maslar

Starting tomorrow ,, you're going to thank me etc etc.

I was in London for RSD in the afternoon in Berwick street on and off. I caught four of the acts that performed (no full sets) and generally I was less than impressed. Not really my cup of tea: there was a "ska/pop" group who were actually pretty good but not my thing, two "DJs" who got a rousing reception and stood most of the time moving their heads from side to side, John CC (all a bit tired now) and Gang of Four (over-rated -after a huge build up and intro it looked for a while as if they weren't coming out). Generally pretty mediocre and not something I'd go out of my way for again unless there was an act I really wanted to see (eg Edwin Collins who I missed the previous year). Personally I don't begrudge the prices charged although I didn't buy anything. I think they're pretty reasonable. When I started buying LPs in the early 70s they cost £2.15 which in today's money. is about £20.00. Although the price of vinyl went down in real terms during the 80s I still use my initial pocket money drainer as a benchmark. The whole "queuing" thing is the downside for me.

Sly and the Family Stone - Family Affair/ There's a Riot Going On LP

Tho boot was done a long time ago. I have both but I must have had the boot at least 30 years. You'd be able to tell the difference if you had to listen to them blindfolded because the boot is substandard on both sides sound-wise - on my copy at least..

I agree it's a good film. It terms of entertainment it ticks all the boxes. There are some excellent performances, notably from the British cast members. Excellent cinematography and good direction, As has been noted in the media there is some controversy regarding historical accuracy. I agree with some of these points and there were some elements (fabrications, omissions, etc) that I felt either detracted from the film or were unnecessary. How significant this is to a large degree depends on how much one knows of the actual events. I'm not sure whether it's appropriate to mention these here. It's probably best to let people make up their own mind.

Like many I've still got mine. Light blue, June 1980 number 086173. Rubber stamped twice on what was supposedly the last night by Mrs Woods; "CASINO CLUB (WIGAN) LTD".

I could never understand the logic behind Mr Ms. In the time I went 1980 -81 it seemed that the djs who played both rooms on a Saturday would play most of the same records Fife Piper, Bill Cosby, Don Covay etc I always though Ms would have worked better as a 70s, newies/modern, call it whatever you like, room.

It's difficult to choose just one but One Nation Under One Groove is a classic single full stop, Not just a great funk single.

My copy of Headline News is scratched on the A side and stamped on the B side. although the stamp isn't as pronounced/deep as on the blue swirl.

Excellent documentary. Really brings home the power of his live shows. Similar to Standing In the Shadows recognition is given to the band members who contributed massively to the emerging funk sound, Pee Wee Ellis in particular. How "fair" it was as an analysis of JB the person is difficult to assess. It paints a picture of a flawed individual, his personality the result of his traumatic early life experiences.

I liked watching the kids having fun and the guy doing the twist.

The problem is that in these high pressure situations the questions can sometimes be too easy and that can lead to hesitation. I would think it's pretty easy for some people to just go to pieces if things start to go wrong. It's one thing sitting at home, its another sitting in the Black Chair knowing a few million people are going to be watching you.

Mine has that sound too. However the bonus of the Destiny release is flip it over and you've got the amazing "Wild Times" instrumental

Well here is my funny postman story. This actually happened to me a couple of years ago. I phoned up to the RM afterwards and complained about he tw**. I knew i had a record coming by recorded delivery. Early one morning I was looking out the window and saw the postman at the gate outside. In the few seconds it took me get to get to the door he'd pushed a "sorry you were out, collect in 48 hours from the depot" card through my door. No knock or anything. The thing was he must have had the card already written out. And I'd paid to have this sent recorded. so I quickly grabbed my shoes and chased after him. This is exactly how the conversation went, word for word. I kid you not. Me: You've just put this through my letterbox (showing him the card). Him: Not me mate. Me: Ive just seen you Him: (shaking head) Not me. Me : (becoming slightly irritated) I've just seen you on the path and this has come through the letterbox. who else could have f**** posted it? Him: Not by me mate. Me (seeing my record tucked under his arm) That's my parcel. HIM: oh right. Sign here for it please Me: unprintable. well I never saw him again so maybe the RM decided his talents lay in other areas.

I agree with what you say about the value of these acetates. For an acetate to be of significance there really has to be some historic significance (usually association or possession with or by the artist or production team. An acetate used for a reissue, taken of from an original record released over ten years previously is largely meaningless. Anyone could produce one. if you're going to play such an acetate you might as well play the Grapevine release. It doesn't have any greater validity in terms of originality.

