El Corol

Not something you're read very often

£500 to 600 I'd have thought Neil, but could be higher with the demand for top 500 sounds?

Great record, but a little awkward to dance to. Love the instromental bridge, a complete lift from "Theme from a Summer Place" by Percy Faith!

Shoot-A-Basket is a funky laid back tune.

A bottle of Sherry in a Xmas raffle when I was 16 - drank it at a party on Xmas Eve as none of my mates would touch it. Last thing I remember was lying on the hall floor with my head out the front door being sick and seeing my mate (whose party is was) mom and dads feet walk down the path and ask what was going on! Xmas day was not fun that year!

Lee Bates - Why Don't You Write

I have the following for sale: Postage £1.90 (own risk) or £2.60 Signed For PayPal (F&F) or Bank Transfer Please PM if interested. All scans of actual records. 1. Billy Hambric - New York City Baby - Soho - NM £15 2. Liz Lands - Don't Shut Me Out - One-derful - NM £12 3. The Turbulations - I'm In Love - Guava - NM £75 4. Jeff Perry - Call On Me - Epic - NM £70 (Instro on B side) 

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I have the following for sale: Postage £1.90 (own risk) or £2.60 Signed For PayPal (F&F) or Bank Transfer Please PM if interested. All scans of actual records. 1. Billy Hambric - New York City Baby - Soho - NM £15 2. Liz Lands - Don't Shut Me Out - One-derful - NM £12 3. The Turbulations - I'm In Love - Guava - NM £75 4. Jeff Perry - Call On Me - Epic - NM £70 (Instro on B side)

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I think Hank Hodge is really this person:

Audrey Freeman - Three rooms - Musicor (White Demo) Any ideas? Thanks

The scene has been evolving and fragmenting for a long time now: modern vs 60's, 60's newies vs oldies etc etc. As someone said in an earlier post you think we'd have the best of it all by now as the scene has usually got past the rifts and absorbed the best of the different strains of soul. I think a shift took place in the 90's which in my view started to see less attendee's on the scene - those who still were about were often collectors, the number of "purely" dancers who didn't care about the format of the record was lower than in the 70's and 80s in my opinion. The collectors were the ones (on the whole, but not exclusively) who stuck with the music, form and format were important now; witness events like The Ritz "Rarest of the Rare" it was exciting to be dancing to those records knowing that they were original (someones gonna burst my bubble now and tell e Tim Brown played a boot). In those days I'd argue the majority of attendee's did care about the format being an original far more than the attendees of 20 years previously. Now this informs the debate of OVO because a lot of people who stuck with it through the 90's are going to be a little miffed when people start coming back to the scene and pushing that all aside. Theres bound to be a bit of "but where were you in the dark days when I was in a soul night in the backroom of a pub with 14 blokes and a whippet in attendance". But I don't think that was an obstacle that couldn't be overcome. I suppose there is no one "truth" for the scene (as it was and as it is) its different things for different people, just that in the past the different "types" of soulie (dancer, collector etc) seemed to rub along just fine as most were all still young and out to enjoy themselves and most importantly people were still developing their opinions and views on the scene. Fast forward 30 + years and opinons are more entrenched, whether they were formed in the 60's, 70's, 80's or 90's, so division, derision and debate are bound to happen. Dancers on the whole don't care as long as its a good night out so they might not care too much about values that collectors hold dear on the scene, and to me there in lies the rub as "collectors" views are important as they were the lifeblood of the scene during the so called darker years. And should collectors also be more accepting of the attendees who don't care about things like format, originallity, and trouser width? I'm not sure how that circle is squared.