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Doni Burdick Bari Track C/w I Have Faith In You

It’s a good job Inspector Charles Dreyfus doesn’t collect Northern Soul and Inspector Clouseau was the proud owner of the “Bari Track”, just imagine the jealousy and the uncontrollable twitch it would ignite…

As this disc epitomizes what Northern Soul is all about, offering up not one but two sides considered the very finest examples of their style.

Firstly “BARI TRACK” is recognized as THE Northern Soul instrumental anthem as Sax-God Mike Terry struts his low-blow saxophone that no vocal could surpass - flip it over and you are hit by one of the GREATEST NORTHERN SOUL RECORDS ever made…

“I want, I need “The Bari Track” and all costs - why should an idiot like Clouseau have one and a genius like me .. not”

Charles Dreyfus 2014

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The winning bid was £ 742.00

 
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Milton Wright I Belong To You C/w Like A Rolling Stone

The very limited 70s edition, with a vocal laid over Milton Wright’s “The Gallop” has really took off in recent times and now detonates the “Park Your Drink And Dash” to the dancefloor. It’s a MONSTER crowd-pleaser!

With the bonus of a sumptuously soulful Crossover offering on flipside, which is also receiving similar attention at those “snooty” utterly Soulful events I like attending..

Two fab sides - immaculate condition throughout - and darn tricky to capture!

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The winning bid was £ 462.00

 
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Joey Delorenzo Wake Up To The Sunshine Girl

The hideously elusive ORIGINAL of this potent crowd pleaser.

A monster dancefloor detonator for High-calibre DJ’s like Ginger Taylor, Kenny Burrell and Co. who’s main aim is to create an atmosphere and get the rooms rockin’.

The intro leaves nothing to chance, zinging strings swipe back and forth, rhythmic bass guitar sparks the senses as it grows louder. Then in comes that impressive vocal booming out uplifting lyrics and then a persuasive instrumental break at dead-the-right time!

THIS IS NORTHERN SOUL!

Micheal Valvano siphons off every last drop of his plentiful Detroit experience, to create an truly exciting session, with the power to command a dancefloor to swell and the In-House-Energy to lift.

Ginger Taylor is without question a DJ who can ignite the masses with his timely turntable picks.. this example he fully knows will rescue any drift in enthusiasm, pulling a set right back in line.. keeping the mood HOT!

Proper feelgood Northern Soul and extremely hard to acquire as this the genuine, labels the correct way round - ORIGINAL.

This copy has some light surface marks but as you hear it plays loud & clean.. couple of light clicks on the quieter intro.

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The winning bid was £ 902.00

 
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T & T Something On My Mind

Small town Massachusetts delivers fabulously soulful independent dancer, that has been highly in-demand for most of this century.. due to plays from the likes of Mick H. etc.

All the top jocks who drop the arm on this is rarity are guaranteed that the instantaneously impressive intro with keep the floor moving; Jazzy jangling guitar collides with an expressive Sister vocal, add the horns, the hammond then whisk up a lengthy sax solo and you have a stunning Soulful dancer that just never relents.

Strong tune and you can see why it rocketed from it’s humble beginnings up to the in-demand disc it is today.

This copy has light surface marks, none of which show on the stylus. Plays EX+ visually vg+

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The winning bid was £ 244.00

 
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Jimmy Thomas The Beautiful Night C/w Above A Whisper

One the seldom seen British Soul collectors Grails..

And condition is blinding - what more could you ask for?

Well you could ask for this 45 to be British ONLY - well it is. You could hope the flipside to be just as brilliant as the Northern Soul classic A-side - it is not - I personally think “Above A Whisper” is far BETTER!

Both sides written & produced by the seasoned Ike & Tina Turn Revue member Jimmy Thomas himself. And so darn elusive it was thought to be DEMO only for many years until a STOCK copy unexpectedly turned up.

This is top-of-the-tree British Soul collecting not just for rarities sake but also for the kudos it carried as Tony Banks, Leeds Central’s most-coveted 70s All Nighter spin. But also in more recent times when the flip became better known - it too became considered one of the very greatest recordings of it’s genre.. BEAT BALLAD HEAVEN it certainly is.

Two mighty, mighty sides in impeccable condition and saturated in Northern Soul history - what more could you ask for?

