Chalky

It sin’t a reissue but simply a further run or press if you like. If it was a reissue as you imply it would have a different matrix altogether as the first would have been deleted. There is a difference between further presses and reissue. Neither is it an oddity, been enough about over the years although as you say it does seem to be harder to come by And in any case does it really matter? It is simply another piece of the collecting puzzle.

Where was the event at the weekend? One all-nighter just relaunched was pretty empty too by all accounts, one account from someone I trust yet the reviews by those involved implied the opposite. More securtiy than punters come 4 or 5 o’clock. something needs to happen soon, the scene is doing its level best to bugger itself up. Sh*t holes for veneus, often free to hire, new events every week even thought they are not needed, clashing with sometime 3 or 4 venues in the same town on any given weekend. All it is doing is dividing loyalties, splitting the crowd. I know many are getting disallusioned, myself included (have been for a while now). Sounds like the Mojo has lost its mojo, where is it anyway?

There was two to three months between this release and the 4th. It was the 4th where the design changed. That is no time at all when trying to get a record out to the radio stations, onto the streets, stores etc.

There was only 2 or 3 months between this and Pat’s second release and from what I can see the label changing to multi coloured. There was probably none of the old label design left. If she was hot around then not inconceivable to press more of her first release.

more than likely pressed after the change of label design. Pressing would be done to cater for demand/orders

Are the matrix details in the run out the same for each design?

it works for the dancers, as Steve says floor packer. Proper nighter record regardless what we think of the quality

James Moore, Phil Soloman and Jerome Evans according to a quick search

Thanks mate, nice to see he was doing ok and not struggling, although he should have been a millionaire!

Great photo Tim. Was he well off, comfortable in life? You see and hear of so many artists who are on their arse despite what they did in life. Would be nice to know MT was at the very least comfortable and saw some rewards for all his work.

This week Dean and Gez are joined by Hayley Record's Robb Moss with some juicy unreleased, alternate takes and simply superb soul music. Quality chat and info in between too.

I think he meant proper acetate. Little Ann from John was a studio acetate, Eddie Parker also I think. Emidiscs were certainly made at Wigan though. But that was then when copies of certain records were scare, often one only. Today most have been found with multiple copies.

Waiting for him to respond to friend request , I've also messaged him. He doesn't seems very active.

I think it is a very simple concept, it is just those attempting to justify something that complicate matters.

It might be worth 2 sovs to some, but that is different to a value which is what those who were willing to pay 200 for is. Worth and value are two different things. Reading your post above you are contradicting yourself within a couple of sentences As for Frank Wilson, it doesn’t come up for sale, if you are auctioning such a rare item you are going to talk it up, no different to any auctioneer but the market decides the value. The £100.000 quoted wasn’t a value either, it was a maybe, an estimation. I doubt John would value it at a 6 figure price now? Saying that the test pressing wasn’t far off

No

It is far from cobblers. It is certainly far to simplistic to say something is only worth what someone is willing to pay. When you have been around records for any length of time you learn how comon or rare something is, what they are selling for and indeed if they are selling, demand or no demand. Most records have a sales history and that is often the basis for a price. Most records are offered for a price, not what someone is willing to pay. last two or three weeks I’ve sold about 30, all priced on recent history and only one did I barter. If you don’t meet a value, you invariably don’t get the record.

Yes, think she spent a night in the nick...ex missus btw

Nothing wrong with legal reissues although I wouldn’t play one thats had an original release. Unreleased ones I have no qualms about playing

When Berry Gordy said its whats in the grooves, I don’t think he meant the grooves of a bootleg. He wasn’t best pleased with his label being booted.

If you wanna play boots just advertise the fact younare either djing or promoting with them, people then have a choice to support or not. You will then see how many care or not.

Yes you might have prints because you can’t afford the original BUT you don’t open a gallery and show them off

As said it is a different world today. In the beginning records were scarce, originals extremely hard to come by. Cuts/carvers/emidisc whatever you wish to call them were made to play extremely rare records, even in the 80s (Jackie Day Naughty Boy springs to mind with just one known copy at the time). Today, even the rarest records can be heard up and down the country so there really is no need to go down the bootleg route. There are far too many events, far too many Djs with nothing to iffer that isn’t already on offer, far too man with no imagination. Far too many spiv promoters ith second rate equipment in a shit hole of a flea infested venue. Do we really need 30 odd venues within an hour or so of each other, no we don’t. it is time some started to look at the bigger picture and not their selfish selves. I’m involved in a sales group elsewhere and to join you have to answer questions about your involvement and the number who say they are a Dj is laughable. It is time more professionalism was brougt to the scene, time more imagination was brought to the fore, then the scene might just flourish and entice more and more newcomers to enjoy what we have for decades. Stop harking back to your youth, I’d like nothing more than how it was in my youth but it ain’t going to happen.

Load of rubbish. Non US labels are as popular as ever with collectors and Djs. Lps are also quite rightly beginning to feature more and more.

FFS NOT AGAIN 🙄 is this another wind up? I’ll bite anyway🤗 There are more than enough Djs with the proper records who can do it right, without resorting to shitty boots. There really is no need to use some tosser who plays boots. If you can’t do it right then get out of the way and let one of those who can do the job. Why do people always try and insist on changing the way things are, in this case for the worse by playing what’s in the groove of a bootleg. Why does everyone feel the need to be a dj, especially if they have to resort to boots. Why can’t you just go along and enjoy the music or just sod off and take that stupid ovo term with them, we didn’t need it for decades.