Yes. I have been to Wigan.

Last edited by Yuca (2014-10-26 07:15:58)

The Jamaican DJs were primarily using new music, both US and Jamaican releases. They generally weren't scouting intently or curating old music.

I stand by my assertion regarding Hip Hop 'collectors'. The late Bob Abrahamian in Chicago was an obsessive record collector, moving from funk to sweet soul and encompassing many of the same records the Northern or Rare Soul collectors sought out. He had as good as any insight into Hip Hop collections. He counted the serious rivals in the US as about six in number—people like Brad Hales in Detroit or Andy Noble in Milwaukee. Compare that to the Northern scene where there are hundreds of people with truly serious collections and a number at the top end like Mark Dobson or Andy Dyson where there are hundreds of thousands of impossibly obscure examples of Black American music. They would sell to people like Shadow or Madlib routinely. The Americans would accept that there was nothing like that depth or breadth of knowledge in the States except in extreme isolation—like Bob A. Bob was never given to hyperbole or overstatement and treated his subject with the forensic skills and stringent logic of the Northwestern Computer Sciences Professor he was. He will be sadly missed.

Most Hip Hop producers used second or third hand samples, often from official and unofficially released CDs, once Hip Hop had reached the commercial mainstream. In fact the lack of a depth of knowledge is one of the key factors which eventually took it up a blind alley artistically.