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The winning bid was £ 300.00

 
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Michelle & The Mademoiselles He's A Wrong-no.

Do you strive to own the Unicorn-Rare vinyl - is it maybe your quest to own the 45s, hardly anyone else on the Planet-Earth can lay claim to owning?

Well right now you are looking at a Northern Soul recording that fits into that category perfectly. The impressive label credits reveal the “Page Brothers” both Billy & Gene at the helm of this 1967 Los Angeles “impossible”

“The IN Crowd” Bros create total Northern Soul with a “vibe” driven dancer featuring a relentless bass guitar rhythm and a persistent saxophone pumping its way towards an impressive solo..

Why this is 45 is ludicrously RARE when these two gifted brothers were involved is something of a mystery - but something in the back of my mind tells me “Michelle and The Mademoiselles” were a “topless” girl band I’m pretty sure I have a photo of them somewhere.. maybe it’s a book-marker in my safely stored Mum’s 1968 Littlewoods catalog…

Absolutely Rarer Than Rare… we gotta find another word to adequately describe “Extinct Northern Soul”

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The winning bid was £ 313.00

 
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Christine Cooper Heartaches Away My Boy

This Weeks Rare STOCK copy - is such a very special piece indeed - as it comfortably sits in everyone’s top five favourite Northern Soul Sister Classics.

and as a STOCK copy data suggests it close to 50 times rarer than the Promo counterpart.

So if you want to own one of Northern Soul finest offerings.. this is the form to buy it in.. after near 40 years of frustrating unattainable status - this is a NS Classics value will always be only going one way….

Other than the small bb drill in the label this copy is flawless in every way..

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The winning bid was £ 488.00

 
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Isley Brothers Take Me In Your Arms C/w Why When Love Is Gone

This weeks Tamla Motown collectors piece is something very special indeed, because it offers the double delight of two foot-to-the-floor Northern Soul stompers, both considered some of the finest Isley Brothers offerings to rare soul clubs ever recorded.

Two frantic real-deal dance tunes..

TMG condition conscious collectors, be assured this copy is utterly flawless; with both labels & both vinyls only revealing the merest signs of human contact with only the occasional brief sleeve contact hairline; but the labels you could be forgive for thinking it was straight off the EMI press.

It’s a beauty - a double beauty in fact

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The winning bid was £ 208.00

 
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Lita Roza What Am I Supposed To Do

Ivor Raymonde is a producer who was used to working with ladies had the power to emit an explosive vocal. He of course guided the likes of Dusty Springfield on many of her standout performances. Likewise with the much recorded but comparatively unsuccessful Lita Roza Mr. Raymonde lays down a full orchestra arrangement to compliment Ms. Roza’s booming vocal.

Holly St. James style kettle-drums open the proceedings with a cooing girl-group embellishing the backing as banks of strings and blaring trumpets build up the Northern Soul backing.

Big vocals - Big productions you cannot ignore them, especially when the two aspects are equally matched.

This irresistible 1965 UK Red & White DEMO is is sparkling condition, close vinyl inspection reveals only a few hairline blemishes under light - the Red & White label has the radio station time written in biro 2’ 17” - and the file # to the right (see scan)

Incredibly rare offering that most British dedicates will be unable to boast of ownership of this vital 45.

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The winning bid was £ 111.00

 
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Detroit And The Intruders There She Goes C/w Let Me Love You

Oh I’ve just come over all weak - I do just delight in these Doo-Wop influenced Northern Soul group dancers and this is, one of the very best.

An ultra rare New Jersey recording from the streets of Hackensack, that ripples class on every note, as Woody Gardella manages to fuse the two eras seamlessly together.

The soul intro immediately takes flight, soaring of a wave of woah-woahs, as the whisky-worn / nicotine-coated vocal leads with a begging performance, as the backing takes on some 50’s influences with a “Bass-Vocal” Doo-wopping merrily away in the background, sublime!

This is highly polish vocal teamwork, as Woody ensures the 60s feel swells as the recording develops, with “Detroit” increasingly imploring in his delivery.

Sorry to enthuse so OTT - but this “Just Does It” for me..brilliantly constructed.

Deep Soul enthusiasts will immerse themselves into the tortured ballad flipside, that again features those throwback elements of Doo-Wop whilst retaining the pure integrity of SOUL.

