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HI ALL It's a shame (no pun intended) but have to agree with Pete on the value of this one, Personally as far as cover versions go, I enjoy the backing track, but the record itself fails for several reasons, 1, Micheal Cox, was out of his comfort zone of what he had previously recorded, with the great Joe Meek, at RGM who was the master of TIN PAN ALLEY, bit sadly recognised that once Merseybeat had hit the pop chart with cover versions of black music from the states, his genius production ways, were not required, If we compare Meeks work rate and input, to the owner of NEMS and the success that Brian Epstein was having with the act that he had signed for NEMS, Meek must of got depressed that the big success of Epstian was his non involvement with his acts, As such it must of also hurt that Epstian, had found the talented GEORGE MARTN, who had his own label PARLAPHONE, which was part of EMI, as Joe Meek was independent with RGM much of his product was issue through both EMI & DECCA, This was so significant, as Meek had to book studio time for all his acts George Martin could fit all of Epstians work in as he controlled the studio, 2. What makes 1 record of more value than another? well taste is one, but more to the point is if we look at another MOTOWN cover version, this was the discovery by Pete Smith of Ben Browns cover of Just ask the lone;y, it's discovery took as far as I aware all hard core collectors by surprise, as not only was it a good record, it was not a like for like copy of a classic, in particular was the vocal of the record, the producer must have recognised that Ben's voice as a solo singer would make a significant change to the recordingm Cox's cover was delivered in such a manor his Irish accent made him sound like he was lead vocalist in a irish showband, a style of music that was never popular in the UK, and if we do a direct comparison with Irish singer Ray Merrel, you will gear the difference of how Cox should of sung on the recording. 3,For collectors of UK uptempo or beat ballads that no matter how good, they are in competition with many great US records, and to make the situation worse, because the wrong DJ played the very worst example of UK product at the WIGAN CASINO, Many pureists on the scene have been scared by what happened by playing rubbish, and the consequence that it took the talents from seriouse UK collectors to take over the DJing to re establish the UK product, as such a new demand for collecting UK releases come back into being popular, but to this day only a small amount have made it big on the scene, 4. Micheal Cox cover was one of the 1st Bach of records that most collectors would put in their collections but was apart from a few plays never seen as a record to DJ with, However the Ben Brown Cover was recognised across the board as a Northern record and as such is still in demand, but for some reason it's full value and potential I believe has yet to be reached, so even this version can be picked up for under £40, and dealers in UK soul will give £20 tops for a mint copy, this is one reason unless I get a spare copy, that I hate partying with records, and another reason for some collectors just focused on collecting the top records only, rather than collecting soul records in the way it was, added to that the fact that the impact of CD have had since the 80s. 5, to conclude, I like the record and it is good enough to keep if you are a collector, as a dealer it has not got much value, if you follow Pete Smiths NEW SITE dedicated to all UK products and you are new to collecting as time goes by, you will see how diverse the collecting scene is with rare UK prices, and many times you may feel that the prices given are not in keeping with your own valuation, however in cases like this one you have to go along with what value the dealers put on a record as you will not get a explanation for every record like I have given, DAVE K

HI ALL, As a collector of SOUL released in the UK. Many collectors like to own the origanal DEMO, also for myself, I also get pleasure in finding and owning, the more popular records from the period 1967 to 1975, so for example the TAMLA-MOTOWN hits from the time especialy, even those that were reissues of early rarer issues, I prefer to own on a GREEN & WHITE DEMO. So with that in mind, could anyone confirm, that the Delfonics DEMO that i have scanned is more rarer than the useual black DEMO, The silver is the 1st copy of the classic, but I always see the black DEMO, But have been told that the black demo is rarer!? as this cant be so in my book, I put it to you, for clarrification DAVE

HI ALL Some of the US records I use to have,, 'burning bush' was a hard find in the 70s I would pick that William Bonny love love love, HOWEVER A FEW UK SCANS FOR YOU, One of the biggest mercury records ever to played in SOHO & Massive at the TILES CLUB & a TOP MOD ALL-NIGHT SOUND, BIG AT THE WHEEL ALSO, Was Keith 8 96.8, it's good to have you home again oh baby, oh how I love my baby, massive record,

