobby Thurston etc. etc., and has been stretched to cover almost all types of soul played in a modern soul room including house and R&B (that's the new R&B that has to sound vocally like Stevie Wonder, not proper R&B according to Roger Banks and Hoss), it's no wonder that "modern soul" can be as varied in definition and inclusion as "northern soul" is. I prefer to keep things simple and call it SOUL. So back to the thread - on the upside Stevens and Foster has been getting plays in "northern" rooms , on the downside the DJ Genisis "Tribute To Betty" thing also seems to go down well.

I've got the following for sale or trade............ 60's Sue Ann Jones - I'll Give You My Love - TCB Mint- 75 Jimmy Soul Clark - Sweet Darlin - Soulhawk WD M- 100 Patti Austin - You Didn't Say A Word - Columbia (Canadian) M- 40 Doni Burdick - Bari Track - Sound Impression - VG++ 450 70's/80's Willie Toliver - Bit Off More Than I Could Chew - Thin Dime VG++++ 200 Stan Martin - Big Mouth Woman - Shata M- 375 Will Collins & Willpower - Anything I Can Do - Bareback DJ VG++++ 400 Spade Brigade - I'm Your Man - Spade M- 400 PM me to haggle and barter. Also.....if you've got a thang for slower, deeper, quality choons drop me a line for a sales CD. Cliff