A few very light surface blemishes none of which show on the stylus. Excellent condition that plays Mint - both sides.

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The winning bid was £ 271.00

 
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Fred Hughes I Keep Tryin' C/w We've Got Love

What a complicated business “collecting Northern Soul” can be.

Ignorance is bliss?

Well maybe it is, but not when your buying 70s counterfeits and thinking they are originals. Fred Hughes on Exodus authentic original 45 was pressed at ARP and of course has an ARP hallmark stamped in the deadwax. Note there are also other pressed outside the ARP run - but all have the EX-1023 matrix with NO TAIL on the scratched in “2”

Just like this very elusive WHITE PROMO copy has; an ARP stamp-hallmark sitting in a 2 turn 12.30mm wide deadwax followed by a 27.75mm long scratched in matrix reading EX-1023.

Yet another Northern Soul favourite, that after sitting on the fringes of Northern Soul classicdom for decades, is currently enjoying a huge renaissance with all its unmissable qualities bellowing out at many current events, the turntable resurgence has begun.

The white promo is of course the ultimate way of owning this raising Northern Soul Star.

PS the third scan is of the horrid phony New York counterfeit with the wide 15.25mm deadwax with NO MATRIX numbers - just a very faint “I KEEP TRYIN” in the deadwax..as you see from the counterfeit stock copy the silver text is not sharp - and the deadwax markings are all but meaningless except to the counterfeiter…and the vinyl that super-flexible one the same forger used on Joe Douglas, Sandy Wynns, Casanova Two, Dalton Boys, Marsha Gee to name only a few NS counterfeits that emerged from this same source.

Having said that I bet the “unscrupulous” will think of scratching in matrix number.. look for the ARP hallmark that would be near impossible to replicate .. or go for this seriously RARE WHITE PROMO… in just startling condition!

Our tip is do not buy any variation of this title with “I KEEP TRYIN” lightly scratched into the deadwax - it is certainly a counterfeit.

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The winning bid was £ 260.00

 
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Movin' Soothin' And The Stone Funk Band Cryin' For Your Love C/w Dealin' With A Feelin'

Soulful Harmony vocal-group connoisseurs you are about to be impressed by a Dayton, Ohio area rarity; from the duo who gave us the stunning “Love’s Stormy Weather”. Again with the help of a vocal group, serve up a gloriously Soulful groove, exuding all the gravelly desperation we came to adore in the impossibly good “Love’s Stormy Weather”.

James Matthews & Melvin Brown underline the “lost” talent that populates the bars and Nite Clubs of American. It is hard to imagine more grounded vocals than the ones this disc serves up.

The slow rap intro fades, as the whole group enter the fray for an on-your-knees meeting of the minds. Excruciatingly soulful …gut twistingly good..

FUNK FANS - check out the meaty flipside - again vocally well endowed as the gathering wade through a maze of Wah-Wah guitars with chants, raps and shouts of approval - Proper raw, D.I.Y. Funk from the streets.

Two fine sides, one very elusive 45 covering two contrasting genres with great effect..

Vinyl has some light surface marks but as you can hear plays nice and clean - label are both flaw free.

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The winning bid was £ 108.00

 
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Commands Hey It's Love C/w No Time For You

This weeks offering to those of you addicted to the Northern Soul WHITE PROMO copy is just gorgeous.

Not only because the two important first press San Antonio, Texas labels are totally unblemished. But the equally pristine vinyl gives up my favourite style of Northern Soul - the smooth-as-silk male vocal harmony NS dancer.

As with most-all Abe Epstein sessions, both sides are slickly constructed, fluid movers benefiting from seamless arrangements and beautifully delivered mix of voices, with the lead vocal being super-impressive..

After all this is one of mine and many others fave Northern Soul tunes , presented here in an unmissable format..

Pass by if you can..

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The winning bid was £ 149.00

 
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Buddy Conner When You're Alone

Breakthrough 1003 a rare release on the now mythical Los Angeles label with a few Northern Soul treasures to offer.

Joey Jefferson again joined by Roy Hayes on this delightful 1970 session incorporating Buddy’s rasping vocal laced through the perfect mid-paced Northern Soul arrangement. Perfect arrangement it may but what makes this elusive 45 so special is the Bobby Bland / Buddy Ace styled vocal. Oh Boy, this guy pebble-dashes the mike on every word he growls out.

