pow wow mik

I've certainly got no snobbery about cheap records, the point I was making is that a list of good records and a good dj set are two totally different things. i've only djed at mod and r&b clubs, where price and rarity aren't so important, and where people dont suffer from the strange misconception that 'rare' is a style of music. It's a fairly universal view on those scenes that, however much you spend, you're not going to get better or more authentic than little walter or something, so our quest is just for new material from wherever, not so much a dj dick-waving rarity contest. however, there's still many things that make an interesting dj set besides price - individuality, novelty etc. It's got to have some 'wow' moments, which can be one-offs, unique plays, new discoveries and the 'slept-on' records are just one of the necesary ingreidients. to think that you can do a whole set of records that fall into the 'wow, that's brilliant, i cant believe its ten quid and by ...' catagory, to most people listening, is fanciful, and a bit patronising. A lot of the records suggested are there on youtube or have been played over the years. in fact, ironically, it would probably take a serious collector to do such a set convincingly, not just by default. Joe simon 'I got a whole lot of loving' is one of my favourite tunes, but it's all over the place, so if I do a set full of things like that, what is my USP? The ability to put on records everybody has got in a unique order? Not much of a usp. Kind of arrogant to claim to have the 'taste' to do it no? cant have it all, and it's been far better to have had a relentless search for rarities at the expense of bigger sellers that will always survive anyway than a perpetuation of past success at the expense of the more obscure gems as in mainstream culture. and looking at the way prices go up on established rare classics, you cant blame folks for trying to get to them first. Sometimes it seems strange that all those r&b sets I did, I played Howlin wolf maybe once or twice, ray charles the same, muddy waters the same... fact is though: that djing is largely about the excitement of novelty, otherwise you're just a human jukebox who might easily be replaced by a laptop. It's about the excitement and myth of rarity and obscurity, the buzz of discovery. Howlin wolf's back catalogue was never going to end up as landfill and you can buy it at motorway services. So if it gets overlooked for a while, as we find the rarer stuff...oh well. Anyway, as I said: even though I've tried to justify it, the neglect of common records is a phenomenon of Northern soul djing culture, not one I share, hence why I said you'd get boyuted out for playing that set. 'Boyut' : south yorkshire for 'boot'. As in 'fuck my old boyuts' s

but how many are from the 'slept-on' category? They're mostly well known big sellers aren't they? You'd get boyuted out of a venue if you played that set wouldn't you?

reading between the lines on this - I think there is a type of collector unknown to us all on here, certainly nothing to do with any dancing scene. only buying mint items, only off established dealers, unaware or unconcerned of normal values, is the m.o. of super-rich investor / collectors having a cant-lose hobby. Same sort of people do the same sort of thing with cars, art, coins, books...vinyl must have finally entered that realm. you can tell that is has, in fact, in the last 10 years, as mint condition first issues of classic rock lps have gone up x 10. These sure aren't selling to music lovers or djs. These people probably laugh at us, haggling over 10, 20 or even 2000 pounds, probably what they pay for socks! You can tell by the records that go for crazy prices - always safe old classics that anyone on any scene, who was into records enough to pay big money, would have by now or wouldn't be bothered about having. it's an iconic era, a more important part of human history it seems, the further we get from it...therefore a safe investment commodity. get used to it, we now share soul with the soul-less. Like the trains, it'll soon be another thing the honest worker is priced out of ... ;-)

The end is new years eve?! ;-) ]

The problem with cheap records is that they tend to fall in one of these catagories : Cheap because it's common, as in, sold a lot. In which case no one wants to play it, cos anyone can play it. cheap because it's unknown or little known. in which case, if it's any good, it'll not be cheap for long. cheap because it's crap, or simply unremarkable. cheap because it's been 'slept on' - usually 45s that are good as anything but historically not rare enough for djs to impress each other with, yet are obscure enough to not be in the general consiousness. ...so you've only really got the last catagory to work with, and tracks do get 'elevated' from this catagory every year, but how many are left?

Love the Johnny clarke 45 on Sherwood too, remember gav first playing it after getting it off andy dyson late 90s. Not got a great memory for events in my life, but one that will stay with me forever is dancing to 'Im waiting', which is one of my favourite tunes ever, at glasgow weekender 2005 and being completely off my tits...aware though still, that Bill and his mrs were also on the packed dancefloor next to me, dancing to it. basically, I'm dancing to bill bush, next to bill bush. . I remember fighting the urge to give them a big hug for a while but eventually losing control and just bear-hugging them both, and maybe kissing them. sorry bout that Bill; Rest in peace, you did exactly what all musicians hope to do.