HI ALL This is a good thread, as yet I have only read Pete's starting page, and immediately thought out off all the records, why does he not like SUZY SERANADE?? The more I read this type of remark? I have to wonder, what is not to like about it, as it would justify the reason, and not for speculative replies, or agreement that it's had it's day,? There could only be 1 reason not to like it, you did not hear it when it was a top TORCH SOUND, You have got it so wrong Pete, top sound played to the in crowd, nice dancer, when dancing meant putting spins splits & backdrops to the breakers in the beat or a tempo lift, this was a great spin, and the flip, is the standard 'after hours' and I am sure that there was a vocal to it? Back to the point, the thread could be a variation on 'the Strange World of Northern Soul' which is in no particular order 1, always box clever about anything, this used to irritate me in the early days, of the scene, when at Blackpool Mecca the real know it all paradise, when you had to own a special top sound to be acknowledged, as at one time, as I was trying to remember a tune, so I could go to Contempos and by it for 85p, was the cover up, also we must not forget at the junction mecca torch cats, a high percentage of the records were less than 2 years old many were current, so my first choice in this thread goes to all the cover up records, 2 records in particular both played buy KEITH M at the TORCH #1 a record i am sure was cover up as Otis smith, I really loved the record and when MICK S offered me it for £1.50 I was really chuffed #2 again was to my block head a great tune, £1.50 of MICK ,, when I got home I naturally wanted to find out who or what was written on the label? A 55p RECORD. THE OTHER WAS HARTBREAKER HONEY END ON SPARK/

Hi all and thanks Mick for pluing the excellant B side, of the great merry go round, and I to fully endorse this side, making the record a must for any box, and it's also a pisure to read that this record still turns you on? it certainly would be in mt top 200, was this a CATS play 1st? DAVE

HI JOHN Yes you are right, and as I have said much of the ISLAND story has been told, I am only trying to answer the question about the A stamped SUE copies that some people are mistaken, as DEMO copies, my thread was just a bit of background and not meant to be a comprehensive peace, only to point out that in my opinion there were no SUE DEMOS, On the subject of records given to DJ that in my opinion also has little foundation, as I freely admit my 1st hand knowledge about this subject comes from the years 1969 & onwards when myself and 2 mates would travel around different outlets that distributed ISLAND products and also PAMA & JA IMPORTS and at every outlet, I can recall the sound man, in this case Aston Williams, had to haggle over each exclusive pre release, they were not given as freebies, this haggling is very much a part of JA culture, if you have ever tried to buy records of a Jamaican you will understand what I mean, you can take weeks trying to get records of them, Years in some cases, I can tell you now where a collection of 60s 70s SKA. ROCK STEADY & REGGAE are in there cases, ALEX's Barber Shop, on the SOHO Rd, go and get them from the old man? if you think you can just do dealings the white man way? SUE RECORDS were only given free to certain CLUBS and not to DJ unless the person who distributed them gave a couple away with an order, However all I am trying to ascertain, is my findings right, is there a DJ who can say that he was on a mailing list and received SUE RECORDS prior to the release & did they look different to the issue? Also it would be good to have another thread on the sort of info that you put forward as it is of interest to many readers, thanx

HI ALL Trying to write a history of a company, that started in 1959 and has run through 5 decades with 100s of releases, in a page, is not the easy thing to take on, is it? and to receive 3 0r 4 word replies adds little, the company decision to change was in 1966, the fact that the red & white label was still used in 68 is true, but they used the new catalogue numbering and then got rid of the label in favour of the pink label, which also had slight changes to it over a shot period? My piece was trying to find a definitive answer to the question of ISLAND RECORDS demonstration records that had a regular release? As yet I have not come across any run of records that had a demo that looked significantly different to the actual issue, Those that do are clearly promotional demos such as the Jimmy Cliff Vietnam, as the cover info states it is limited to 200 copies, The white label TROJAN Records that exist are or were at the time available to buy at the MUSIC CITY shops, as were other white UK JA UK pressed records such as the FAB BLANKS, PAMA BLANKS, These records although nice to own are not promotional or demo copies in the context of my article, and are more in line with the stuff that GOLDMINE put out, in fact at least Goldmine made an attempt at making the records look different, however for the amount of demo made, How many of you were on the Goldmine list to receive any of their records 6 weeks in advance of them issuing a release? No I am far from a expert on this, I am just trying to get to a point that we all agree on, not for people to point out my mistakes. but to add information that can be used, that has not been available or published in books fanzines etc, TO CONCLUDE I am stating that there are no SUE DEMOS, Never was, however there are SUE RECORDS that have stamped marks that were put on ISSUE or STOCK copies to identify the side to play, And that is what I hope this ARTICLE CAN ANSWER??? DAVE

