For a record to maintain popularity for more than a year or two (and thereby be continually issued/reissued) there would have to be something more than pure hype going on.
To continue what I wrote in reply to Ako's post - yes and no.
It depends on if you buy into diffusion theory or not (or that random copying thesis I just posted about, both of which complement one another). Diffusion theory is taken as gospel in a lot of marketing circles (not to mention social science, where it emerged from) and it's the basis behind Gladwell's "Tipping Point."
What it would say is that ultimately, what it takes for something to become popular is... ...for it to be popular to begin with. In other words, once something is able to cross a certain threshold (a tipping point, a critical mass, whatever you want to call it), the very fact that it's popular adds to its popularity since people essentially will follow what they see other people following.
So really - getting to that crucial tipping point doesn't really require a song or album to have an inherent worth that differentiates it from anything else that elevates it above the crowd. It could be for any number of factors - heavy marketing could do it but so could a random assortment of forces, like suddenly catching fire amongst a group of radio DJs or finding an audience online or ending up on a commercial. If a million people end up liking it, it doesn't make it intrinsicaly a better song than one that only 10,000 people like. The main difference is that the really popular song is the one that managed to cross that threshold and effective gather an audience who was following the crowd.
That's not to say what makes a great, popular song isn't something you can break down...but attempts to explain what makes a song so great are usually done in hindsight (see the critical analysis of that Mariah Carey song from two summers ago...a song that I doubt most people would have predicted would become THE summer jam).
Or take the current Soulstrut pinata: "Crank Dat". If someone had floated an early version of the song onto Strut, amidst a dozen other songs, I doubt very many people who have said, with absolute certainty, "this song is going to be huuuuuuge" even though, in hindsight, it's not that hard to "dissect" what made the song so catchy. But ultimately, it's hard to argue what makes that song any more catchy than dozens of similar styled songs.
9 times out of 10 independent, underground music - from whatever genre and era - will be far, far more diverse, will be delivered with more passion, will ring with authenticity not hollowness, and in the end will challenge and expand your notions of what music can be.
There are tons of soul 45's that sell for hundreds of dollars that are inferior imitations of million-selling Motown tracks.
Yeah, you can say that about most movements in commercial music. I guess it raises some philosophical questions. Does an "inferior imitation" translate to a lesser musical experience? How many times can you listen to a perfect Motown song before feeling a need to look beyond? Do you ever reach that point? If you say you can listen to Motown records forever and don't need to hear the inferior imitations, can you REALLY say you like Motown records? The roots of a tree are just as important as the tallest branches and leaves.
Those aren't "philiosphical questions"; they're dumb questions.
ok, that was kind of a shitty analogy. Here's the easiest way to sum up my case:
IMO, perfect shit is nice, but gets boring,
personally I prefer out-of-tune horns and/or a healthy dose of humanity
so like I said... crazy
Then what you're stating is a personal opinion vs. some kind of universal truth (and your earlier posts were definitely trying to be on some "this is how shit should be for everyone" tip, hence the reaction it engendered).
I think there's room for both things that you're speaking about.
But I find it suspect that you're arguing that a "healthy dose of humanity" runs counter to the idea of music sounding "perfect" (whatever that's supposed to mean). One could argue that musical perfection is an equally valid form of human achievement as "out-of-tune" horns.
HCrink, if you can't hear how disgusting Scorpio reissues sound, no disrespect, but your stereo or your ears are out of wack. They really sound awful, but if you're content with them, feel free to keep them and sell me the OGs.
I mean, I don't really buy Scorpio reissues, but it's mostly beacuse they really don't do a whole lot of titles that I feel the need to buy a reissue of. I don't need an $8.99 reissue of X major label lp that I can get for $30-50. That said, I honestly don't think the sound is terrible. The packaging is far worse.
When I started my initial dumb argument though I was thinking less about Scorpio in particular and more taking issue with you saying something like reissues almost always sound worse... which I think is untrue. A lot of them sound fine. And a lot of the ones I buy really are the only reasonable way to own certain records as I don't really see the day coming when I'll have $1,000 to spend on a single record. Reissues also help raise the profile of truly rare records that most people would otherwise not even know about. So yeah, I find it silly when people cry I DON'T BUY REISSUES. It kinda exposes ignorance of the larger picture.