Yes but I didn't know it was RW till you said. All i remember is that it was later on in the night because I had trouble getting in and waited outside for what seemed like an eternity. It's a pretty vague memory tbh. That would explain RW playing it later though. Wasn't DE there at all? I seem to recall him there at the end? Must have got two nights mixed up. . sorry going off topic.

Wasn't the Tomangoes withdrawn because of bad sound quality? If that's so what does the acetate sound like? There's no reason it should sound particularly bad I know. Also, of course each time an acetate is played its shelf life is reduced significantly. I remember Eddie Parker "I'm Gone" being played numerous times throughout the night at the Wigan Oldies nights in 1981. Presumably these were RCA acetates too?

This has always bugged me but on the second last night at Wigan -when Tommy Hunt was on I was coming into the main room from Ms and I'm sure CG was playing in the main room (not Ms). I wasn't really paying attention at the time and I only caught the last bit of it and wasn't really playing attention. it was after that it registered. Maybe it was something else. I also seem to recall Spencer Davis GSL being played in the main room that night?

I watched this but it's different to how I remembered it. In fact I was almost tempted to think there might have been two versions. I remember it as even more low budget, as if filmed in tv studio and with a few better dancers. Probably just the mind playing tricks because the one I saw I'm pretty sure was on a Friday and I've just checked the ibdm link and the date shown was indeed a Friday. I also remember it ending with "There Can Be A Batter Way".

I remember there were supposed pie in the sky plans to make a "Quadrophenia style" movie about the Casino being thrown around in 1981. I think Echoes mentioned it. I used to imagine that deep American voice in the trailers: "One man had a dream ..........

While there are two sides to every story I generally think Berry Gordy gets a bad rap over the Wingate takeover and his modus operani in general. Much is made of his taking out the local Detroit opposition. I view this as load of rubbish. He wanted the Golden World Recording Studio. That was his main priority. By this time TM was the Sound of Young America and The Supremes the biggest selling American pop group. He could handle the local Detroit opposition. The whole Motown set-up was based on the release of an average on single a week (maybe a little more perhaps 1.2 or 1.3?) from the total five labels. To this end BG was already stretching everything to the limit with regard to legalities in getting radio play for his releases. And obviously without radio play there were no hits. I don't see how much room there was to take anyone else on board. He took Edwin Starr and later the Fantastic Four but there simply wasn't room for everyone. There were already established artists at Motown who were releasing only one or two singles a year. JJ Barnes was at Motown for a relatively short time. There was no attempt to stem his career or keep him on hold. When he left Steve Wonder gave him a brilliant song, that they had both been working on but SW had had greater input, to use as his own with writing credits (Baby Please Come back Home). (which also gave him his biggest hit. - bigger than anything he did at Ric-Tic). From interviews I have seen I think JJ Barnes knew the score. He might have stayed at Motown but been one of the "one single a year" guys. It seems to me he was given the option to leave and was happy to do so and have a new start at Groovesville,

Who knows maybe if he listed it correctly and knocked a couple of quid off he might sell it? I still prefer the Classics IV/Yost version.

Probably because you have a viewpoint based solely on the NS scene where the word "boot" is derogatory and largely refers to copying or counterfeiting. records that are obtainable while others, myself included have a wider interest and understand the ethos of bootlegging. It isn't about ripping people off. It's about supplying material that would otherwise be unavailable. Record Collector magazine have done countless articles on bootleg material and even supplied discographys. In its own way it's legitimate but you have to have a certain amount of lateral thinking. You either get it or you don't. I'm not trying to persuade anyone. Just stating it how it is. Look into the record collection of any serious collector and I bet you'll find numerous bootlegs - unreleased tracks, alternate takes, demos, live performances, rehearsals. Vinyl, tapes, vidoes. All unauthorised.

That isn't necessarily a bad thing though. The ethos of bootlegging is to make material available that for whatever reason would remain unreleased. If you look at the wider field of record collecting some bootlegs have definite legitimacy. It's down to how you look at it. I tend to take the wider picture rather than focusing on license and "rights". These are important in some cases but in a situation such as this they're not really applicable unless you want to spend all day splitting hairs. Eg the failure of EMI to release Beatles material that was in the vaults and live performances led to a massive market in Beatles bootleg material, much of which could be found in legitimate record shops and much of which has acquired legitimacy and respectability over the years. This of course is different to the case of Michigan Move but the sentiment is the same. From a fan perspective: It's unreleased and there's a demand to hear it that isn't going to be met by no other means than to bootleg it. That's what bootlegging is. On the NS scene the term "boot" has a derogatory meaning but that doesn't give due regard to genuine bootlegging as opposed to counterfeiting. So what should have happened with it?