HI IAN Yes indeed she was special, as I wrote in the other post, on reading you thoughts of love for Helen, it not only bought tears to my eyes, it also made me smile? I remember back in the mid 70s when my mate Mick Smith and myself were DJ ING IN BEDFORD, back then Mick used to pass me his records and I would play them, sounds strange now, but his reasons were, at the time an integral part of traveling north was the DJ as they to us were part of the ambiance of the scene, and he could not relate a cockney voice linking a record, and although Tony Jebb and Keith become close freinds, we always rated you as the top DJ, even though we could not understand a word you said, so your remarks are a true translation and are so meaningful, As I said before it was thanks to both of you that I found my way back on the scene, and the venture of the BLACK HORSE good days, thoughts of HELEN I have one special one, it was the black & white vidio that I orderd for Marie, the film was the one about every time a bell ring an angel gets their wings, Helen like many back then did not no the film, so she orderd a copy forherself, I remember her delight in thanking me for it become her favourate film also, so I am making a request for BOBBY WELLS BE'S THAT WAY SOMETIME to be played for HELEN and she will then get her wings, As always respect for you both, love MICK & DAVE

HI ALL My copies that I sold at the VIC in Wolves were on orange DRUM never seen it on FURY SHE SAID GOODBYE? DAVE

HI ALL Especially those people who have a love for collecting 60s UK Vinyl. This part 2 of the long running saga, of what was put out by the ISLAND RECORD in the 60s, that could be classed as a true company PROMO or DEMO, Now as a bench mark, as a definition of a DEMO/PROMO I have for the sake of drifting away from the pioneer, and what I feel 99% of SOULSOURCE readers will accept, is how collectors have a understanding of how the mager's approached the issue in the 60s, my focus in the main has to keep to the 60s as this is the area that needs more explanation, even though it is pretty straight forward, Although I have spent the week, thinking about this, I have used as reference to help me, the following. MANSHIPS GUIDE TO RARE UK, Pete Smiths excellent listing & forerunner to the previous, and also to improve on the excellent FINDAGROOVE Price Guide, Pete Smiths Beatin Rhythm #1 - 10, essential and comprehensive set of fanzine type booklets, also original ISLAND CATOLOGES, ACTION CAT, ISLAND B&C CAT. SOUL CITY SHOP CAT. AND BLUES & SOUL MONTHLY MAG 1 - 23 TO COLATE INFO' At this time and what I can say for fact, is I can only find 3 example out of all the releases from 1960 onwards, this is not to say there are not more, it is also most important, that to make my point, it is excepted as fact the ISLAND RECORDS was an independent company, however it was backed by a large DUTCH parent company especially for product production & manufacturing, PHILIPS, This has already been discussed on SOULSOURCE, It is true to state that for much of the 60s, Philips stopped manufacturing white label DEMOS, once the 45 RPM record had taken over from the 78 RPM record, this crossover period covered the years from 1954 - 1960, when the last 78s for the UK market ended, again I have seen a BEATLES PLEASSE PLEASE ME on a PARLOPHONE 78 from 1963 also told that a CAPITAL 78 OF A 65 BEACH BOYS EXISTS? Who am I to say it does not, but it is guaranteed, I suspect made for the Subcontinent? Assuming that I am correct? this policy of no Demos on any o f the company's manufacture records, would include the ISLAND RECORD Co, as we are aware there are factory samples of all Philips/Fontana records, with SANPLE painted on in a yellow paint, and some have a sticker FACTORY SAMPLE NOT FOR SALE on the label, however never found this on any of the ISLAND group of labels? Also as discussed before, ISLAND RECORDS had a history of making records that had been dubbed from a US or JA RECORD, and also relevant was the spurious licensing deals, through out the 60s? and also strange is how records that should have been issue on SUE are on ISLAND, and a small amount of non US records come out on SUE? and even more odd are the couple of records that were issued as promotional giveaways for company