This NS mid-tempo excellence heightened by a very special vocal indeed.

DO NOT confuse this beauty with the 1972 remixed of the same song on Breakthrough 1004 - remixed and ultimately losing all that raw Soulful begging.. as a result.

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The winning bid was £ 240.00

 
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Hun's Review Featuring The Soul Brothers Don't Make Me Love You C/w Danger Zone

Relentless vocal-group Northern Soul, defiantly delivered on wave after wave of violent horns, with the lead vocal delightfully overreaching itself in a style that actually adds to the naive charm of it…

An heady cocktail of the unsophisticated D.I.Y. production and the 100% determination to make it happen - makes this 45 real-deal Northern Soul - with a reputation that has not stopped growing in recent times, as it’s NS turntable activity increases…

In fact this particular 45 appears so frequently on forum or Facebook “wants” we can see this listing creating plenty of interest as these days it only seldom comes to market.

As you can see both labels are clean and free of any flaws - both sides of the vinyl only reveal the odd blemish or two in strong light - and as you can hear plays 100% perfect..

Now let me listen again to that lead singers intense vitality one more time… just totally energizing…

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The winning bid was £ 673.00

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  • Milton Wright eh?   HI PETE-I NOTICED THAT J MANSHIP IS AUCTIONING A MILTON WRIGHT-I BELONG TO YOU ON SATIRON.THIS WAS A SOUL BOWL RECORD THAT WE MANUFACTURED FROM THE ORIGINAL RECORDING T

  •   Here you go mate   HI PETE-IT WAS A MADE UP NAME––DIDN'T MEAN ANYTHING JUST DIDN'T WANT TO USE SOUL IN THE LABEL NAME–JOHN

  • The positives of JM's auctions seem to be the seller and JM's bank balances are improved, the winning bidder gets what they wanted, others who own a copy of a record that sells for more than usual get

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Nothing to do with the auction price or even the vinyl aspect of the songs (Milton Wright), but there have always been two schools of thought regarding this. One is that it was an original recording that JA released from original tapes. The second was that the vocals were only recorded in the seventies, making it a "modern" custom recording for the scene (similar to Baby You're The Fire" etc.)

 

Although I don't think many thought it was a fake, reading John A's email further up, at least that has been resolved (if there was any doubt in the first place).

 

Cheers

Mick

I bought the Huns review last summer, paid 250ish, surely it can't be worth much more.... or is it? is this now the going rate, has JM set a precedence ?

bought Huns Review for £40 back in the early 9ts, how prices change.. when I sold it in 99, it took an age to go... prefer 'danger Zone' personally, much better track..

 

M

bought Huns Review for £40 back in the early 9ts, how prices change.. when I sold it in 99, it took an age to go... prefer 'danger Zone' personally, much better track..

 

M

 

Well i'm a sucker for paying way over the price, nowadays, of stuff i bought "realistically" back in the day, not often i do mind.

There just seems no end in sight to prices "going through the roof" :(

Anyone paying that much for a pressing - well, good luck to them.

if you class the milton wright as a pressing but was done legal and above board what would you class the darrel banks that as just gone for big money would you class it as a pressing or legal first issue or a boot ?

if you class the milton wright as a pressing but was done legal and above board what would you class the darrel banks that as just gone for big money would you class it as a pressing or legal first issue or a boot ?

 

It's an original British issue - nothing cloudy about that one.

if you class the milton wright as a pressing but was done legal and above board what would you class the darrel banks that as just gone for big money would you class it as a pressing or legal first issue or a boot ?

 

I think a high court judge should preside over this debacle :huh:

John Anderson made the records in 1977.  It's not an original 60's release.  It's a legal, made for the scene special pressing.  It's no rarer than any of the other pressings from the 70's that had 300 copies made.  What is there to actually argue about?

Look if people want to pay £400 for a pressing then that's absolutely fine.  Next time I get one, I will list it as a pressing a price it accordingly, like I always do.  I might stretch it to £75 this time.  

apart from the not having permission to release it lol

 

Lots of records get withdrawn for whatever reason though - Wayne Fontana for a start - you wouldn't say it's not the original British issue though

so wouldn't that make it a bootleg even though it's on a major label

 

Record companies like London / Decca didn't make bootlegs

so wouldn't that make it a bootleg even though it's on a major label

Richard Searling told the story of the two companies trying to release this, both dealing with different executives at Revilot apparently.  He also told of copies being delivered to Decca's Manchester distribution warehouse in readiness for release. 