Maybe it was Craig Charles bidding against Lenny Kravitz

Remember first hearing it late 90s and nearly buying it for 40 I think but, in the end, I didnt cos it's a fairly naff record. Love Sam dees, but with the cheesy pub-rock hook, it sounds like a cheapie to me - sounds like something that people who dont really like soul would like

Agreed ; very Ken Bruce. When it gets to the 70s sound the line gets pretty thin between MOR and soul

Lenis guess - dpg and the most obvious one - willie mitchell at Hi

Buddy lamp 'my tears' and wilson pickett's 'baby call on me' are dynamite-ish

'Booty butt' / 'sidewinder' was the closest, credited as It was to the Ray Charles Orchestra. Some others possibly- Glad-hamp (lionel hampton) Bab-roc - roscoe gordon Maycon - earl connelly Bo-kay - eddie bo? Ru-tee - rudy tee Dig - johnny otis Tou-sea etc - allan toussaint Gay-shel - big bo thomas ... actually there's loads

A tune not being heard or played much is the worst argument for playing bootlegs or pressings. The peddlers use this argument - that their product means the tune gets heard more, it's just nonsense. it might be true in the short term - if there was a need to hear every great tune every week, but there isn't. the way some tunes are illusive, or the way some are in the hands of djs who dont play them, or only play them to a certain audience...these things keep the whole thing varied and interesting; it's a model with built in room for progression. What's the rush? You dont hear a tune enough, get one and play it, or get one of the million djs to get one and play it. Eventually, someone will, and that's something to look forward to. And without bootlegs, it'll at least get played by someone who's gone to some lengths to get it, not someone who gets their sets from ebay uk. I love the fact that there's a whole pile of great tunes I've known years but never yet danced to, or even heard out, more still that i haven't ever heard. Means there's life in it yet. .

Sure its only a matter of time before that mug from eldorado gets his sweaty mits on one

Just sold a bunch of eddie bo stuff unfortunately. Not eddie bo related but if you like 'pass the hatchet' check out elliot shavers 'soul village'

Absolutely Robb, had 'honky tonk woman' down as 65/66 with that scratchy funk guitar. Outragous for 61, cheers for the info

Appreciate your love for the amazing 'black christ...' lp, but 'you know baby' is r&b, you know, the popular black music of the time? like lionel hampton, sun ra etc. good on her for branching out, she was obviously pretty hip, venturing into funk in the 60s too. I dont think it's the best track; productions a bit tinny and that ending irritates but it's a pretty cool slab of jazzy r&b, early 60s would be my guess.]

Thanks. bit strange that such an expert (sir shambling) would believe that such a great but archetypally 60s deep soul side as that could be from 1955. that surely would count as one of the most ahead of it's time releases ever and possibly the first soul record, the sentiment of it being completely secular. .

https://m.youtube.com/watch?v=pfjm8r6KpBA to settle a debate: only discography I can find has this release as 1953 (sir shambling says 55), but it sounds 60s to me. same discography has fabulous playboys 'honky tonk woman' as 1962, which also sounds later to me, being almost funky. label looks mid -late 60s too. incredibly ahead of its time label or incorrect discographies....? my guess is they've gone off the catalogue numbers

I sold one for 300 about 6 years ago, might get a bit more for it now

Cant still be a cover up!? No wonder I got no response when I listed a copy with the real name! cool track though

Mojo had a mildred on latest list and diggin dave had patsie, assuming its other side of 'bye love' on last list. Cool sounds, uncool names.

I think that it's probably fair to say that mr charles knows, or cares, fuck all about music in the record collecting sense, but it seems like he does possibly at least like it. Funny really, we complain about djs conceit and arrogance on the scene, none of whom earn a bean out of it when all's said and done, yet the publicly funded bbc present shows hosted by this clown, who knows less than the average soulie, let alone funk collector, and vanity shows based on the musical 'expertise' of the likes of suzie quatro, michael ball and moira stewart. sometimes you have to think that the worst tendencies of the soul scene are still better than the best of mainstream culture. makes me think we're too hard on each other.

Didnt you say there was a uk demo of nina simone 'take care of business'

Well, he said it was all about people dancing to anything that the djs played, even if substandard, so I dont know. apart from that, point taken. ]