Cover Ups & New Discoveries... A Downward Slope ?

[Guest JJMMWGDuPree]

Well let's put it this way. What name and song title does the DJ put on their PRS form? Or don't Northern DJs bother with such things?

[Chalky]

Well let's put it this way. What name and song title does the DJ put on their PRS form? Or don't Northern DJs bother with such things?

You know full well what the answer is. Anyway the is no need is there if the venue is licensed to play music.

And no artist is going to get income from a record played at a Northern Soul venue. Bit of recognition maybe, doubt that many are aware their record is being played, income bugger all.

[Steve G]

JJ,

Don't know if you are just trying to be provocative or teasing.....Anyway you know full well that the PRS do not track down some ailing artist in Compton and give him 5c every time his / her record is played at a northern venue. The money they raise through playlists goes to the Top 40 artists like Lily Alan and Lady Gaga, producers, writers and copyright owners. And who says the artist is entitled to anything anyway? Most were paid a flat fee for recording and many at the obscurer end didn't even know their music came out. If anyone is losing out it is invariably the copyright owner, if such can be traced. Let's not try and pretend the record biz in the USA is anything other than deeply murky and full of con artists, and always has been.

Might be an idea for the purists to list out some artists who have lost out financially as a result of cover ups, rather than all this hypothetical speculation. Then compile a list of artists who have lost out as a result of bootlegging, then decide where to aim your bricks and stones!

Edited April 14, 2011 by Steve G

[Simon M]

Surely some of these acts , sitting there in the deep south maybe , on a rocking chair thinking about some of the tunes they sung and wrote would just love some kind of recognition from an audience even at this late stage . There was an article on lorraine Rudolph somewhere on a US website ( can't find it now ) She was gutted her record was a cover-up on our uk scene .

Edited April 14, 2011 by Simon M

[Chalky]

Surely some of these acts , sitting there in the deep south maybe , on a rocking chair thinking about some of the tunes they sung and wrote would just love some kind of recognition from an audience even at this late stage . There was an article on lorraine Rudolph somewhere on a US website ( can't find it now ) She was gutted her record was a cover-up on our uk scene .

But once it was uncovered 25 years ago give or take a year she has probably not benefited one dollar from sales of that record.

Most cover ups are so obscure I doubt they sold a copy back when it was recorded. If it wasnt for the tireless work of DJs and collectors and the scene then most of the records would have been trashed.

[Simon M]

But once it was uncovered 25 years ago give or take a year she has probably not benefited one dollar from sales of that record.

Most cover ups are so obscure I doubt they sold a copy back when it was recorded. If it wasnt for the tireless work of DJs and collectors and the scene then most of the records would have been trashed.

I dont think its about money . in the end . Its just about " Was my record any good , was I any good " ( Lorriane R's record is a cracker imo ) I wish I could find the article now

Standing on the shoulders of Giants is the saying that springs to mind Steve has been honest , it is a selfish thing

ps,. Steve used to be very anti coverup back in the blackbeat days Im sure ?

pps. You know what , its possible now that Lorraine could post on this thread , thats whats great about the Internet

get your coverups here https://www.raresoulm...auction/latest/

(Belita Woods coverup on Manships)

Edited April 27, 2011 by Simon M

[Geeselad]

But once it was uncovered 25 years ago give or take a year she has probably not benefited one dollar from sales of that record.

Most cover ups are so obscure I doubt they sold a copy back when it was recorded. If it wasnt for the tireless work of DJs and collectors and the scene then most of the records would have been trashed.

your spot on Chalky, I'm tired of hearing that old arguement, that artist need the credit, Maybe in the early days when Godin was talking about it, but 30 years later? I dont think that mentality is relevant anymore.

[Steve G]

I dont think its about money . in the end . Its just about " Was my record any good , was I any good " ( Lorriane R's record is a cracker imo ) I wish I could find the article now

Standing on the shoulders of Giants is the saying that springs to mind Steve has been honest , it is a selfish thing

ps,. Steve used to be very anti coverup back in the blackbeat days Im sure ?

pps. You know what , its possible now that Lorraine could post on this thread , thats whats great about the Internet

get your coverups here https://www.raresoulman.co.uk/auction/latest/

........And on the "Was my record good" front, Little Richard described his O'Keh recordings as "the worst he'd ever made" rather shockingly, and Betty Lavette hates her northern stuff apparantly.