 

The London release was withdrawn so how can it be a bootleg?  All copies ordered destroyed but you can't account for light fingered plant workers.  

apart from the not having permission to release it lol

 

They didn't release it though did they

They didn't release it though did they

they had a go.... but common sense has to prevail...no one in their right mind would call it a boot..or wayne fontana...some guys dont value anything on british..or foreign issues ....or playin off lps for that matter...then theres the issue of stuff that never came out before... not even sure why anything but the sale price has been questioned about milton wright

"Something keeps calling me back" to this thread

they had a go.... but common sense has to prevail...no one in their right mind would call it a boot..or wayne fontana...some guys dont value anything on british..or foreign issues ....or playin off lps for that matter...then theres the issue of stuff that never came out before... not even sure why anything but the sale price has been questioned about milton wright

 

But it hasn't has it Dave?

Nothing to do with the auction price or even the vinyl aspect of the songs (Milton Wright), but there have always been two schools of thought regarding this. One is that it was an original recording that JA released from original tapes. The second was that the vocals were only recorded in the seventies, making it a "modern" custom recording for the scene (similar to Baby You're The Fire" etc.) Although I don't think many thought it was a fake, reading John A's email further up, at least that has been resolved (if there was any doubt in the first place). CheersMick

Must admit I've always wondered about whether the vocals to this (and Spaceland) were recorded in the 70s. May be due to the way the LP sounds, just doesn't sound 60s, even for a 70s press (if that makes sense).

Must admit I've always wondered about whether the vocals to this (and Spaceland) were recorded in the 70s. May be due to the way the LP sounds, just doesn't sound 60s, even for a 70s press (if that makes sense).

 

That's due to the compression used on the lp to make 20 tracks fit on one LP though.  Plus how could Tony Hester record vocals to Spaceland if he was dead?

That's due to the compression used on the lp to make 20 tracks fit on one LP though.  Plus how could Tony Hester record vocals to Spaceland if he was dead?

Thats a very good point!

But the Milton Wright is a legit first issue is it not regardless of how it came about?  The same as Kent, Grapevine etc?

I've found the Northern Soul scene has always considered "originals" to have been made and issued around the time of recording and promotion!

Something that was recorded 30/40 years ago and never got released, was a record that never got released.

Just because it comes out many years later on a bit of vinyl, historically means virtually nothing.

Edited by Guest

I've found the Northern Soul scene has always considered "originals" to have been made and issued around the time of recording and promotion!

Something that was recorded 30/40 years ago and never got released, was a record that never got released.

Just because it comes out many years later on a bit of vinyl, historically means virtually nothing.

 

Unless they ars selling one for 300 odd quid

Anyone paying that much for a pressing - well, good luck to them.

Ruined what is a brilliant instrumental!

Nothing to do with the auction price or even the vinyl aspect of the songs (Milton Wright), but there have always been two schools of thought regarding this. One is that it was an original recording that JA released from original tapes. The second was that the vocals were only recorded in the seventies, making it a "modern" custom recording for the scene (similar to Baby You're The Fire" etc.)

 

Although I don't think many thought it was a fake, reading John A's email further up, at least that has been resolved (if there was any doubt in the first place).

 

Cheers

Mick

 

from 2008 hon milton wrights take...

 

from 2008 hon milton wrights take...

 

 

So I understand Milton Wright correct, he never received any royalties for these tunes which he owns the rights to ? If thats the case the record in question surely is a bootleg ? And given the recent auction result surely the most expensive ever ? Almost more importantly..,if this is a bootleg and gets played at ususally OVO venues...  ah, I better stop it now.

So I understand Milton Wright correct, he never received any royalties for these tunes which he owns the rights to ? If thats the case the record in question surely is a bootleg ? And given the recent auction result surely the most expensive ever ? Almost more importantly..,if this is a bootleg and gets played at ususally OVO venues...  ah, I better stop it now.

 

John would have paid Ollie McLaughlin for use of the tapes - at that time he must have owned them, so when did Milton become owner?

John would have paid Ollie McLaughlin for use of the tapes - at that time he must have owned them, so when did Milton become owner?

