Modernsoulsucks

Hundreds and hundreds of Rosey Jones on Today at Lamont's place in '79. ROD

What about this? Around £5. ROD

My pick for today. Chicago I guess but sounds like Detroit ROD

Current auction ends at 2pm today. Up to date bids above. ROD

Forgotten? Think Virtue is the re-issue. I have this on Cherry Red ROD

Can we please go easy on these comments guys. For a moment there I thought I'd died and was reading my obituary. But thank you ROD

Another coma-inducing pick from me. Reminds me of Revilot Jackey Beavers but much cheaper. ROD

Updated Current Bids:- Herman Lewis £1510 Little Reuben £590 Betty Turner £510 Eula Cooper £700 Master Force £300 Lou Pride £750 Wil Collins £300 Dennis Edwards £2500 Judy Stokes £550 Virginia Blakly £650 Vanguards £760 Delilah Moore £310 Ray Pollard £810 Little Joe Romans £725 Masqueraders £675

Wiggy, this should be £10. Poppish elements but no more than Fables track

What about this. LP only but you get "Tonight Im gonna to see my baby" as well

Hopefully that is now better. ROD

Please PM if interested. Grover Mitchell Take your time and love me JOSIE M- £15 SOLD April Stevens Wanting you UK MGM EX [couple very faint lines off M-] £125 SOLD Four Bars Waitin'on the right guy FALEW [white DJ?] EX £15 Jackie Wilson Haunted House BRUNSWICK M- £15 Kurtis Scott No No Baby DJ SURESHOT M- £10 SOLD Roy Redmond Aint that Terrible WDJ LOMA EX £20 SOLD Chandler/Acklin From the teacher... DJ BRUNSWICK VG+ [few marks but still nice copy] £10 Leaders You are the one I love DJ BLUE ROCK VG+ [still nice copy but with some slight label fading] £10 Palisades Make the night a little longer WDJ CHAIRMAN EX [sticker residue on label] [same as Ramona King, Tan Geers] £15 Sultans I wanna know WDJ ASCOT EX [Good Carolina type sound] £80 Bill Black Little Queenie LONDON UK M- [ 60's silvertop design] £40 Gene Chandler Nothing can stop me CONSTELLATION EX [stars design] £10 Chantells World of Soul/ Why won't you say SOUL KITCHEN M- [great instr like Saxie Russell to my ears] £25 SOLD Donald Jenkins Happy days DUCHESS M- [orig release of "My lucky day"]£50 SOLD Cap-tans Tight skirts and crazy sweaters ANNA M- [white label design] £5 Ty Hunter Free ANNA EX [as above] £5 Dimensions He's a lover DJ D-TOWN M- [rare Detroit] £150 SOLD Jimmy Delphs Almost KAREN M- [multicolored] £5 SOLD Couple of Albums Ruby Andrews "Black Ruby" ZODIAC Sleeve is around VG+ but not tatty. Vinyl Ex to M- inc "Just loving you" £100 Ruby Andrews "Everybody saw you" ZODIAC Sleeve is about Ex and vinyl Ex+ £50 Peter Rodriguez "Hot and Wild" [stereo] ALLEGRE Sleeve is VG+ [wear on top seam] but still nice. Vinyl is EX to M-. Inc. "Here comes the Judge" £25 Thanks ROD

This is way more complicated as to what the original ethos was. The elitism hung on the music. In those early days there wasn't the wealth of product available either legally or illegally as there was by the later 70's. And even if there were such as Soul Sounds and OOTP early pressings, what was popular was what the dj's were playing and what they didn't play was records that had become available. There was no timelag scene running concurrently with the main scene. The Sweet Things was filling dancefloors when it was OVO not when it was on a boot. Something equally immediate and ear-catching had taken it's place. But OVO was not sacrosanct like today. The price would plummet once a 45 was booted. The majority would want to hear and own what they heard on a Saturday night not a year last Tuesday. No different really from the way the Top Twenty Charts operated in the outside world. It was still a social scene for meeting mates etc with it's own soundtrack but it didn't remain static. And enjoying oneself wasn't viewed as an education if a new 45 was played. Just seemed to blend in. I think the question is when did this stop happening for most? It certainly seemed to work for most up until IMO Mr M's opened. For those who champion OVO I'd say you've actually missed part of the equation. It's gotta be good which is subjective I admit but as a lot of the comments are aimed at the "Exus Trek" loving oldies crowd then you can't be surprised if some playlists which are somewhat removed from the classic sound do not attract that clientelle. ROD

