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maslar

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Everything posted by maslar

  1. I liked watching the kids having fun and the guy doing the twist.
  2. 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.
  3. 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
  4. 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.
  5. 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.
  6. 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.
  7. 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?
  8. 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?
  9. 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".
  10. 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 ..........
  11. 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,
  12. 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.
  13. maslar replied to a post in a topic in Look At Your Box
    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.
  14. maslar replied to a post in a topic in Look At Your Box
    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?
  15. maslar replied to a post in a topic in Look At Your Box
    Unless you put it on vinyl no one is ever going to hear it. It was never issued. Playing of an acetate copy doesn't give it any more legitimacy than playing off a vinyl copy from a limited vinyl release.
  16. maslar replied to a post in a topic in Look At Your Box
    It's not a reissue. It was never issued so it can't be a reissue. An acetate isn't an "issue". It's an acetate. In this case a recent acetate as opposed to an historic one which gives it even less significance. It may be a "bootleg" but that would need examination. Even if it was a "bootleg that isn't necessarily a bad thing. The ethos of true bootlegging (as opposed to counterfeiting) has legitimacy in record collecting. If the owners of the tapes gave permission for their use then that would offer some legitimacy but then again there may be other legalities. As it stands personally I'd view the UK release of MM as a legitimate issue (but not in the same way as an official record company release). More like an "indie"release. Until someone proves it isn't.
  17. Personally I've always taken the view that to take a photo of someone without their permission is bad manners. I don't mean a landscape type shot. I'm referring to a direct shot. This isn't confined to social events. I've only taken a camera out with me on a night out once in my life. That was the second last night At Wigan when Tommy Hunt was on and I felt uneasy about that. Ended up taking shots mainly of TH on stage and one of my mates who was dancing on the stage behind him and then quickly used up the film just taking random shots of the dance floor. Most of which were pretty crap. Now of course it's a different ballgame as everyone is a documenter and would be Shane Meadows. I suppose all anyone can do is always try and look their best all of the time and (if like me you're not particularly photogenic) console yourself that maybe no one will realise its you anyway.
  18. All the RCA/Grapevine releases were excellent but if I had to choose one from that era (70s) it would be Motown Memories (16 non-stop..... etc).
  19. One thing i've noticed is that Jamerson's bass lines (played by him) are readily available on youtube but as a rule Babbitt's aren't. So if you want to hear some of his great input on tracks like Band of Gold, Signed Sealed, Tears Of A Clown and perhaps his finest hour - Midnight Train To Georgia - in separation you have to watch somebody else playing them. Thankfully there are some good musicians who do his work justice.
  20. Jamerson would have had free reign to make up a bass line and play it. That to some degree is where the greatness comes in. He could be given a song and come up with a bass line that was entirely suitable (and added to) the song. Hence why musicians such as him were in such big demand around Detroit. Also. no one is going to tell a top player like Jamerson how to play his bass. Look what happened when Paul McCartney tried to tell George Harrison how to play his guitar.
  21. Jamerson falls short? Hmm ok. This is one of my favourite Jamerson basslines: I Was made To Love Her This is quite interesting. It's a guy playing Joe Long's bassline to The Night but using Jamerson's one finger technique: great playing from an unknown:
  22. Looking a this playlist its noticeable how about three-quarters of it (rough estimate) was played over and over in the main room through 1980-81. On Friday Oldies and also on Saturday oldie spots in the main room.
  23. MBJCFM is probably the epitome of a popular jazz song ... "barely jazz"?? As I've said previously it was played on numerous nights and I remember the floor being busy. Actually it's usually a case of - if you can remember it you were there. That actually makes more sense. Unless of course you're engaged in some clever little word play which isn't really clever to anyone who really is clever.
  24. With regard to the criticisms of "jazz". It doesn't really make much sense to say you don't like "jazz" (unless you really don't like all the sub-genres). I like some jazz and dislike others - Hard Bop, soul jazz, Fusion etc I generally like. Early 20th century stuff or avante garde I'm generally less fond of.
  25. I went to most of the oldies nighters during 1981 - if not all of them - can't remember to be honest and I don't want to be accused of making things up . I think I've previosly mentioned the instrumental of MBJCFM as one of the records that used to really irk me. I think banal is a good word to describe it. I thought of it as a mediocre version and at that time I wasn't 100% sure that it was MBJCFM. Only reading Pete S' post does it make sense - the stereo tracking omitting the vocals. since most instrumentals need a different arrangement without the vocal which obviously adds melody. It was played not only at this nighter but throughout 1981. I never could understand why because it didn't "fit" at all. It's a case of if you're going to play a jazzy piano instrumental then there are loads of (in this case better) to choose from. Why limit yourself to this? Same goes for the other jazzy mainstay at that time : George Benson's version of On Broadway. Loads more stuff in a similar vein. Why not play it?

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