It is absolutely done for the DJs benefit, said it before and I'll say it again - to get some longevity out of the digging, research, hassle, buying cost whatever around a rare 45.

Yes I used to insist Guy H only review uncovered records in Blackbeat - it lead to a regular flow of "uncovering", including things like Casanova Bennett. But the scene then was very different in the Stafford days and there were plenty of new unplayed and relatively undiscovered things, so Guy for example could keep turning them over. Not the same today, there is not an endless supply of unknown records.....and the prices for genuine unknowns are not cheap (I am not talking here about 3rd division cover ups).

Steve

Edited April 14, 2011 by Steve G

[Simon M]

........And on the "Was my record good" front, Little Richard described his O'Keh recordings as "the worst he'd ever made" rather shockingly, and Betty Lavette hates her northern stuff apparantly.

It is absolutely done for the DJs benefit, said it before and I'll say it again - to get some longevity out of the digging, research, hassle, buying cost whatever around a rare 45.

Yes I used to insist Guy H only review uncovered records in Blackbeat - it lead to a regular flow of "uncovering", including things like Casanova Bennett. But the scene then was very different in the Stafford days and there were plenty of new unplayed and relatively undiscovered things, so Guy for example could keep turning them over. Not the same today, there is not an endless supply of unknown records.....and the prices for genuine unknowns are not cheap (I am not talking here about 3rd division cover ups).

Steve

I dont think that condones coverups Steve . Maybe it is all about the money that's involved in vinyl today and no real empathy involved . Being selfish is not a good thing or is it lol

If a fresh record turns up . I prefer that its put to the test and the net is a real test of a records rarity for today !!

ps . King Moses is still pretty rare , and you paid 5k for that uncoverd . Actually its never been coverd up

Edited April 14, 2011 by Simon M

[Marc Forrest]

It is absolutely done for the DJs benefit, said it before and I'll say it again - to get some longevity out of the digging, research, hassle, buying cost whatever around a rare 45.

the worst enemies for a "new" sound are availability, overplay and (too early) re-issueing or even bootlegging. DJ`s cover up 45s to safe them ...not only for themselves but also for the "scene". Long live the C/UP I say and long may it continue that people are able to find new and worthy of a C/UP sticker tunes.

[Simon M]

the worst enemies for a "new" sound are availability, overplay and (too early) re-issueing or even bootlegging. DJ`s cover up 45s to safe them ...not only for themselves but also for the "scene". Long live the C/UP I say and long may it continue that people are able to find new and worthy of a C/UP sticker tunes.

But once again thats just a question of rarity

[Guest JJMMWGDuPree]

You know full well what the answer is. Anyway the is no need is there if the venue is licensed to play music.

And no artist is going to get income from a record played at a Northern Soul venue. Bit of recognition maybe, doubt that many are aware their record is being played, income bugger all.

There's every need to. If you don't fill in the form the money goes to all the artists registered proportionately, so some boy band and Rod bleedin' Stewart get more than their fair share. If you care about the music you're playing then you demand a PRS form from the venue owner (They don't like being bothered, you have to insist) and fill the thing in honestly.

JJ,

Don't know if you are just trying to be provocative or teasing.....Anyway you know full well that the PRS do not track down some ailing artist in Compton and give him 5c every time his / her record is played at a northern venue. The money they raise through playlists goes to the Top 40 artists like Lily Alan and Lady Gaga, producers, writers and copyright owners. And who says the artist is entitled to anything anyway? Most were paid a flat fee for recording and many at the obscurer end didn't even know their music came out. If anyone is losing out it is invariably the copyright owner, if such can be traced. Let's not try and pretend the record biz in the USA is anything other than deeply murky and full of con artists, and always has been.

