Barry

No, the 12" is extremely rare.

It would surprise me if there are more than 5-10 known copies.

About £400, I'd say.

The only record at Wigan that you could pick out as a 'stereo' track on the speakers.

Christ!

How to make a negative out of a positive, good old SS.

I see that I have not been clear enough with my post for some.

Hip Hop and D&B and the ilk, I think, drew a different social devotee.

In my time, Northern/soul/jazz/funk, all borne of each other, had a following, not so now.

The feeling behind the music, our music, drew a certain person, for definate reasons.

Likening Hip Hop and D&B to the form of music I believe we love, is like saying that Crass was similar to The Jam, or Jean-Michel Jarre were similar to The Stranglers.

Am I to believe that I had to state the above, did you really need my assistance with the question - or were you just being nit-pickers?

maybe not with soul but early ska and rocksteady is still very big with the kids....a seller in bristol sells out of his reissues almost as soon as they are in...

I have no doubt that he does, but in the towns (Outside The City), the black music scene (other than pop R& appears to have no bed anymore.

Maybe there still is.... Maybe you aint underground anymore and don't see it.... Underground does mean you have to go and find it and not have everything on google search.....

Stevie, I'll let that one pass as you clearly, due to your age or [possibly] your cluelessness, have no idea who you are talking to. ( Bigger WINK than yours)

There has always been an underground black music scene with youngsters, stretching back to whenever.

Not so now it seems.

Me favourite Blacksmoke track has to be:

"What Goes Around Comes Around" on Chocolate City.

Sorry, had to get it off me chest mate.

Is that Arthur Fenn & Brian Rae?

That's another fine mess I've got u into humm humm.

Yes but I always thought they were old pillocks as against young pillocks (that's Me) so I never took any notice and the strange part about it is they haven't changed.

...and they never will Stanley.

Yes but I always thought they were old pillocks as against young pillocks (that's Me) so I never took any notice.

I know that was the obvious answer P, but you've just knackered me thread son.

Realistic that is - not what your mate got it for or how much you reckon it's not worth - how much could I realistically ask for a very clean copy?

Fynal Vynal 7"

- how much now?

Did your elders and betters ridicule your taste when you were bottom of the pile bitd?

Now I know there's the usual ribbing factor, but didn't it sometimes go beyond that?

I remember taking some beatings about my 70's and 80's purchases, but I rode them and here I am....but didn't it feel shit at the time?

I told you I use this site as a form of therapy.

Anyone else?

I see a certain amount of posts on here that meet this product with almost as much derision as Modern seems to get, when it comes to it's insertion on dancefloor playlists.

Could I then say that these new 60's statement pieces don't reach the required heights in peoples minds of standard classic Northern Soul (in its Pak A Mac form) plays of yester-year?

(I mean, could anything heard 'new' as an adult imprint itself so indelibly in the mind as something heard 'new' as a speeding teenager 30 years ago?)

And if so, does this prove that 'Modern' isn't really shit, it was simply an early 'Back To The Future' form of Popcorn/R&B?

ie: "Summat that I didn't hear when I grew up, therfore I don't like it"?

(Bollox! I've just started another Northern v Modern post....no I've not....yes you have etc zzzzzz)

The wrist band is ironic lads alright!?

The second pic doesn't show the lettering at all, sorry.

I don't know about the comment re dj's giving it a big diatribe at the beginning of their sets!?

I too like to hear something from the bloke that has spent his hard-earned cash (see 'life') getting to the point whereby he is deemed able enough to give us floor fodder his knowledge by a promoter.

The poor bugger travels all the way from wherever (for naff all in monetary terms), waits for his set, gets on (heart in mouth (understanding the 80% of dancers will enjoy his choices, yet secretly frets about the 20% that will gripe about one or two plays he makes), gets over his nerves, as he takes the mic, by rattling on for maybe 20 seconds before his opening salvo - and - before he's even played a record, he's in someones bad books.

Lighten up, or get a jukebox.

Just loading it now - the letters etched on the back-side of the wooden slat are....

P CHEE BRAND M MA A4

...I must say I'm doing this pissed and in a bad light but I think that numbering is right.

I've got a piece of the floor here, if I can find the lead for me phone/pc, I'll post a pic.

I'll post a pic of the makers name on the b-side of the slat (a woodmakers ZTT number) which should prove it for the p takers.

Arthur Conley's energy blew it up, Sam & Dave were simply inspirational (a great shot of their feet working in unison goosebumped me up).

I thought Otis struggled early doors if I'm honest but worked through it, a fantastic hidden snapshot all the same, loved it.

As for your questioning of my credentials to pass comment on the scene Ste, please remember that in real-time on the NS scene, I was there as long, if not longer, than yourself.

Anyway, about that cramp Ste!

Can someone normal please re-read this thread and tell me it is not the most bizarre thread in months - I know I have me moments as regards odd postings but the one at the top deserves an award surely - it's a blinder.

Yours,

A fan.

UmUmUmUmUmUm...

I'll get my coat.

Genius!!

As an add on, our wasted roomfull are still laughing at the original post - class!

merely attempting to elevate the hoi polloi barry

ps its not a clothes shop!

Get to work and stop intervening in me working class Northern stance you poor sauce-boy.

I've got most of um

You sure about that statement mate!?

Most of the 'ones' that are battered on the NS scene? - or just most of the myriad US/UK/European releases over that period?

I know that as House beats are able to be mixed it is generally accepted that they should be, but at what point is the separation of thought regarding sequenced beats.

There is a certain beauty in the 'to fade' moment in a track, from any era, the last seconds of it's time.

Just cause beats are laid down on a pc and are able to be mixed, surely doesn't mean they have to be?

Or does it?