get togethers, so that's 2 ISLAND R&W PROMOS, that have no interest in having, unless you have it for sale or to complete a collection, as they are rare, my tip is don't buy them? the same can be said for the LPs on ISLAND, (on ISLAND means they have the ILPS Prefix< not the label) So to colect all the LPs you will need the Rugby songs LPs and so on, Most of the 60s ISLAND records would not have any demos as the DJs were given the JA pre release, as to-day most DJs like to play records exclusive to them, so this is anouther sound reason of not having UK DEMOS DUKKE VIN would never play a sound that COUNT SHELLY was playing, however unique to JA music was for every lets say record to be released in the UK, there are many versions of the rythem that a sound man would play, Evein the early 80s this was essential to the Jamaican music buisness,, and is a very important asect of Reggae music, which is based on rythems, going back to mento and SKA, again the most famouse early stuff is by SKATALITES, and BUSTERS BAND both had top musicions playing very indervidueal unique styles, in 1981 lovers rock was the to sound and had been for 3 years, however I heard a record while walking home in BLAKENHAL and thought it was a great sound, over the week I kept on hearing it, so I went to SUMMIT Records said to the bloke I want a record but dont no who it's by, "I could hear the sucking of teeth, and Babalon muttering" bloke said that could be anything, so I hummed the Rythem to him and the onlookers, and the mans face grinned, what verion do you want SPA as there are over 100? to many you may know the rythem as the backing to "under my sleng teng" a minor hit, over the next month I had 40 x 2 differant versions? amazing, When ISLAND launched the soul label SUE, again the contract was with Juggy Jones and that story is well known, and there were no demos also discussed was the black mark, as ISLAND sent the music to the demographic that it appealed to. The catalouge was distrubuted in small batches, to cater for the West Indian populus and also at the MOD clubs in 5 citys, these are I believe some of the ones that had the A stamped the records with the shop logo or the 3/- price was simmular to the us 45s with a drill hole and were classed as old stock, again easy mistaken by the soul market as a demo, because of the fact that they only had a few outlests, Again I have written about the way ISLAND & SUE went about the way deals were made, and when Guy Stevens left ISLAND, and Blues & Soul man John Abbey took over the label & the frustrations of DAVE GODIN had after he pionted out the goings on, the other week, However it was at this time the ISLAND RECORD group joined with B&C RECORDS, SUE record ended, along with the R&W Bow tie label. Action label was developed by John Abbey, but the real change was how the Jamaican Music was handled by B&C the launch of TROJAN RECORDS in 1967 issued classic music from DUKE REID not that we noticed at the time, When the Soul label Action was Launched in 68, B&C relaunched TROJAN - DUKE REID and then added more labels, also they issued some BLAK UK Pressed Pre release, again this is the nearest you will get to a DEMO. The ACTION Label issued advanced copys with the famouse skelington capitol A on I class these as DEMOs as there are very few of them, however they are all on stock copys, B&C did use the A but these are very had to locate as they were sent to a very small number of white DJs who played to the inner city kids black & white to capture the new Skinhead Rude Boy sub culture, however they quickly dispended that idea and repromoted the most popular records through buget LPs TIGHTEN UP Vol 1-10 and by putting the 45s in a great sleeve. most of all the history of ISLAND can be sort out on a few books, but the YOUNG GIFTED & BLACK BOOK is worth getting even though the auther has put skinhead on nearly every page??? oh the 3 proper Demos were the ISLAND pressed BLACK & WHITE SOUL CITY RECORDS, These demo make the GESTALT as PHILIPS 6 FONTANA started to issue B&W DEMOS at the same time??? if any one has a simular DEMO on any other 60s label please show, also ALL the BLACK AND GREEN ACTION LABEL that EMI Distributed have there company DEMO stuff on ad come out in the 70s AS ALWAYS DAVE K