Might be an idea for the purists to list out some artists who have lost out financially as a result of cover ups, rather than all this hypothetical speculation. Then compile a list of artists who have lost out as a result of bootlegging, then decide where to aim your bricks and stones!

I know the PRS do track you down. They tracked down my brother for just a few quid from a Scandinavian radio station who'd played some obscure folk record he'd played on back in the 70s. These organisations are really tightly controlled. They have to account for every penny they collect or they get organisations like the Musician's Union on their arses.

Yes, I know that there's every likelihood that the artist in question may have been ripped off for his dues already, or may be dead, but it's not up to him or her to prove that they're alive and well and want their money, it's up to us to assume that they are and do our bit to make sure they get it.

I'm afraid that both your replies suggest to me that you don't give a flying duck about the artists, you're only interested in stroking your own egos.

[Pomonkey]

One of my best friends since Uni days is now Head of Tariff Development for the PPL - and yes he spends a lot of his time in Court prosecuting all sorts of people/venues/you name it, should get him to comment on that part of this thread! Or probably better not!!

Edited April 14, 2011 by pomonkey

[Chalky]

There's every need to. If you don't fill in the form the money goes to all the artists registered proportionately, so some boy band and Rod bleedin' Stewart get more than their fair share. If you care about the music you're playing then you demand a PRS form from the venue owner (They don't like being bothered, you have to insist) and fill the thing in honestly.

I know the PRS do track you down. They tracked down my brother for just a few quid from a Scandinavian radio station who'd played some obscure folk record he'd played on back in the 70s. These organisations are really tightly controlled. They have to account for every penny they collect or they get organisations like the Musician's Union on their arses.

Yes, I know that there's every likelihood that the artist in question may have been ripped off for his dues already, or may be dead, but it's not up to him or her to prove that they're alive and well and want their money, it's up to us to assume that they are and do our bit to make sure they get it.

I'm afraid that both your replies suggest to me that you don't give a flying duck about the artists, you're only interested in stroking your own egos.

radio stations are totally different, they have to pay the PRS. Us occasional DJ's are or should be covered by the venues license.

And what the f "k do you know about me? I have no ego to stroke, done plenty for artists and getting them recognition over the years, tracked artists down, arranged for them to come over here and written articles and reviews for their music, I've done my bitt for artists so don't tell me I don't care.

And how do you know a covered up record isn't unknown? I know of a few that are uncredited. And most cover ups are uncovered after a short time. Pray tell just what money is an artist going to get out of me or anyone else playing one of their records at a NS venue? F "k all thats how much.

[stomper45]

I think the thing that's done the most to put an end to this silly coverups thing is the arrival of pro collectors working for record labels. They can get into places that most of us will never have access to, and as long as they're honest labels like Kent I'm all in favour.

All coverups ever did was deny the artists that we're supposed to be supporting income and exposure.

As your big into being part of the Self Righteous Brothers, how much did you pay for using the "Felix the Cat"TM avatar

Edited April 14, 2011 by stomper45

[stomper45]

Couldnt get the avatar to download properly but you get the idea, so what you paying the "Felix the Cat" cats

[Guest JJMMWGDuPree]

radio stations are totally different, they have to pay the PRS. Us occasional DJ's are or should be covered by the venues license.

You are, but you're supposed to be issued with a PRS form by the venue so you can list what you've played. It's the venue's responsibility to tell the PRS what music has been played in the premises, and if they don't know it's their responsibility to get you to provide them with it. Me, I always carried a bunch of the forms around with me, it saved a lot of bother. You don't seriously think that venue promotors and/or the PRS and MCPS are psychic do you?

And what the f "k do you know about me? I have no ego to stroke, done plenty for artists and getting them recognition over the years, tracked artists down, arranged for them to come over here and written articles and reviews for their music, I've done my bit for artists so don't tell me I don't care.

Sure sounds like you got an ego to me. But if your doing all this for the artists, why have you got such a problem about getting them their dues? Not logical, captain.

