Liamgp

How hard would one these be to fake? I guess you would need the right grade of vinyl, some method of stamping the correct matrix in the run-off and the correct weight and texture of paper and an accurate way of reproducing the London label which has quite a 'grainy' look to the silver areas. I wouldn't be surprised if it hasn't crossed some chancer's mind already.

Anyway, enough of all that. Back to the music!

I'm talking about family members not taking kindly to their Dad (or Uncle, etc) possibly being portrayed as a bit 'light fingered'. It sounds insignificant, but you would be amazed (actually probably not) at how touchy people can be about such matters. For all we know, he might have been given it, permitted to help himself or actually paid for it, so at the present it's speculation really.

It has the potential for a very interesting article. Not only about the life and tragic death of Banks, but the discovery of the London 45. The only possible legal problem I can see (as a former journalist) is explaining how the original owner obtained it. It might be a bit tricky if it was suggested he 'sneaked out' the record!

They should do an article, after all records this rare are unlikely to appear every month. For collectors it's a holy grail 45, although not, of course, a rare sound as it's easily found on other labels. It does raise the question of whether other copies will now appear as non-soul-aware individuals may have one but don't know the importance of it.

It won't be a tenner for long after this thread. Should have kept schtum about it!

Stop the presses. The McCoys version and the Otis version have slightly different lyrics. However, the single credits Otis Redding, but the LP credits Randall Stewart and Edward Morris. All very confusing.

It's credited Berns/Barry (Bert Berns and Jeff Barry) on the McCoys single, which was recorded in 1966 and which is exactly the same song. Otis Redding made his version in 1967. I suspect someone didn't look into the matter of writing credits closely enough at ATCO.

Originally done by the McCoys as "I Got To Go Back (And Watch That Little Girl Dance)", it was on Otis's 'Love Man' album which was a collection of tracks compiled by Steve Cropper after Redding's death. As usual, he always made interesting choices when he did cover versions.

I think Ian Dewhirst commented on Simon Soussan having a terrific memory for labels, producers, songwriters, etc when he they were trawling for records in the 1970s. Quote: "Simon would suddenly stop digging and pull out a record.... He'd then hold the record directly in front of his eyes and say "Hey, baby boy. Are you're nostrils blocked my friend? Well, you will breathe forever when you hear this baby boy. I have just found the ultimate sinus-deblocker"! And he'd usually be right. He had a photographic memory for label credits and could usually spot a 'good possibility' Northern unknown immediately, usually from a tiny credit buried away on the label. I have to give him that." Personally, I have never bothered going as far as learning label release numbers, run-out groove details and such, but I usually know an artist and the corresponding label if put to the test...usually!

It's in good nick, it's rare as hell and it's a truly great piece of music. Still wake up screaming when I think of the one I saw for £120 in 1984, but that was a fortune then. The boot went for £57 BTW, which is possibly more surprising then 6K for an original! https://www.ebay.co.uk/itm/LARRY-CLINTON-SHES-WANTED-/181423638131?pt=UK_Records&hash=item2a3db10673

It seems to go for mad money these days - £500-£600+. Really, it isn't that rare, just in-demand by the masses and it's now severely played out IMO, although it will always get a response equal to the quality of the record. A sensible price would be £350. There is a 'reissue' which you can get for £10, which makes no attempt at recreating the Arvee label.

Or this...

I was doing my 'let's try something different' stint on the internet and ended up listening to Captain Beefheart's Clear Spot album and was amazed how close to the Southern soul sound this was. OK, he was a big R&B fan, as was Frank Zappa, but this really surprised me. https://www.youtube.com/watch?v=U6RPnt9ZN20

As opposed to the sort of trouble you might get into for selling bootlegs.

He didn't say he would declare the full value on the customs form and he didn't say he wouldn't. A straighter answer might be required if I was bidding to be honest. For those with smaller pockets and/or no concerns about originality: https://www.ebay.co.uk/itm/LARRY-CLINTON-SHES-WANTED-/181423638131?pt=UK_Records&hash=item2a3db10673 Why is 'not for sale' over-written I wonder?

Despite all the high-falutin' talk, I've yet to hear an example of one of these mind-blowing Northern remixes or will they remain forever 'ephemeral'.

This guy, MotownMaster, is an interesting source of info on early Motown-related stuff. Is he on here under another name? https://www.youtube.com/channel/UC6GUoHfuppQKgbQOuNSuzIQ

I understand that prior to Wigan the 'Northern scene' was a series of venues each with its own identity and sounds that often were unknown to the next venue and its attendees 50 miles away or whatever. Wigan certainly centralised things for a lot of people but the Mecca at Blackpool sounds like it was a quite different thing altogether and, as far as I understand, Cleethorpes was different again. In my own 80s experience, Stafford was certainly nothing like Morecambe and the only place that seemed to be a 'centre' for the scene was the 100 Club, which it still is today, as you could meet people from all over the country and hear all kinds of styles.

I was young and foolish and not entirely 'sober'.

I was asked to leave a house night as I applauded after a record (god knows what it was) and the bouncer thought I was being 'sarcastic' to the DJ.

'Unsure if it's a copy of Frank Wilson' Hmmmm

It's gone from £150 to £175 in five posts! Must be in demand.

As long as there are a few teenagers out there who (re)discover this wonderful music for themselves then it's all new to them, which is always a nice thing to see.

Modern is old but it's modern compared to the older oldies. But newies are also oldies as they were new 30 years ago. But an oldie could become a newie if nobody's heard it as an oldie. Oh dear, it's much better not to think too much about this and just have a nice cool drink and a sit down.