Reissues also help raise the profile of truly rare records that most people would otherwise not even know about.
True. Did you know that the Beginning Of The End had another album BESIDES Funky Nassau till the reissue turned up?
Of course, it was brought to us by the fine folks at Scorpio ("Where Bass Does Not Exist In The Mix") but still...
Another thing that I think factors into this reissue argument is that (I think) downloading records has made (especially cheap) reissues a lot less relevant... and I tend to forget that. Not to sound all quasi-geezer, but when I got into records in the dark days of a whole 12-13 years ago if you wanted to hear a record you had to either find it, a reissue of it, or a buddy who could dub you a tape (yes an actaul cassette). And all of this usually had to be done locally. Not to single anyone out, but I imagine dudes who got into this shit in the last few years probably have a whole different mentality about some of this.
Scorpio reissue > a cassette dub of your friend's VG copy.
Reissues also help raise the profile of truly rare records that most people would otherwise not even know about.
True. Did you know that the Beginning Of The End had another album BESIDES Funky Nassau till the reissue turned up?
Of course, it was brought to us by the fine folks at Scorpio ("Where Bass Does Not Exist In The Mix") but still...
Another thing that I think factors into this reissue argument is that (I think) downloading records has made (especially cheap) reissues a lot less relevant... and I tend to forget that. Not to sound all quasi-geezer, but when I got into records in the dark days of a whole 12-13 years ago if you wanted to hear a record you had to either find it, a reissue of it, or a buddy who could dub you a tape (yes an actaul cassette). And all of this usually had to be done locally. Not to single anyone out, but I imagine dudes who got into this shit in the last few years probably have a whole different mentality about some of this.
Scorpio reissue > a cassette dub of your friend's VG copy.
not to mention, you had to actually know about a records exsistence to seek it out, you still do I suppose, but you know what I mean..
Reissues also help raise the profile of truly rare records that most people would otherwise not even know about.
True. Did you know that the Beginning Of The End had another album BESIDES Funky Nassau till the reissue turned up?
Of course, it was brought to us by the fine folks at Scorpio ("Where Bass Does Not Exist In The Mix") but still...
Another thing that I think factors into this reissue argument is that (I think) downloading records has made (especially cheap) reissues a lot less relevant... and I tend to forget that. Not to sound all quasi-geezer, but when I got into records in the dark days of a whole 12-13 years ago if you wanted to hear a record you had to either find it, a reissue of it, or a buddy who could dub you a tape (yes an actaul cassette). And all of this usually had to be done locally. Not to single anyone out, but I imagine dudes who got into this shit in the last few years probably have a whole different mentality about some of this.
Scorpio reissue > a cassette dub of your friend's VG copy.
not to mention, you had to actually know about a records exsistence to seek it out
not necessarily - sometimes the records find you. even today, im running up on records that i hadnt heard about before i saw it in the store that day. and even if i didnt know what the hell it was, the title/label/artist/something-or-other looked just interesting enough that i was tempted to buy it.
Another thing that I think factors into this reissue argument is that (I think) downloading records has made (especially cheap) reissues a lot less relevant... and I tend to forget that. Not to sound all quasi-geezer, but when I got into records in the dark days of a whole 12-13 years ago if you wanted to hear a record you had to either find it, a reissue of it, or a buddy who could dub you a tape (yes an actaul cassette). And all of this usually had to be done locally. Not to single anyone out, but I imagine dudes who got into this shit in the last few years probably have a whole different mentality about some of this.
Scorpio reissue > a cassette dub of your friend's VG copy.
I feel the same way about downloaded MP3s as I do about (crappy) reissue LPs: I have them but I usually don't really appreciate them, and they may even give me a dimmer view of how good a record is before I've "actually" experienced it. Same with a VG- copy of an OG. So I generally avoid all three these days.
A CD burn or high quality LP reish is a whole different matter though- those will satisfy my sonic demands.
I was so glad to give up tapes. Tapes were cool at first but they really drove me nuts after a while...