And how do you know a covered up record isn't unknown? I know of a few that are uncredited. And most cover ups are uncovered after a short time. Pray tell just what money is an artist going to get out of me or anyone else playing one of their records at a NS venue? F "k all thats how much.

There you go again, expecting the artist to spring magically out of the audience with proof that he is indeed known. You shouldn't make anti-artist assumptions because the artist may not be unknown. Heck, even if he/she is you should still list them, make the PRS work for their dosh. As for no artist going to make any money out of a few plays in NS venues. Not if you don't fill in the bloody PRS form they won't.

As your big into being part of the Self Righteous Brothers, how much did you pay for using the "Felix the Cat"TM avatar

They were giving 'em away. But you should be careful about bandying that name around, it's the property of Nestles over here, and they can be real b@$#@rds sometimes.

[stomper45]

They were giving 'em away. But you should be careful about bandying that name around, it's the property of Nestles over here, and they can be real b@$#@rds sometimes.

I was carefu,l thats why I credited the TM in my reply, something you have failed to do in any of your posts, you seem to view the accreditation of avatars different to that of obscure, dead, double jobbing soul artists and their small run vinyl work.

[Steve G]

Yes, I know that there's every likelihood that the artist in question may have been ripped off for his dues already, or may be dead, but it's not up to him or her to prove that they're alive and well and want their money, it's up to us to assume that they are and do our bit to make sure they get it.

I'm afraid that both your replies suggest to me that you don't give a flying duck about the artists, you're only interested in stroking your own egos.

We did this to death some years ago, if not on here on another forum. The chances of a rare soul artist getting money from a play at a rare soul venue is virtually nil. And that's if the artist is entitled to anything, they may have been paid in full for the session. You conveniently seem to forget to mention writers or copyright owners, who may well be different to the artist. The whole area is not clear as you suggest and the real likelihood is that 5c for a play of a really obscure record at a rare soul venue would end up in Madonna's fur lined trousers. To suggest otherwise suggests you do not really understand the nature of records played on the rare soul scene. We are not talking about Impressions 45s here. By it's very nature at this stage of the game anything covered up is likely to be very obscure indeed.

It's different when a record is legally reissued as a 45 because the person putting it out, tracks down those that own the rights to the music (be it artist or otherwise) and pay them. Here too they don't neccesarily pay the artist. And it again gets murkier when you get into compilation CDs. Let's look at a simple case in point. A double CD of Dore rercords, let's assume it was legal. Do you honestly think the 60 or so artists on that compilation got anything for their record being included on the CD? Of course they didn't - the company that put it out, paid for the rights to the tracks from the copyright owner. I bet even the Whispers didn't get paid, let alone someone like Ray Marchant.

Rather than lecturing Chalky and I about your perception of our lack of respect for artists, something you know nothing about since you don't know us, please do yourself and everyone else a favour by actually taking a bit of time to actually understand both the music business, and the rare soul scene, rather than pontificating hypotheticals and spouting nonsense from your armchair. And the irony of your "cover up" name on here is not lost on me either

And then please find me these artists who have lost out as a result of "cover ups".

Edited April 15, 2011 by Steve G

[Simon M]

"At one point, I even tried to locate Lorraine," says Vince Peach, a radio dj and collector in Melbourne, Australia who discovered Rudolph while searching for records connected with Huey Meaux, a legendary Texas producer. But to most collectors, Rudolph's trail stopped in the early 1970s, when she toured with The Spinners as a replacement for Dionne Warwick.

Rudolph doesn't know whether to be bitter that her records are selling for money or thrilled that she's discovered fans she never conceived existed. Both emotions come over her in waves. "What can I do to get a piece of this?" she says one minute, then, just a few seconds later, "I guess I am 'in demand' now, huh?"

Her big, round eyes fill and she's very quiet. And then: "I always did think I should be in demand.":(

[Guest JJMMWGDuPree]

I was carefu,l thats why I credited the TM in my reply, something you have failed to do in any of your posts, you seem to view the accreditation of avatars different to that of obscure, dead, double jobbing soul artists and their small run vinyl work.

I rest my case.