Did you get the Music Bag card from me, Rick? Or did you tell me before I went? I went there in '79 on first trip to USA. It was just a small shop [think corner newsagent]. It's a bit hazy now in my memory but I don't think there were records on show. However my over-riding recollection was from my first impression when I walked in as they were selling handguns which were displayed at the front counter. The guys there gave me Danny Reed, Lost Family and a few other things but obviosly in '79 there was no longer any demand for those 45s. He went in the back for them. Why I didn't ask to go in the back I don't know. May have been the handguns. At the same time I also met a Rack Jobber who worked out of his house on North Side. He put his 45s in a chain of chemists. Mainly Chicago labels which were probably bulk buy from Mar-V-Lus warehouse but others too. Hard to tell what he may have had at one time as Anderson had got to him before me but I did get a Peoples Choice [Palmer], Velvets [Number One] and James Fountain [luckily mis-filed] amongst others. He didn't handle new product. As for re-cycling vinyl Alex Jones and I went to Trax in the 90's and they did it on the premises. ROD

Brassic since becoming unemployed but got this the other day for $15. Sounds £150! ROD

An exchange of views is fine but please let us keep it civil. ROD [Moonlighting from Sales Forum moderator]

Actually Toad has answered some of my points. He has done spots under umbrella of different music under one roof so it isn't confined to mod events only. Ritchie, Im definitely not advocating playing it all in one room......usually. The phenomena of the dance floor emptying and filling up with a new set of dancers is not that rare anyway in some ATB nights I attended in the NW. It is interesting that you mention ska/Northern/boogaloo because at one time it was quite possible to hear "Train to Skaville" followed by "Just a little misunderstanding" and then "El Watusi" played by the same dj in the same room all of which would go down with the crowd. It was, has been pointed out, a brief period where this happened and it may also have been that I just happened to be there when that dj with that musical approach played but it seemed the norm prior to discovering there was an embryonic Northern scene running parallel in late 60's. If you did mix the two now it would only be possible IMO from either a nostalgia angle in that you'd have to be very careful what you played to re-create that moment in time. For instance dropping "Tainted Love" or Arthur Willis into the mix would completely undermine it. It would be a very occasional oldies do. Or it could be off in a side room where say Toad instead of playing solely reggae could have carte blanche to play his fave 45s. Obviously Abba would be out, fave or not. ROD

Rich, I get all that. Hopefully later posts may explain a bit more where Im coming from. What Im saying is that under this wider approach which seems to be called the rare soul scene what difference is there between the Fabulous Counts and Alva Lewis and Betty O'Brien and RL Burnside. Seems like we already have an eclectic mix that is slightly reminiscent of those 80's clubs where rockabilly meets soul meets 50's R&B that we had up here in Manchester too. Jez, Glad you remember those steps. "Hit and Run", "Im standing" "Love you baby" Herb Johnson all fitted that style and yes I did. ROD

I've heard the equivalent to my ears played by enterprising [clueless] dj's. You do know Im not saying drop Techniques into a regular Northern spot. What I am saying is in this time of all under one roof approach with funky,jazzy,latiny tracks with a fairly tenuous connection to traditional Northern feel, why is the reggae side ignored. I've got it on Caltone but I'll check out the Bob Andy. ROD