For a record to maintain popularity for more than a year or two (and thereby be continually issued/reissued) there would have to be something more than pure hype going on.
To continue what I wrote in reply to Ako's post - yes and no.
It depends on if you buy into diffusion theory or not (or that random copying thesis I just posted about, both of which complement one another). Diffusion theory is taken as gospel in a lot of marketing circles (not to mention social science, where it emerged from) and it's the basis behind Gladwell's "Tipping Point."
What it would say is that ultimately, what it takes for something to become popular is... ...for it to be popular to begin with. In other words, once something is able to cross a certain threshold (a tipping point, a critical mass, whatever you want to call it), the very fact that it's popular adds to its popularity since people essentially will follow what they see other people following.
So really - getting to that crucial tipping point doesn't really require a song or album to have an inherent worth that differentiates it from anything else that elevates it above the crowd. It could be for any number of factors - heavy marketing could do it but so could a random assortment of forces, like suddenly catching fire amongst a group of radio DJs or finding an audience online or ending up on a commercial. If a million people end up liking it, it doesn't make it intrinsicaly a better song than one that only 10,000 people like. The main difference is that the really popular song is the one that managed to cross that threshold and effective gather an audience who was following the crowd.
That's not to say what makes a great, popular song isn't something you can break down...but attempts to explain what makes a song so great are usually done in hindsight (see the critical analysis of that Mariah Carey song from two summers ago...a song that I doubt most people would have predicted would become THE summer jam).
Or take the current Soulstrut pinata: "Crank Dat". If someone had floated an early version of the song onto Strut, amidst a dozen other songs, I doubt very many people who have said, with absolute certainty, "this song is going to be huuuuuuge" even though, in hindsight, it's not that hard to "dissect" what made the song so catchy. But ultimately, it's hard to argue what makes that song any more catchy than dozens of similar styled songs.
This makes a compelling argument about what makes a song "blow up" and become a hit record, but it doesn't address the idea of longevity. Some of the records that we consider common are common because of one big hit and then everyone was embarrassed to own them (Vanilla Ice for example), others are common because people kept buying them for years and so they say stayed in print. This longer term popularity, in my opinion, can't be written off to marketing or hype- it must reflect some inherent quality of the music.
Another thing that I think factors into this reissue argument is that (I think) downloading records has made (especially cheap) reissues a lot less relevant... and I tend to forget that. Not to sound all quasi-geezer, but when I got into records in the dark days of a whole 12-13 years ago if you wanted to hear a record you had to either find it, a reissue of it, or a buddy who could dub you a tape (yes an actaul cassette). And all of this usually had to be done locally. Not to single anyone out, but I imagine dudes who got into this shit in the last few years probably have a whole different mentality about some of this.
Scorpio reissue > a cassette dub of your friend's VG copy.
I feel the same way about downloaded MP3s as I do about (crappy) reissue LPs: I have them but I usually don't really appreciate them, and they may even give me a dimmer view of how good a record is before I've "actually" experienced it. Same with a VG- copy of an OG. So I generally avoid all three these days.
A CD burn or high quality LP reish is a whole different matter though- those will satisfy my sonic demands.
I was so glad to give up tapes. Tapes were cool at first but they really drove me nuts after a while...
Not to continue to beat a dead horse here, but my whole point is that reissues in general serve a purpose - and the guys who are often the most vocally anti-reissue (not specifically referring to you or anyone else in this thread) are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough - yet the only reason they often even know about a lot of these records in the first place is because a reissue exists.
the guys who are the most vocally anti-reissue are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough
This makes a compelling argument about what makes a song "blow up" and become a hit record, but it doesn't address the idea of longevity. Some of the records that we consider common are common because of one big hit and then everyone was embarrassed to own them (Vanilla Ice for example), others are common because people kept buying them for years and so they say stayed in print. This longer term popularity, in my opinion, can't be written off to marketing or hype- it must reflect some inherent quality of the music.
Sure. I guess the point I was trying to make - poorly - is that we can only really debate those inherent qualities in hindsight. As much as the industry would love to create a predictive model for hitmaking, the cold truth is that for every hit, there's hundreds if not thousands of utter failures.