[Guest Paul]

PRS don't have anything to do with artists or the owners or licensees of recordings.

PRS license and collect fees for the public performance and broadcast of songs (not recordings) and therefore they account to music publishers and composers. They also account to other performing right societies in other territories, such as BMI and ASCAP in the USA.

With specific regard to songs (not recordings) being played in clubs and discos, PRS distribute fees to their writer and publisher members based on sample surveys of songs reported to be regularly played in clubs across the country.

It's far from accurate or comprehensive and few DJs or clubs submit playlists anyway.

With regard to TV and radio broadcasting, however, the PRS system is much more accurate because most broadcasters have to submit playlists and of course there are digital ways of tracking airplay using ISRC codes embedded in CDs and MP3 etc.

I hope this clears things up a bit.

[BrianB]

I do not believe the subjects of cover ups to be contentious or a tricky issue.......its just plain wrong.

I have the record ....you don't....I'm keeping it a secret in case you go and get it?

Simplistic I know, but what about being a soul fan and letting everyone share the music.

I know the reasons some will post, expensive trips to the USA, rooting round dusty shops etc, but to me, being the one to break that record should be enough.

Just my thoughts, don't mean to be contentious myself.

Thanks,

Brian

[Guest Paul]

I've tried to keep out of this debate because, like most people, I don't have the right to say that someone is wrong for hiding or changing the identity of a record.

But, again like most people, I do have my own personal opinions about cover ups and I've always thought that it isn't usually a necessary thing or a morally justifiable thing to do. There was a time when there may have been some justification to cover up a record, for a while at least, but those days are long gone.

Personally I think covering up a record is quite a selfish thing to do and it's almost always done for egotistical reasons to obtain an unfair advantage or a degree of exclusivity. Some people think those kind of things are very important, others don't.

I'm swayed most of all by the very simple principal that all artists / writers / producers etc have a strong moral right to be identified as the creators of their work. To me that seems to be far more important than the ego of any individual, especially someone who wasn't involved in the creation of the work.

I've thought about this subject an awful lot over the years and I don't think I'll ever change my opinions.

Creative people deserve to be credited for their work. It's as simple as that.

My own interest is in the music and those who make it, it's been my life passion and it's also my living so I value it and respect it highly. I don't mind at all if someone is more interested in DJs or rare and expensive records but I really think due credit should be given - in respect of moral rights at least.

This isn't a sermon or a moral judgement of anyone, I'm just expressing my own personal thoughts.

Best wishes,

Paul

[Cunnie]

In recent years on the Modern scene there have even been new & also pre-releases covered up.

First example was Smile by Neo that was covered up by Terry Jones as Gil Scott Heron while available as a legal download on sites like Traxsource for around a quid a time.

Second example was Him by Kenny Thomas that was due for release in the coming weeks. Heard it played on Solar by Tony Blackburn of all people as Kenny Thomas then in the very next show was played by Richard Searling as Him by Him.

Quite pathetic really for the so called legendary Soul scene DJ's & if that ain't damaging to the original artists I don't know what is.

[Geeselad]

In recent years on the Modern scene there have even been new & also pre-releases covered up.

First example was Smile by Neo that was covered up by Terry Jones as Gil Scott Heron while available as a legal download on sites like Traxsource for around a quid a time.

Second example was Him by Kenny Thomas that was due for release in the coming weeks. Heard it played on Solar by Tony Blackburn of all people as Kenny Thomas then in the very next show was played by Richard Searling as Him by Him.

Quite pathetic really for the so called legendary Soul scene DJ's & if that ain't damaging to the original artists I don't know what is.

For me this is so different than a 40 odd year old tune being played out under the paper, there's so much more chance of a contemporary artist beniffing from it, although the bias from recorded to live has changed so much that now it's recordings being used to promote a live apprearance rather than the other way around. Strangly I could see how covering a contempory artist might be use a record being covered on 'a scene' in a positive way, look at what both Stock Aikin and Waterman and the young disiples did to promote records in the 8ts and 9ts. ( fake 7ts releases). Artist's actually covering up there own stuff!

