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Ivor Jones

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  1. Anyone got a nice copy of Barbara Mercer on Sidra to go ? PM me
  2. Different version to Black Nasty. The Audrey Mathews version has the same backing track as JM Mathews [Big Hit]…..
  3. Andy, it doesnt exist mate. It was an unreleased version that was put out on a Kent CD. Hope this helps…. Get a carver done if you want it on vinyl.
  4. Anyone got a nice UK copy to go ? Pm me…..
  5. Right Track ! Of course…..Now Clap !
  6. I dont personally believe the hike in prices has anything whatsoever to do with any vinyl revival. What im talking about is records that have literally doubled or trebled in actual sale price. i.e £500 to £2000 ! These are not selling to casual novice record buyers are they ? I firmly believe these have to be selling to people who want to be showing them off in a DJ set. Theres no other reason I reckon. If you were to tell anyone else who wasn't involved in this music the prices they'd regard it as madness. When it gets to this level it is really isn't it ? What about the genuinely rare trophy pieces i.e Tomangoes, Del-Larks, Eddie Parker etc,etc.? If commonish records like Soul Bros Inc can hit £2000, Masqueraders "How" can sell for nearly £2000 what price the real biggies ? Theres so many records now that go for a grand plus its all got out of hand I think.
  7. Hello Mal, hope all is good for you. Its interesting that you mention the Robert Thomas "Salvation". Some friends of mine found hundreds [many hundreds] of copies of this title amongst loads of other original imports, in the UK, probably about 10 years back now. They're all gone now,they all disappeared for cheap before the record started to gain a following again. Who knows, maybe it was this influx of copies turning up that prompted its revival at gigs ? I only mention this because it just shows how really common records[in collecting terms] can still end up with an expensive price tag. Not expensive in relation to other Northern stuff,but, expensive to anyone else not involved in this mad scene…... Personally speaking, I have been astounded on an almost daily basis recently at the ever spiralling prices of collectors rarities on ebay and private auction. I mean literally astounded… Theres plenty of money floating about for the right records at the moment thats for sure. How long it will carry on though is anyone's guess. Middle aged desperadoes I think are mainly responsible, itching to be seen Deejaying and willing to shell out a fortune to do it. All for the glory of it. Theres gonna be an awful lot of unwanted records one day though isn't there ? Who will want them when we all shuffle off into the clouds ? Im still buying, pretty much all cheap stuff though these days. I could not physically pay the going rates of a lot of in demand stuff these days,its just got totally out of hand price wise I think.
  8. Great work Chalky as always…... I got in a conversation with Neil Rushton a couple of years back and this subject cropped up. He's got a great story all about this record and trying to deal with [ I think ], Joey Jefferson. See if you can get Neil to relay the story on here…. If I had the original 45 of this, I think I'd be too scared to play it out anyway, these things are so rare now arent they ? I really like the second version anyway ! Which is nice…. Thanks for posting Chalky
  9. Not yet Ian no. Send me a pm if you have one you want to sell...
  10. Any got a nice condition UK Yellow Atlantic Demo of Mary Wells Dear Lover to sell ? PM me
  11. Happy New Year Mark [and everyone else ! ]. Great to see you on the boat again ! I totally agree with you on this. This thread raises several points which are seldom discussed. For instance, I worked out in the 80s that back cueing styrene records was a no no and never even consider it these days. Vinyl is normally ok but really for me it all boils down to the availability and rarity of the record in question. For the life of me I cannot understand why anyone would be treating their rare recode in this way especially when you see the ever more eye-watering sums which they sell for these days. I can't speak for anyone else here but to me this whole ethos of "it has to be on original vinyl" only really applies to the anal collectors. As Mark quite rightly points out, its never really a problem at most gigs we're doing,whats more important is reading the mood of the night and the crowd and keeping the floor busy. As a rule of thumb these days I too play many things from CDR rather than pointlessly wearing out the vinyl originals,however,I never play anything out that I don't actually own the original of. I have done on one occasion but thats another story. Old habits die hard I guess. Next point is Its all very well wanting to reconfigure the settings on the turntables but in practise for example when you're taking over from someone else half way through a busy gig the last thing on your mind is messing about with the deck settings. If it aint broke don't try and fix it, it'll only end in tears ! I literally ruined plenty of records back in the 80s by back queuing them and it was a painful learning curve I can tell you. We didn't have the internet back then obviously and all knowledge had to be gradually self taught. However, even armed with this info it doesn't always work out right.For example, I remember about 20 years back at a well known all-nighter playing a brand new copy of J.Jocko "Im Getting Over" [Kama Sutra,its a styrene pressing]. I had played it once earlier at home which is why I knew it was fine. Didn't back cue it obviously, just put the needle on and let it run through. Remember thinking it sounded a bit crackly through the headphones on the night. Got home the next day and played it again at home and was horrified to hear it was ruined beyond repair and distorted horribly. Same happened with some other tunes too. So, one play on a badly worn or damaged stylus can ruin a perfect record. Nightmare…..The main problem with this is that even if you go to the lengths of taking a personal set of cartridges around with you[which is probably the best thing for concerned collector DJs], im not sure it would be failsafe if the arm is bent or damaged on the turntable. When you see the state of some of the equipment at gigs in bars,clubs etc you'll know what I mean. In essence therefore, if it looks dodgy then save your precious vinyl for anther day. Thats what i would do…...

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