That's why I reject - and this is no offense to Dan - the idea that Britney and Soulja Boy or even Vanilla Ice were "manufactured hits." The forces that allowed those artists to blow the fuck up only seem obvious in hindsight but at the moment before the market bore out that claim, they were all just nameless, faceless artists trying to test the waters. I mean, how many other artists out there probably sound something like Soulja Boy? How come none of them are blowing up then?
You have to leave some of this up to chance being greater than marketing or even "inherent musical qualities." It's not fair or merit-based but it was never meant to be.
the guys who are the most vocally anti-reissue are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough
I'm the exact opposite.. I don't buy reissue vinyl, cd only.
I don't want the jazzman reissue shit, Original or bust! Do you have bobby watkins & fire - flight to cuba/soul on ice ??? i'll money up right now. It's one of the few records I still need for my funky jb's style collection. Posting in the wants section is absolutely pointless cause nobody is looking to get rid of stuff. I asked for Tony Ronald & Black Velvet 45... no response.
The problem is you guys don't even really have rare records to sell anyone. Not speakin at you SOI, but at least not FAUX RILLZ I don't think he even owns any kind of reecord player or record and HCRINK just rides for that bullshit waxidermy nerd nonsense... YOU HAVE NO RARE RECORDS or at least not selling them to anyone far as I can tell.
So how could you say for example I won't pay, if you don't sell.
the guys who are the most vocally anti-reissue are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough
I'm the exact opposite.. I don't buy reissue vinyl, cd only.
I don't want the jazzman reissue shit, Original or bust! Do you have bobby watkins & fire - flight to cuba/soul on ice ??? i'll money up right now. It's one of the few records I still need for my funky jb's style collection.
Gee, that's funny, b/c Flight to Cuba sounds nothing like a JB production. The band is way too loose, the horns are too distorted, and the percussion is distinctly Latin-influenced.
Your big secret is that you don't listen to music, isn't it?
the guys who are the most vocally anti-reissue are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough
I'm the exact opposite.. I don't buy reissue vinyl, cd only.
I don't want the jazzman reissue shit, Original or bust! Do you have bobby watkins & fire - flight to cuba/soul on ice ??? i'll money up right now. It's one of the few records I still need for my funky jb's style collection.
Gee, that's funny, b/c Flight to Cuba sounds nothing like a JB production. The band is way too loose, the horns are too distorted, and the percussion is distinctly Latin-influenced.
Your big secret is that you don't listen to music, isn't it?
What do I win?
Damn, did I say it WAS the jbs playing?? Clean the dirt out of your ears not just your records and you might hear what i'm talking about.
Like i said BIG DOODS.. where is the record for me to buy?? oohhh that's right. The good folks who post on soulstrut just talk a big game and when it comes down to brass tacks they aint got jack shit to sell someone like me with money to burn.
I'll be waiting for one of you big doods to step up with a super clean copy.
the guys who are the most vocally anti-reissue are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough
I'm the exact opposite.. I don't buy reissue vinyl, cd only.
I don't want the jazzman reissue shit, Original or bust! Do you have bobby watkins & fire - flight to cuba/soul on ice ??? i'll money up right now. It's one of the few records I still need for my funky jb's style collection.
Gee, that's funny, b/c Flight to Cuba sounds nothing like a JB production. The band is way too loose, the horns are too distorted, and the percussion is distinctly Latin-influenced.
Your big secret is that you don't listen to music, isn't it?
What do I win?
Like i said BIG DOODS.. where is the record for me to buy?? oohhh that's right. The good folks who post on soulstrut just talk a big game and when it comes down to brass tacks they aint got jack shit to sell someone like me with money to burn.
What kind of delusional private mind garden are you tending, dude? I will be the first one to acknowledge the many, many posters on this board with better records than I. No, the only person claiming to king shit is you. YOU. And yet, for all the shit you talk, you have not given anyone a single reason to take you seriously. If you're really looking to purchase rare records like Fire, why be such an unremitting cock about it? Did you attend The James Trouble finishing school for girls or something?