[Driveller]

For me, cover-ups have always been about record promotion, rather than DJs' selfishness. The Northern/Rare Soul scene has always had a bit of double thinking when it comes to stuff it doesn't know. On the one hand, it thrives on the new, the hidden, the stuff that 'normal' people don't know about. It is necessarily pioneering and exploratory and would not exist without the thirst for the new. On the other hand, it can be curiously conservative at times, sticking to the familiar once it has discovered it, and being slow to accept what it doesn't already know. This plays out in the enduring 'newies v oldies' debates and the ebb and flow of the dancefloor we all recognise when DJs are mixing lesser known things with established favourites. What cover-ups do is cater to both expectations in quite a set of subtle and clever ways, viz:

They mark the record out as new, undiscovered, fresh, and therefore newsworthy - it must be something the DJ's expecting us not to know, therefore it excites those looking for the new;

They stir up interest and speculation about the record's true identity, and therefore focus more attention on it than might have been the case if it had not been covered up;

They delay the moment of identification until a pent-up demand and interest has been created. In this respect, it is much like the pre-release radio playlisting of new releases;

They create a second wave of newsworthiness when the identity is revealed.

All the above appeal to the sector of the audience looking for the new, but cover-ups cater in another way to those more comfortable with the familiar. When you cover a record up as another artist, you are drawing a subconscious (or sometimes more explicit) comparison with titles the audience has already accepted. Saying "this is the next big one from Mary Love", rather than "this is Bessie Mae Futtock on Shitshack", goes halfway to getting that record accepted by all the lovers of the old Mary Love records, particularly if there are echoes of those Mary Love records somewhere in the record you're trying to break. What you're really saying is, "give it a chance, it's just like those other ones you love - if you accepted them, you can accept this". Telling them it's Bessie Mae Futtock is not going to make anything like the same splash (except among people who've always wondered what that missing number on Shitshack sounds like), and is as likely to turn off the people waiting to hear more of those good old Mary Love records. Bessie Mae might get her due credit from day one if we announced it as her, but fewer people would care than would eventually do so if we started off by comparing it mentally with someone we already knew. We like to kid ourselves it's not like that, but it is.

To me this is, ultimately, a way of accessing greater prominence for those artists in the long run, as it makes the newies fans prick up their ears and it smooths the acceptance of the new record among those who are more comfortable with the familiar. Then, when it does get uncovered (and it does need to be for this vision of the cover-up to work), there is more demand for the CD reissue than might otherwise have been the case and the artist gets their recognition (and who knows, maybe their money) from more people than might have otherwise been the case. The business of stirring up curiosity also speeds up the process by which the record can break - after all, everybody wants to know a secret, and when the secret is a really great record, we REALLY want to know, and the sooner the better!

As I mentioned, this whole thing only works if the record DOES get uncovered sooner or later, and I think most people covering records up do it with an eventual uncovering in mind. It also applies to vintage records, where a few months (or even years, with the nature of the scene these days) won't make a vast amount of difference to a record that would take even longer to break to a wide audience if we didn't make a big secret of it. The thing about the new releases covered up when waiting unsold on a download site is, I think, a different matter.

Anyway, see what you think of that perspective.

All the best,

Nick

[Steve G]

An interesting perspective Nick but I still think there is a DJ exclusive angle to it all.

By way of example I reckon if I had covered up the DoubleOO Demingoes when I first played it, it would still be covered / unknown just because of the lack of an obvious chorus etc. When I first played it, it cleared the floor, and although several people came up, it clearly was not a "play safe" track, and likely did cause offence to certain elements of the crowd. I also paid quite a bit for it, but thought it had that something different and worthy of spins.

I played it uncovered and listed it in playlists and a small number of other copies have since been sourced / played, to the point where at one gig recently the two DJs both on before me both had it. So I didn't even bother to take it with me. With heinsight and purely from a selfish perspective, I should have covered it up then......