Hi all The 68 Issue is much rarer than you think, and the DEMO is even rarer, a nice copy of the 68 copy is£100+ however the 71 copy I would put at £40, Orig DEMO, is £££ don't no? DAVE

BEING PADANTIC SOMETIMES, Just goes over my head, the point is there are more Black than maroon, I would rather own that copy for £10 than spend money on a £3 record, however some people will be palming of the black copy this weekend no doubt? DAVE

Hi All....I think this is a great question, To be honest those people who have made money on the scene, are just the average people in all walks of society, who act on instinct when creating any work, they see an opening or as I would say a gap in service provision, and don't just think about what a good idea or wouldn't be nice if we had this? they act on the opportunity, and the secure knowledge that only 5% of the population, waits to be told or finds life easy working for others, rather then take on any risks, The most successful are those people who clearly had a understanding of business and the foresight to have a realistic business plan. Again a very high percentage of the population have poor husbandry skills and will plan no further than 5 weeks ahead, this is normal because the majority do it this way, To make a living from our scene has aways been that special touch that our scene has, a personal touch if you like, for example if you went to a big live concert, those people selling artifacts poster and so on mean nothing to us, they are just 1 of thousands of people that we will never meet, unlike our scene were everyone is include from the promoter the door staff the brothers & sisters the record dealers also the drug dealers, If you have been to see any act on the scene, you will notice that their performance is 100% more than average, this is because they are swept of their feet with and buy the scene, A good example was when the DELLS did Trentham Gardens, it was clear to me and Evey one including the band and DELLS that it was the best vibe they had got for many years, also the transparency I remember speaking to Tamiko Jones who was so over whelmed about the scene she just talked in depth for over 30 min before I could ask her a question? The record dealers on the scene have even got their followers and very loyal they are to, this is because they are very much a part of the scene, and what I like is they just expanded the way the scene run at the start, with most who attended taking a few records to show off, or sell, it's rare that there is an outward conflict with other dealers? To conclude those who have made a living like Ranking John Manship have done so at the price of giving a whopping big chunk into keeping the scene going, years ago I made money keeping the scene alive through out the night, however this way of making money, well for me had to many hard penalties to it, and money was not appreciated and wasted, so record selling is safe and integral, and I am glad that the scene has this provision, DAVE

Hi well you have hit the nail on the head however you have it the wrong way round, as there is more chance that a failed 70s Disco 45 being played, it is as clear as mud, the Northern Soul scene has been ripped apart by inferior Dance music, the best or most of the Best 70s records were payed under the banner as Northern? and the people who go on about CROSSOVER & MODERN SOUL have as I say destroyed the ambiance that Northern, For me it will be a Northern Scene that will always have the quality sound of the 60s if you look back at the 15 years of all music that was played in the USA UK & on the continent from 1956 yo 1971 and look back the last 15 years, the ever changing assortment of music progressed and most were aimed at the here and now, the Motown beat was even in the Pink Floyd records, DISCO never made it and as I say the best was called Northern, I love records like SUPERTIME so would young people so lets play them all again, I hated the crap Disco scene, and loved the Northern scene, why these DJs impose there stuff on others heave knows, reading SOULSOURCE and some of the threads, shows me again that many people have not had the opportunity of the authentic divers madness and contradiction of the scene DAVE

Ian as Pete S will tell you I like TOADY BOY am going through a real hard time, so much so I let a few of my POP demos go, the Thoughts of emily on a imiediate red A demo went to Mick, he also had Barry Ryann ELOISE DEMO, a great pop record to end the 60s and set a new standard for the 70s, I then shut the lid on him when he pulled out SPIRIT IN THE SKY DEMO, HURDY GURDY MAN PYE DEMO, AND THIS WHEELS ON FIRE BLANK, It was to painful, over he last 40 years or so, some of the junk shop finds and how cheap I let them go for I had HOLY HOLY & MEMORY/ PRETIEST STAR MERCURRY DEMOS FOR 25np, even Pete Smith has not had them?? thinking about it he has but not hat cheap, I am sure he also had Lisa Jane the Lower Third, which no one has had HI HO SILVER LINING DEMO, any wolves fans a must have for £110, very rare, by the way give my record of the day a spin please?