Fire, btw, is a great record. Not 'jb style' funk (unless you're using an extremely loose definition like 'danceable'), but a great record nonetheless. Anyone on the board who has a copy is probably committed to keeping it.
Fire, btw, is a great record. Not 'jb style' funk (unless you're using an extremely loose definition like 'danceable'), but a great record nonetheless. Anyone on the board who has a copy is probably committed to keeping it.
but you did say it is in the vein of the JBs - something it clearly isn't (read what you wrote). Maybe if you clarify why you think it sounds like a (your words) funky JB's-style record, you would make more sense and all this bullshit will cease.
deepest funk/soul internets cross forum board snappage
OA has some ill rare azz unaffordble records on display at his myspace page pretty much unfuckwithable big boi 45s lyn minor and shit,so watch out little kiddies he really ain't playin'
oh and btw for the record..... quo[pedarest ass homo] is a dick/toy/used tamponsmoker fer sure
OA has some ill rare azz unaffordble records on display at his myspace page
but Kevin laverty used to consistantly post flicks of records he actually didn't own..... I'm not jumping on the dis wagon - though really interested in his explaination of why a totally non-JB sounding record will fill his funky JB-sounding collection - justsayin...
OA has some ill rare azz unaffordble records on display at his myspace page
but Kevin laverty used to consistantly post flicks of records he actually didn't own..... I'm not jumping on the dis wagon - though really interested in his explaination of why a totally non-JB sounding record will fill his funky JB-sounding collection - justsayin...
Yeah instead of jumping on the diss wagon you should be out looking for that Ken Heller record for me. Cause soon i'm gonna have to source that one from somebody else. It's been months now i'm losing faith in your baller status as a record buyer/seller.
bw
If you guys can't figure me out after this long I pity the fool like mr t, but I think Fake_4real already knows what time it is. Although he'll never find out what 5000+ frequent posters asked me to come stir up the soulstrut pot.
p.s. i've been meaning to ask whats the situation with you and oscar??
All I know is that I took a long subway ride yesterday to the tunes of "Hot Buttered Soul" and for sure I would not have wanted to listen to anything that was more "raer" than that.
Nobody mentioned that the reason why people like that particular Dionne Warwick record is because of the Holland-Dozier-Holland work on it, also the reason why producers like Just & Dilla gravitate towards it because every producer has been keeping their ears peeled for HDH productions for years now.
Aaron stop arguing over the internet and let's go drink some beers.
I found a uhaul-sized box of unopened packs of Topps from 1985-1990 this morning. Fuck this bullshit. LATER
Comments
To continue what I wrote in reply to Ako's post - yes and no.
It depends on if you buy into diffusion theory or not (or that random copying thesis I just posted about, both of which complement one another). Diffusion theory is taken as gospel in a lot of marketing circles (not to mention social science, where it emerged from) and it's the basis behind Gladwell's "Tipping Point."
What it would say is that ultimately, what it takes for something to become popular is...
...for it to be popular to begin with. In other words, once something is able to cross a certain threshold (a tipping point, a critical mass, whatever you want to call it), the very fact that it's popular adds to its popularity since people essentially will follow what they see other people following.
So really - getting to that crucial tipping point doesn't really require a song or album to have an inherent worth that differentiates it from anything else that elevates it above the crowd. It could be for any number of factors - heavy marketing could do it but so could a random assortment of forces, like suddenly catching fire amongst a group of radio DJs or finding an audience online or ending up on a commercial. If a million people end up liking it, it doesn't make it intrinsicaly a better song than one that only 10,000 people like. The main difference is that the really popular song is the one that managed to cross that threshold and effective gather an audience who was following the crowd.
That's not to say what makes a great, popular song isn't something you can break down...but attempts to explain what makes a song so great are usually done in hindsight (see the critical analysis of that Mariah Carey song from two summers ago...a song that I doubt most people would have predicted would become THE summer jam).
Or take the current Soulstrut pinata: "Crank Dat". If someone had floated an early version of the song onto Strut, amidst a dozen other songs, I doubt very many people who have said, with absolute certainty, "this song is going to be huuuuuuge" even though, in hindsight, it's not that hard to "dissect" what made the song so catchy. But ultimately, it's hard to argue what makes that song any more catchy than dozens of similar styled songs.
