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About maslar

  • Birthday 04/09/1960

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  1. Mel Farr and Lem Barney of the Detroit Lions (both close friends of Marvin Gaye) sang backing vocals on What's Going On (the single). This was the same time that MG was considering (in his world at least) going into American Football. He managed to get a try out with the Lions but I'm pretty sure they were just humouring him.
  2. In my opinion the best way to learn about record collecting is to collect an artist (preferably one you like/admire). Your favourite artist might be a good start. Through starting off obtaining all the standard issues you'll learn about standard issues, variations, originals, reissues, demos, promos, foreign releases, picture sleeves, acetates demos etc etc.
  3. I knew/know ( i haven't seen him for a while) a guy who was collecting back in the 60s. He had the full set of all UK Tamla releases on demo I'm not sure when his cut off was but he had collected every 60s Tamla inc all pre-TM label releases on demo. He sold most of it off over the years. Obviously I was impressed but he made a point that it was somewhat easier than what it sounded. He worked as a semi-pro (I think ) dj and got sent lots of Tamla demos (not all of them obviously) . He said that if regular djing at reasonable club you'd get sent lots of stuff free. I asked what the hardest one was - the last to finish the full run. He thought it was Sweet Thing.
  4. It's easy to forget (for me anyway) just how unusual and new tracks such as Festival Time must have sounded at the time. Definitely fits in the jazz soul pocket.
  5. i don't know how you can class Ric Tic and Golden world as Motown? Both were established as the Motown sound was still developing. Speaking very generally I'd say that the main distinction is that RT and GW had a more jazzy sound. I'm pretty sure this was a deliberate move to create some distance from Motown. The instrumentals are all pretty jazzy . But it really shows on tracks like Stop Her On Sight and Headline News. You could actually imagine Frank Sinatra singing those tracks quite easily. A definite jazz influence/swing to the whole thing.
  6. Motown was label but it was also a sound - The Motown Sound".. That particular sound reached its apex in 66/67. It's this largely on the fours beat that became the bedrock of Northern soul. When Dave Godin first used the term I'm guessing he was mainly referring to Motown or influenced records. I once heard a well known oldies dj refer to Motown as the foundation of Northern Soul and I'd agree. and let's face it. many of it's biggest hits are much better than the obscure things that sometimes get raved about. Often the emperor has most definitely lost his clothes. The strange thing is that many of the biggest and best Motown hits have never received any time at NS events. Yet other records not as good have. E.g The Tams chart-topping Hey Girl Don't Bother Me which must have been played at least once at every Wigan oldies night I went to. . I bet there are people on the northern scene who've never danced to Get Ready or You Keep Me hanging On. and would probably run off the floor if they were played. Very strange. In a sense their lack of airplay gives these records a kind of rarity on the northern scene.
  7. Interesting to see Procol Harum in the Cashbox R&B New Group list. Obviously on the back of the soulful Whiter Shade and also Homburg.
  8. The Underdogs Love's Gone Bad. Also various Sunliners stuff. I think Detroit gives a good microcosm. Out of interest: Imagine you'd never head Stewart Ames' "Angelina" before. How would you describe it on first hearing?
  9. The Seeds was played at Wigan in 1980 by RW. I didn't know what it was then and it sounded great played loud in the main room. It packed the floor and was one of his most popular sounds. Later I found out what it was. Played at home it sounds much more low key. Almost like a different record.
  10. I first came across the term "garage" in the early 70s when I used to get The Story of Pop magazine every week. There was a small chapter on it - where it was also referred to as "punk rock" about three years before the British version emerged. It's a pretty loose term or genre really, similar to "pub rock", and like all such sub-genres it has its good, bad and ugly. One of the best (imo) is The Wildweeds' No Good to Cry and probably one of the best example of garage with soul influence.
  11. Got to say I'm really enjoying these drug tales of yore. It never gets tired. I agree with BabyBoy/Lass that this thread now has much more potential yet seems to be dying early. Keep them coming. In particular I'd like to hear a few "white knuckle" escapades. For example, maybe you were hallucinating and almost killed a close family member with a kitchen knife. Or maybe you lost control of your bodily functions in a busy railway station concourse and then slipped over. You know the sort of thing - it was pretty horrendous at the time but you can laugh about it now . I never took drugs but reading some of these comments I'm kind of wishing I had dabbled a little. Although, given my slight OCD personality if I had I'm pretty sure I'd be an old crack-head today. But oh, what memories I'd have. (and paying the odd visit to Crystal METHhews no doubt (see what I did there?. ). More please. it's always fresh
  12. Put it behind you. You sound extremely knowledgeable on the subject of drugs and obviously have previous hands on experience. Realise those days are over. You still have your memories and there are threads on here from time to time where ex-users love to reminisce. (well actually it's usually done off topic but forget that minor detail).
  13. Chestnut brown hair dye and Superdry?
  14. I don't know about "country pop" classic. Certainly an all time classic but OTBJ has always sounded more "black" than "white" to me. The chords are all 7ths I think which give the backing guitar accompaniment a blues/jazzy sound. Certainly not 60s Country where major chords prevailed. Together with the soulful vocal it's easy to see why it fared better in the Billboard R&B chart than the Country. And, as I mentioned recently, was played on Black radio stations Stateside. OTBJ was never a "B side". There may have been some deliberations as to which of the two tracks Capitol were working with was preferred as the main release. However, once the edited version of OTBJ was finished it was immediately scheduled for release as the "A" side.. It was never in any way a B side. The guitar that BG played wasn't a four string. It was a six string mini Martin.
  15. Disdain? All's well at Snowflake Central. And btw, it'd be a little strange of you didn't post a self-opinionated reply wouldn't it? the alternative is to post other people opinions which I'm sure you'd agree is pretty f***** pointless even at Snowflake Central . Although it would probably result in lots of "up votes" . Really. was that the impression you got? Thanks for that.

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