HI ALL I AM AWARE THIS WILL NOT PLEASE SOME, BUT i HAVE JUST BEEN TALKING ABOUT IT, IT WAS GREAT AT 17 YEARS & EVEN BETTER AT 60 YEARS, PLEASE LISTEN TO THIS CLASSIC CUT, PLEASE PLEASE PLEASE! PLEASE DAVE My copy value??aint bothard! https://youtu.be/OvvC4TiiRa4

HI Yep it is a joke! looking down our mans list, the last record ABC ROCK STEADY on the High Note label, in fact it's the labels very first release, The record is a load of S**t and he has priced it at £150. another JOKE? well maybe not maybe not, I really do not no the current value, I am tempted to say £35, However you never can tell, I actually got this the week it was released, it was one of my very first couple of REGGAE 45s back then this music, a new music from JA had not even got a name, as it was the dace name that stuck, the dance was from the Hips and properly executed made a 17 year old DAVE Grow? the dance later was call Welding a descriptive name for it, it was always dance to an uptempo bass but sweet rhythm, this sweetness come out of the late 66 RUM RYTHEM which was more meaty and had more pace to it than all the smooth vocal harmonizing of Rock Steady and you should never really play them side by side as it's Chalk & Cheese, This leads me to the B side of ABC Rock Steady, And as I say at 17 years old and to actually own one of not just an early Reggae Record, I can honestly state 100% this is Reggae at it's very best, very very best I am sure many collectors who did not hear this in context as I did, may have a better example, but check it out. and when you talk about Steggae Jeggae Reggi Reggay or Reggae mention the record SOUL DRUMS, AND LEAVE THE PUSSEY RECORDS TILL YOU GETBACK TO YOUR YARD So the joke is the bloke who lives in hope1 TO GET SOME CORN FOR DOPE & COKE! SO DONT BE SORE AT ME NO MORE, WHEN YOU ARE SLACK DON'T SMOKE CRACK! It's a KILLER, SO AM i, LATER BABYLONS DAVE

I should CO CO, The MAROON LABEL JOKER in the picture above is much rarer than the black label, if you want a Boot I say it the 2nd press, not seen many at all? but why has he got a picture of it in the 1st place? I tells you. DAVE

The NICE- AMERICA-IMIEDIATE RECORDS, Saw them at the MARQUEE, Doing this and stuff from the 5 Bridges, and I tell no lie, a HIPPIE throwing choppers and a axe at a Steinway?? was as say "FFAR OUTT MAN, PRETTY AMAZEING YEH MAN" "NEVER TRUST A HIPPY" Johnny Rotten 76, remember those Hippie Chicks with Afros walking down Ladbroke Road going to FINCHES on Portobello Road to watch the Fairport Convention? of course you don't DAVE

Hi All I was ;looking for a sound clip for this on YouTube, no luck, However it will be in many piles of 45s around and about, As a part of my collecting as you can imagine, includes my favorite Pop records from the late 60s and a few early ones also, but I try to get Demos if I can, one record has the best intro of them all (nearly). The theme tune from the classic The Good Bad & the Ugly - Hugo Montenegro + orchan ace record. But how many have played the B side? "there's got to be a better way" it's pure 60s and sounds great on my sound system? if any one can put a clip up for me? I really like this type of music sort of MOD style

Hi Pete cheers for that as you are dead right, however that was the 1st stop also a shop in Notting Hill Gate was similar, I was told it once had a window display made up of about 50 LP sleeves of the Small Faces Ogden's, when they went in to ask how much the LP were he was told we only got them sleeves? all mint, Also in 1981 I found 3 shops in Wolves with loads of Blue Beat Doctor Bird Sue Records + the SOUIX Label which did have RED A demos, one shop was just of the New Hampton rd another was just of that road and on the right hand side of the 1st left, I had some great reggae out that shop, and in BILSTON they had stuff way into the 1990s, I think most original junk shop hunters pre car boot come across pile of Reggae in the late 70s, have you seen a SUE DEMO PETE??? a 100% DEMO I would like to see one, wouldn't you? DAVE