 

I doubt Milton bought the rights off Ollie. If he has them he will aways have had them, meaning hes been the owner since recording these tunes.. He complains bout not having received any royalties so I believe he is on about said release ? Being a judge he will have known that making a claim like this in public without being in the right to do so would be at least useless...if not already against the law. 

 

If John paid royalties to Ollie he will have thought to release  a proper record. All in good faith I understand. Maybe even Ollie thought he had teh rights, again in good faith. Still, it would make it nothing else but a bootleg. If of course Milton owns the rights.  

Edited by Marc Forrest

bought Huns Review for £40 back in the early 9ts, how prices change.. when I sold it in 99, it took an age to go... prefer 'danger Zone' personally, much better track..

 

M

Got my first copy for 10p off a car boot. Traded it on for £60 worth of tunes with my mate Perry. Missed having it around so got another off ebay for £50, class act.

 

I see 'Danger Zone' is a Wilson Pickett tune, was it ever released by him? 

Got my first copy for 10p off a car boot. Traded it on for £60 worth of tunes with my mate Perry. Missed having it around so got another off ebay for £50, class act.

 

I see 'Danger Zone' is a Wilson Pickett tune, was it ever released by him? 

50 for Huns review? please don't tell me you got it recently at that price :(

So I understand Milton Wright correct, he never received any royalties for these tunes which he owns the rights to ? If thats the case the record in question surely is a bootleg ? And given the recent auction result surely the most expensive ever ? Almost more importantly..,if this is a bootleg and gets played at ususally OVO venues...  ah, I better stop it now.

in djing terms, a bootleg is acceptable if its the first or only release, must be 100s of examples of this. It's re-issues that are the no-no!

]

in djing terms, a bootleg is acceptable if its the first or only release, must be 100s of examples of this. It's re-issues that are the no-no!

]

 

Mik, can we say it's only acceptable if everybody agree's :) Unless a survey is done it will always be a grey area :thumbsup:

I doubt Milton bought the rights off Ollie. If he has them he will aways have had them, meaning hes been the owner since recording these tunes.. He complains bout not having received any royalties so I believe he is on about said release ? Being a judge he will have known that making a claim like this in public without being in the right to do so would be at least useless...if not already against the law. 

 

If John paid royalties to Ollie he will have thought to release  a proper record. All in good faith I understand. Maybe even Ollie thought he had teh rights, again in good faith. Still, it would make it nothing else but a bootleg. If of course Milton owns the rights.  

 

Milton may own the rights as writer but Ollie probably owns the masters unless there was a contract to stipulate ownership was Milton Wright's.

What is this? Everything I say is obviously only my opinion, or do I have to use that old passive/aggressive favourite :'IMO' all the time.

point I'm making is : we dont have a clue whether the artists got paid or rubber-dicked on loads of old records ; lots may be technically boots without us knowing, in the same way that this might be. And its not for me to have to find out whether the right parties were paid for the rights to a record every time; knowing the order of release is relatively a far less grey area.

also, the legality issue is important in general moral terms, but not relevent to djing; legality isnt a major part of the djing code.

What is this? Everything I say is obviously only my opinion, or do I have to use that old passive/aggressive favourite :'IMO' all the time.

point I'm making is : we dont have a clue whether the artists got paid or rubber-dicked on loads of old records ; lots may be technically boots without us knowing, in the same way that this might be. And its not for me to have to find out whether the right parties were paid for the rights to a record every time; knowing the order of release is relatively a far less grey area.

also, the legality issue is important in general moral terms, but not relevent to djing; legality isnt a major part of the djing code.

 

Your opinions are as valued as every members!

Yes.

 

Atlantic 2334

Anyone paying that much for a pressing - well, good luck to them.

 

I don't think so. It's probably just some kind of miracles of christmas.

 

I was already gobsmacked when it went 200+. It's been a bubbling-under lesser known for decades and was, from what I remember, a 50/75 tune for many many years. But that's the power of massive plays. Maybe I'll make my copy available for the market now?

 

A copy sold on Ebay tonight for £418.

Will some DJ just get behind The Happy Cats - Destroy That Boy (in my opinion the superior version over the unknown artist copy) as I've been stockpiling these for ages and now have at least 85 copies to shift, and I can claim its an original issue, or can I?

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