Geese, Im not saying Lifeline should be featuring reggae. Im saying it had a place in the very early days and despite your reference to mods in early 70's disliking it it was also part of the mod scene, or so I believe cos I wasn't a mod back in the 60's [other than occasional fashion item and hearing first soul music in local club attached to a pub around '67]. By mid '68 I'd say the mods were disappearing even in the North and morphing into "soul boys" [or whatever you want to call them]. They were pretty much indistinguishable from those like me who were skinheads when we went out. Mohair suits and crombies not boots and braces. There was no divide but obviously there was personal musical taste so I wouldn't base my whole view on the word of a couple of guys who went to the Torch. So did I. By that time no I didn't expect to hear reggae and would have thought it was odd. All the crew I hung about with did not get into NS like I did so yes the scenes were different but that's not to say there wasn't a big overlap. And yes I can dance adequately to both 60's soul and reggae. I have a wide repertoire. I didn't realise there was just the one set of dance steps. Styles have changed slightly I suppose from early days but then there were guys at the Torch doing sideways shuffle to one tune and strutting about with hands on hips to others [someone will know what Im talking about there I hope]depending on feel of the record. Finally here's a record you played according to playlists Nowt wrong with it under the wide definition of playing good music but not Northern. Similarly this is good music too but not Northern. Doesn't mean it can't be accomodated within that definition in the right environment. ROD

Rich, Yes but no but yes. Firstly IMO it is gimmicky but no more than [and I may be talking rubbish here as my attention to more modern recordings is minimal] say that female vocal record that used "Backstabbers" that was popular some years ago. Pleasant but how "Backstabbers" which IMO is not a Northern 45 suddenly gets played, cos it's had a re-working, as a suitable Northern record is as hard to fathom as this record. I put it down to the familiar factor. Playing reggae and soul in the same club nowadays is unusual and pretty unheard of but I have seen the odd reggae room advertised now that we have this umbrella type approach. And of course you mention mod do's where it may even be mixed. But I would say reggae was important to the scene because that's where a lot of the clientelle came from in the early days. Not to the musical progression because reggae was dropped early on but back in '69 around Stockport there were discos and youth clubs playing to what was largely a skinhead scene where you could hear the non-chart Motown, Atlantic and Stax stuff, what became Northern such as Mitch Ryder, Tams, Willie Tee, Reflections, Fascinations mixed in with Ethiopians, Pat Kelly etc. It didn't come across as jarring in any way. Just dance music. So there is a precedent there but because of the way the scene developed it seems odd I guess to people who weren't there. I think it's perfectly legitimate to reflect that today if anyone wanted to put something on like that because just as an oldies do might be a snapshot of Wigan in '76, a do as I describe would be a snapshot of '69, and both IMO are all part of the story. ROD

Just think if on this soul scene back in '75 instead of Gary Lewis or Bobby Goldsboro the dj had put on Tommy McCook or Soul Brothers.... A lot of us came from that background. ROD

Well Im not voting. How can I put this? When I read on related OVO threads that a venue is such and yet I come across the promoter's auctions of boots on Ebay my cynicism kicks in. Beams/motes kinda thing. ROD

One of last times I played any records out was In Yorkshire [for Boxy? somewhere] and guys were coming up to the decks. I just thought they were not keen on what I was playing and coming up to check whether by the law of averages I was going to play something decent next. Now I know they thought I was playing boots and were just checking I feel a lot better. ROD

Hey Rich I was just waiting for you to come on so we could have a ding-dong. I think it matters. I don't think it's a hanging offence. I think people should do what they do and not watch what others are doing. I also think whilst generally it's true about elitism and exclusivity when you look back especially pre-Stafford there were quite a few big names playing some tracks [not many] on Emi's. I knew Richard well. He had some. What gets my goat is collectors/djs who don't have their 45s in alphabetical order in pristine white sleeves with colour coded inners [red for Detroit obviously] and individual "Y" shaped plastic middles in every 45 inserted in exactly the same way with single prong at 6'o'clock position. Luckily I've realised this is a mental illness and some of the posts on here are very similar. ROD