HI ALL .... Well I thought I was clued up about this record, can I assume there are no white label DEMOS of this? Value of this gem is above the £1k mark, since the proper A side got played way back now? how often had you played that side in the 70s?? the SOULTOWN BOOT, wa I got from Carlow's in Bedford,it's as we all no part of a small run of classics, put out by SS late 72, And as I have mentioned before the #1 DJ at the DIVE BAR, HITCHIN. Mr BILLY MAC, had the SWEETS on original SOULTOWN and both myself & Mick tried to convince him it was one of Simon's, The TRIPS 1st SOUNDVILLE REISSUE was imported at the very end of 1975 in a small batch, any other copies that come out, I have no idea or interest come to that, also I looked at the popsike ones, and I was right about the yellow SOUNDVILLE copies being just like the reissue, which are clearly to my eyes better quality to most of the cheaper ones, so I have to ask was there a later SOUNDVILLE PRESSING? than the 1975 reissue?? and I am now of the opinion that the reissue is worth a bit more after seeing popsike, also the Orange copies I think come from Soul Bowl or should I say John had those on his list?? and my reissue has the letter I instead of the H this has not been mentioned?? and I agree where is Ranking Johnny Boy when he is needed???? DAVE 42 YEARS ON FROM "MY EARS ARE ALL RIGHT" I n I baby one.??

HI AL L PEPS KNICKED RECORDS! out of the records that went walk abouts there was only 1 record retrieved? a VELOURS Demo It belonged to Mick Smith he had let PEP borrow it to DJ with what a lucky lad, i think it was PEP who gave it back at Blackpool MECCA 2 weeks later, it turned up later much later around the DJ DECKS? the thief was not a collector and they were hidden away for over 2 years before being split an sold, how do I no that, it's an educated guess, and that's what happened when my box was nicked, all i can say you feel so gutted and so shocked that they have gone it must be similar to being told you have only got 3 months to live, well that's how bad i felt records are always stolen to Oder, and the thief is the last person you would notice in and out then passed on in a flash DAVE

HI I Will try and get more stuff for this thread. as Chief has stated and I written, i agree that my reasons for attending are from a 17 year old BB in SOHO, for a in depth insight I know the right people but lost contact years ago the LAWRANCE TINS GRAHAM & MICHEAL, come to mind John MacCellycot a razor boy, shot a copper on the corner with sawn of double barrel, derrick Smedley who was a regular at the SCENE, NIGEL KILWORTH my older brother TILES FLAMINGO NIGHT OWL, UPERCUT RAM JAM, all the people were recognised fighters with reputations the truth is the SOUL SCENE AND THE WESTINDIAN CLUBS attracted as stated the underworld and in the main was run as a place to consume DRUGS and alcohol, they all had a link to gambling, and a large percentage of the females wanted one thing your money, This rule was in place even at Stevenage MECCA the CALI, Dunstable and the ROYAL TOTENHAM, The typical chat would be excuse me fancy a dance, the girl would always have a mate and if you did not have someone to dance with her you got turned down but the 2 questions no matter what they did would be have you got a motor and aren't you gonna buy me a drink, if you fell for that one, ok yeah what do you want? the reply was brandy & babycham ok followed don't forget my mate oh Ill have a merrydown and can you put a vodka in, if the girl was black it was a Pony & rum 9i went through phase of knocking handbags as I sussed out that only girls committed this crime most bags had the same stuff in and most purses just had bus fair or half the taxi fair, these are just normal girls, the whole night was spent trying to get the most of a bloke and never be there at the end, this is what took me by surprise when I went to the early norther allnighters people would say sorry if they bumped into you, if that happened at the FLAMINGO and you did not challenge you where suspected of being an iron from Old Compton street?

HI ALL my copy I got of my mate in London 20 years ago swapped rare reggae 45s for a pile of northern originals, my copy can be easy spotted as it had an edge warp, that I straightened OK but you can see the scar on it played great, when I sold it I got £200 above the asking price from Mick S, I suppose it was a record for his collection if that's is the case. to get yourself a real copy a trade is what I would want for an unblemished copy? very rare record, as I have had a real one, the boot is one of a very few records that I would play if I was DJing, as all the reggae bits I swapped come out of the RED SHOP DUDLY ROAD WOLVES and cost me a £5 for about 60 records it turned out to be a perfect deal, even though the reggae 45s today would treble the price I got? DAVE