Those aren't "philiosphical questions"; they're dumb questions.
Then what you're stating is a personal opinion vs. some kind of universal truth (and your earlier posts were definitely trying to be on some "this is how shit should be for everyone" tip, hence the reaction it engendered).
I think there's room for both things that you're speaking about.
But I find it suspect that you're arguing that a "healthy dose of humanity" runs counter to the idea of music sounding "perfect" (whatever that's supposed to mean). One could argue that musical perfection is an equally valid form of human achievement as "out-of-tune" horns.
I mean, I don't really buy Scorpio reissues, but it's mostly beacuse they really don't do a whole lot of titles that I feel the need to buy a reissue of. I don't need an $8.99 reissue of X major label lp that I can get for $30-50. That said, I honestly don't think the sound is terrible. The packaging is far worse.
When I started my initial dumb argument though I was thinking less about Scorpio in particular and more taking issue with you saying something like reissues almost always sound worse... which I think is untrue. A lot of them sound fine. And a lot of the ones I buy really are the only reasonable way to own certain records as I don't really see the day coming when I'll have $1,000 to spend on a single record. Reissues also help raise the profile of truly rare records that most people would otherwise not even know about. So yeah, I find it silly when people cry I DON'T BUY REISSUES. It kinda exposes ignorance of the larger picture.
True. Did you know that the Beginning Of The End had another album BESIDES Funky Nassau till the reissue turned up?
Of course, it was brought to us by the fine folks at Scorpio ("Where Bass Does Not Exist In The Mix") but still...
And that's the crux of the biscuit.
I think that most people who dislike all things popular also have a dim view of their fellow man.
B/W
Every case of misanthropy I've ever encountered was firmly rooted in self-hatred.
Another thing that I think factors into this reissue argument is that (I think) downloading records has made (especially cheap) reissues a lot less relevant... and I tend to forget that. Not to sound all quasi-geezer, but when I got into records in the dark days of a whole 12-13 years ago if you wanted to hear a record you had to either find it, a reissue of it, or a buddy who could dub you a tape (yes an actaul cassette). And all of this usually had to be done locally. Not to single anyone out, but I imagine dudes who got into this shit in the last few years probably have a whole different mentality about some of this.
Scorpio reissue > a cassette dub of your friend's VG copy.
not to mention, you had to actually know about a records exsistence to seek it out, you still do I suppose, but you know what I mean..
exactly.
not necessarily - sometimes the records find you. even today, im running up on records that i hadnt heard about before i saw it in the store that day. and even if i didnt know what the hell it was, the title/label/artist/something-or-other looked just interesting enough that i was tempted to buy it.
I feel the same way about downloaded MP3s as I do about (crappy) reissue LPs: I have them but I usually don't really appreciate them, and they may even give me a dimmer view of how good a record is before I've "actually" experienced it. Same with a VG- copy of an OG. So I generally avoid all three these days.
A CD burn or high quality LP reish is a whole different matter though- those will satisfy my sonic demands.
I was so glad to give up tapes. Tapes were cool at first but they really drove me nuts after a while...
This makes a compelling argument about what makes a song "blow up" and become a hit record, but it doesn't address the idea of longevity. Some of the records that we consider common are common because of one big hit and then everyone was embarrassed to own them (Vanilla Ice for example), others are common because people kept buying them for years and so they say stayed in print. This longer term popularity, in my opinion, can't be written off to marketing or hype- it must reflect some inherent quality of the music.
Not to continue to beat a dead horse here, but my whole point is that reissues in general serve a purpose - and the guys who are often the most vocally anti-reissue (not specifically referring to you or anyone else in this thread) are often the same guys who grip on rare records and don't want to spend a lot of money on them and think they'll find everything for a dollar if they wait long enough - yet the only reason they often even know about a lot of these records in the first place is because a reissue exists.
