Liamgp

Jackie Lee – Do the Temptation Walk – Mirwood W/D – EX £30 Lee Rogers – How Are You Fixed For Love – Wheelsville issue – VG - £30 Bobby Miller – Whoa – Yellow Constellation issue – VG - £30 Ruth McFadden – Do it up Right - Sure-Shot issue – EX - £30 Roy Brown – Baby it’s Love – GERT issue – VG - £25 Richard Berry – Go Go Girl – AMC issue – EX - £20 The Marvelettes – You’re My Remedy – Tamla pic sleeve – Vinyl EX/Sleeve VG - £20 PayPal preferred. Post to UK is FREE, except if you want Special Delivery +£7.25 or Recorded +£3.50. Post outside UK – get in touch.

Mira was run by Randall Wood (formerly of VeeJay) who also did Mirwood - although Mira was more jazz and pop orientated it appears.

I have one and a guy offered me £500 for it as he said he couldn't find a copy anywhere. But in my opinion, isn't it a bit played out?

OK, I've sent them another email asking what's going on, so I won't say who the dealer is at the moment. I'm not out to name and shame anyone as I'm sure this is more to do with the winning bidder delaying payment than any monkey business on the part of the dealer, but I really just wanted to know if this sort of delay is commonplace as it makes me reluctant to use auction services in the future since I'm not doing this for any other reason than to get my money ASAP. Thanks for all the replies.

I'm not going to name names right now save to say that it's surprising that the service is so tardy given their status as a top auctioneer and dealer. I've never auctioned items before which is why I wonder if this is uncommon...

I put a record on auction with a well-known dealer and, after it was sold, waited what I thought was a decent amount of time (three weeks) before asking about payment. However the person who bought it hadn't coughed up the money yet, so I waited another couple of weeks. Still no money from the buyer. Eventually after another fortnight I enquired if the winning bidder had paid and if not, could they please cancel the whole thing and send the record back to me. Response was 'He's paid and you'll get your money soon.' Now another two weeks later and still no money. I am most unimpressed with the whole affair and regard it as very poor customer service to put it mildly....my last email didn't even get a response and this is a reputable dealer I'm talking about not some Ebay cowboy. Has anyone else had this sort of experience auctioning records?

I had that once at Stafford too. And the classic exchange: 'I'll have this one please' 'Do you know it?' 'No, but it looks interesting' 'Well if you don't know it, you don't get it' I got my mate to go up and buy it about 10 minutes later with instructions to say 'yeh! Great track!' when asked if he 'knew it'.

Personally I noticed a fair amount of people from the Rocking scene and Northern scenes in the late 80s/90s crossing with the result that a lot of stuff became known to both crowds. I used to go to Rocking nights as there was a good amount of RnB played (not that I disliked good Rockabilly either) which was always something I had a love for. Mind you I was a bit surprised when I was told that 'Tainted Love' now gets played at Rocking events as a 'stroller'!

Does beg the question: where do the producers of all those bloody 'reissues' get their stuff pressed if all the plants are 'locked down' by the majors?

The Motown pic sleeves are nice to own and still cheap. My favourite is this one by the Temptations - two of their best sides and a great image too. I once sold a few to a guy who only wanted them to frame and hang on his wall and, who, at the same time bought my mate's restored Li150 to sit in his living room as a 'conversation piece'.

The way prices are right now for the same old songs, it wouldn't be a surprise if it didn't go for £500 in an auction!

You may also get information from Billboard archives - news, reviews, announcements, ads, charts, etc.

Isn't he referring to the remnants of Ian Levine's collection which was in a barn garnished with dogshit?

Hmmm, that or a Revilot orig for not much more? But I guess in a darkened club, the 'oooh' factor might be there...until someone gets a close look.

I have read that in the USA, in the aftermath of American Graffiti, a lot of Rock and Roll and RnB records were repressed as there was suddenly a mainstream desire for such music. I assume this sort of interest continued as several other films based in the 50s/Early 60s with period soundtracks were made - not to forget Happy Days.

Both Deccas have MFRD (as in manufactured) as 'MFND' and the Johnny Caswell spells 'Double Diamond' as 'Double Siamond'.

Were Northern purely a UK thing, followed only by those young in the early-mid 1970s who are now aged 60+, I would say that record demand and prices will fall sharply as their natural mortality increases. But today Northern is worldwide and has a large number of younger devotees who are going to retain an interest at least for (I estimate) the next three or four decades. Although we live in an increasingly technological world, the interest in 'retro' actually seems to be increasing, although the demand for original 45s may suffer as many might consider any old vinyl acceptable. But I think there will be an interest in really rare or interesting sounds, the why being neatly summed up for me by this: “In his insightful book The Recording Angel: Music, Records and Culture from Aristotle to Zappa, Evan Eisenberg wrote about the unique motivations that lie behind the collecting of “cultural objects” such as records, noting five motifs as particularly significant. The first relates to time: “the need to make beauty and pleasure permanent,” based in a fear of its possible/likely disappearance, a motive common to cultural preservation efforts of all kinds. His second reason is related to the first: “the need to comprehend beauty” in that which is collected, which can become “more beautiful the better it’s understood… [and] certainly owning a book or record permits one to study the work repeatedly and at one’s convenience.” Third, he discussed the “need to distinguish oneself as a consumer,” to become “heroic consumers” who “spend on a heroic scale, perhaps, or with heroic discrimination,” acquiring the rarest items or the most complete set, or going to the greatest lengths for a purchase. The fourth motive has to do with nostalgia, a sense of belonging felt through collecting bits of the past; the collection itself serves as a bridge, and “each object connects its owner with two eras, that of its creation and that of its acquisition. The final reason is about the quest for social capital in all its forms, “the need to impress others, or oneself.”

Two boots (West Coast and East Coast) were produced - oddly enough - as seen above and they were everywhere in the mid 80s. I ended up with about 5 of them after being given them by people later in the 1990s - gave them all away in turn!

Just kidding folks..

It'll end in tears for some people. I have paid over the odds for a few 45s, but mainly because I really wanted them and was prepared to push the boat out a bit to get them. But to me that's the key - I only buy records I like and will cherish not what's considered to be flavour of the month. I bought stuff to play to the floor in the 80s but soon got fed up just giving the people what they wanted - they should know that isn't good for them!

Just found this on an old denim jacket. A great memory even if the jacket doesn't fit me anymore!

Pretty shoddy workmanship - you just can't get the same quality of bootlegger as in my day!

It is massive but was it in 76 or 77? I don't recall encountering it being played until the mid-80s

If it was booted in 76 or 77 - who for? Was it an in-demand record in the UK in those days or was this for a perceived US interest - as you suggest the Low-Rider scene? I can't imagine someone bootlegging a record just for the hell of it.

It may have been that Soussan (or whoever) actually got a bunch of blank discs as well from Capitol or even blank discs with the labels on them. In which case the matrix stamps would be 'genuine'.