Edited April 19, 2011 by Steve G

[Simon M]

I dont think it would have lasted very long Steve . It was on ebay with a soundfile around the time you bought it from John Ah but maybe all the jocks would have kept it coverd up

Edited April 19, 2011 by Simon M

[Gold Band]

Nick I take it that its a yes from you then !!

[Sean Hampsey]

One things for sure, if I ever get a suitable female vocal to cover up I'm gonna say it's Bessie Mae Futtock on ShitShack.

Great c/u name Nick!

:0)

Sean

[Russ Vickers]

This is a brilliant thread........still havnt heard anything what so ever that would stop me covering up a record...........

Russ

[Simon M]

So when everyone in the room ( a small room maybe ) knows the record being played but the DJ does not , as he bought it as a coverup ... Is it still a coverup ?

ps. its a joke

Edited April 20, 2011 by Simon M

[Simon M]

I suppose a good question is , when should a coverup be exposed ? A few have been exposed on here

[Marc Forrest]

currently thinking about uncovering one C/UP because of some small quantity of the title having just recently turned up (with one collector) still there´s no noise about it with the usual suspects so I presume they all went quitely into collectors collections...on the other hand thinking about putting C/UP stickers on three "new" ones...but currently cant be arsed to do any of the two things mentioned LOL !! It hasnt to be taken all too serious, has it ?

Marc

NB

great post nick!

[KevH]

I suppose a good question is , when should a coverup be exposed ? A few have been exposed on here

Every Monday.On here.Do you want to start the thread?

[Simon M]

Hmm no , I'll get into more trouble

[Sean Hampsey]

Leon & The Whispers, Simon. Still incredibly rare 30 years after uncovered lol

:0)

Sean

[Cunnie]

Tell you all what.

If I was an artist & I heard some so called DJ playing my record and calling it someone else I'd stab him

[Sean Hampsey]

Mmmm so which is worse, covering up a record, or stabbing a 'so called' DJ?

I just asked Jeeves.

Turns out you're one crazy mutha Martin.

:0)

Sean

[Guest Dave Turner]

Mmmm so which is worse, covering up a record, or stabbing a 'so called' DJ?

I just asked Jeeves.

Turns out you're one crazy mutha Martin.

:0)

Sean

What you doing on here, shouldn't you be playing with yer bucket & spade

Sad

[Sean Hampsey]

That's what the Mrs keeps saying Dave, but the iPhone is keeping me amused... between dips in the pool of course!

:0)

Sean

[Sean Hampsey]

Actually, to some extent I'm with Martin on this. And I suppose it does depend on who the 'so called' DJ is!

:0)

Right... Last dip before dinner!

Sean

[Dylan]

I bet ypou can buy an iphone app for 50p that will recognise most cover ups now

nothing much gets past those clever guys at apple.

[Simon M]

I bet ypou can buy an iphone app for 50p that will recognise most cover ups now

nothing much gets past those clever guys at apple.

Flash got past em

[soulAdequateNP]

Leon & The Whispers, Simon. Still incredibly rare 30 years after uncovered lol

:0)

Sean

I've got it - not blowing the whistle if you're not tho'

[Sean Hampsey]

Ah! But have you got the 45 Neil?

Sean

[KevH]

Tell you all what.

If I was an artist & I heard some so called DJ playing my record and calling it someone else I'd stab him

I see listening to all that modern has had a calming influence.

[Cunnie]

Actually, to some extent I'm with Martin on this. And I suppose it does depend on who the 'so called' DJ is!

:0)

Right... Last dip before dinner!

Sean

Good to know I'm not the only crazy mutha then Sean

Far as I'm concerned if a DJ plays a cover up he's just a liar.

Could understand it back in the day when the bootleggers were rife but no need whatsoever these days.

[Steve G]

Could understand it back in the day when the bootleggers were rife but no need whatsoever these days.

Easy to say from your armchair Martin, but what new sounds have you (or any of the other knockers) broken / contributed to the rare soul scene in the last 10 years then?

Very easy to knock others when youre not actually on the front edge of buying / breaking new sounds in an oldies dominated environment.

Edited April 20, 2011 by Steve G