Sure. I guess the point I was trying to make - poorly - is that we can only really debate those inherent qualities in hindsight. As much as the industry would love to create a predictive model for hitmaking, the cold truth is that for every hit, there's hundreds if not thousands of utter failures.
That's why I reject - and this is no offense to Dan - the idea that Britney and Soulja Boy or even Vanilla Ice were "manufactured hits." The forces that allowed those artists to blow the fuck up only seem obvious in hindsight but at the moment before the market bore out that claim, they were all just nameless, faceless artists trying to test the waters. I mean, how many other artists out there probably sound something like Soulja Boy? How come none of them are blowing up then?
You have to leave some of this up to chance being greater than marketing or even "inherent musical qualities." It's not fair or merit-based but it was never meant to be.
I'm the exact opposite.. I don't buy reissue vinyl, cd only.
I don't want the jazzman reissue shit, Original or bust! Do you have bobby watkins & fire - flight to cuba/soul on ice ??? i'll money up right now. It's one of the few records I still need for my funky jb's style collection. Posting in the wants section is absolutely pointless cause nobody is looking to get rid of stuff. I asked for Tony Ronald & Black Velvet 45... no response.
The problem is you guys don't even really have rare records to sell anyone. Not speakin at you SOI, but at least not FAUX RILLZ I don't think he even owns any kind of reecord player or record and HCRINK just rides for that bullshit waxidermy nerd nonsense... YOU HAVE NO RARE RECORDS or at least not selling them to anyone far as I can tell.
So how could you say for example I won't pay, if you don't sell.
Gee, that's funny, b/c Flight to Cuba sounds nothing like a JB production. The band is way too loose, the horns are too distorted, and the percussion is distinctly Latin-influenced.
Your big secret is that you don't listen to music, isn't it?
What do I win?
Damn, did I say it WAS the jbs playing?? Clean the dirt out of your ears not just your records and you might hear what i'm talking about.
Like i said BIG DOODS.. where is the record for me to buy?? oohhh that's right. The good folks who post on soulstrut just talk a big game and when it comes down to brass tacks they aint got jack shit to sell someone like me with money to burn.
I'll be waiting for one of you big doods to step up with a super clean copy.
What kind of delusional private mind garden are you tending, dude? I will be the first one to acknowledge the many, many posters on this board with better records than I. No, the only person claiming to king shit is you. YOU. And yet, for all the shit you talk, you have not given anyone a single reason to take you seriously. If you're really looking to purchase rare records like Fire, why be such an unremitting cock about it? Did you attend The James Trouble finishing school for girls or something?
Fire, btw, is a great record. Not 'jb style' funk (unless you're using an extremely loose definition like 'danceable'), but a great record nonetheless. Anyone on the board who has a copy is probably committed to keeping it.
I have the reissue 45.
It's not for sale
but you did say it is in the vein of the JBs - something it clearly isn't (read what you wrote). Maybe if you clarify why you think it sounds like a (your words) funky JB's-style record, you would make more sense and all this bullshit will cease.
deepest funk/soul internets cross forum board snappage
OA has some ill rare azz unaffordble records on display at his myspace page
pretty much unfuckwithable big boi 45s
lyn minor and shit,so watch out little kiddies
he really ain't playin'
oh and btw for the record.....
quo[pedarest ass homo] is a dick/toy/used tamponsmoker fer sure
but Kevin laverty used to consistantly post flicks of records he actually didn't own.....
Yeah instead of jumping on the diss wagon you should be out looking for that Ken Heller record for me. Cause soon i'm gonna have to source that one from somebody else. It's been months now i'm losing faith in your baller status as a record buyer/seller.
bw
If you guys can't figure me out after this long I pity the fool like mr t, but I think Fake_4real already knows what time it is. Although he'll never find out what 5000+ frequent posters asked me to come stir up the soulstrut pot.
p.s. i've been meaning to ask whats the situation with you and oscar??
Aaron stop arguing over the internet and let's go drink some beers.
I found a uhaul-sized box of unopened packs of Topps from 1985-1990 this morning. Fuck this bullshit. LATER
The 88's suck, but that is still a nice find. Show me some RATED ROOKIE RAER.
And, tell me if the gum is still FRESH.