So how many dj on here with bootlegs and re-issue vinyl?

[Guest]

5 hours ago, Pga1 said:

Hiya, without bootlegs we'd have nothing to talk about (moan)  I think it's funny when folks say I've never played em, not many people can truthfully say that.  Genuine re issues are fine by me and unreleased stuff.  There's people out there getting tracks out to be heard.  They should and are supported by many of us. If a bloke/ woman turned up to dj with say a box of Kent releases what's wrong with that ? First track played to get people in the mood 'Maxine  brown torture' Eddie bishop call me, surely a uk original.  Is a dj accepted if he played our love is in the pocket on stateside demo. At our do today dazz played hy- tones don't even know my name on bell, love it and rare but if he played on southern it would  still be great.  Now counterfeits that are set to deceive WRONG !!!!  Anyway enough waffle I'm off to play strings a go go on soul galore of course followed by I'm gonna find me somebody on out of the past. Would have been boring without them.  Why I remember, stood in tescos waiting at the checkout, bloke in front had a with it jacket on but the logo said 'south face' priceless. Cheers

I agree with you for the most part and 100% agree about "Now counterfeits that are set to deceive WRONG !!!!" deffo WRONG.

[Davenpete]

49 minutes ago, dazdakin said:

Well said Mr. Rimmer

I ALWAYS play to the floor, its not what I want to hear that matters, or me playing Billy big bollocks, look what I just brought, dance floor is king as far as I am concerned after all it is supposed to be primarily a dance scene.

I even have records in my play box I actually don't like and play em at times if it would suit the flow of any given set 

Dazz

I'm sure your box is packed with records LOTS of people don't like Daz! : ) Hope you're well mate. Dx

[Shinehead]

Interesting thread pity non of the djs playing boots do not comment on that stance

Some must partake on this site if only as observers, the views of these people would be welcome.

[Markw]

47 minutes ago, dazdakin said:

Well said Mr. Rimmer

I ALWAYS play to the floor, its not what I want to hear that matters, or me playing Billy big bollocks, look what I just brought, dance floor is king as far as I am concerned after all it is supposed to be primarily a dance scene.

I even have records in my play box I actually don't like and play em at times if it would suit the flow of any given set 

Dazz

You play records you don't like?? Not sure how that works.   

On your first point, what about records the floor might not know but which you believe in and think the floor would like, if they got to know them and gave them a chance? Or is it all tried and tested for you?

[Guest 1 huskyvan]

two schools of thought hear if you are a job ing dj and are doing outher people's nights it would be disrespectful to play off pressings incase they had the original but if you run your own night and have not had 6 numbers plus the bonus ball or moonlight as a bank robber there is no way you could play off ov or you would have a lot of disappointed punters when you have to keep saying no haven't got that one had to sell it to buy this one hope this helps and it's only a option so soul police get a life 

[Guest]

2 hours ago, Dave Rimmer said:

The simple answer to your question is there are a lot of good DJs out there who play off original vinyl, and fill dancefloors, and try and introduce new records (Because let's face it, if DJs didn't try and introduce new records we would still be listening to the same 23 records that were played in the mythical first ever Northern Soul spot)

The point you're asking about is quite simple. A DJ who plays to an empty floor, and continues to play to an empty floor just isn't a very good DJ. (Unless of course it's the sort of venue where the DJ is expected to play new and unknown things and not expected to fill the dancefloor (They do exist))

I always play off original vinyl, and always remember that it IS a scene where people come to dance. But I always like to try 'new' records out in my set. Sometimes they work, other times they bomb completely. That doesn't mean it's a bad record, just that other people don't share my enthusiasm for it. But if I clear the floor with a record, it's pretty much a certainty that I'll get it full again simply by playing a record I know people will dance to. 

The other thing that I think people forget is I've been DJing for a long time now, and there are some records that I am simply bored to death of hearing, and playing. I usually sell them when I reach the point of boredom, so that I can't play them again, Again, that doesn't make them a bad record, just one I don't want to hear again for a long time (And I can't understand why people want to dance to the same records for years and years either. Don't you get bored ?) 

Fantastic reply and thank you for contributing to the thread :-)

Your question about not getting bored with the same records for years and years is one that I can only answer for myself (however, this might also be why others are the same) I don't get bored with them at all (shakes head) I love those records (nods head) and I do mean LOVE them. They make me feel something that has never left me from the first time I heard them. They just have an hold over me and they refuse to let go.

Duke Browner - Crying Over You - Still blows me away as much as it did 40 years ago! Can I explain why it does? Not really! It just fills me with joy and a feeling of pure delight (nods head) and so many more do the same thing. If I could bottle it and sell it I would be a millionaire a million times over. 

[Guest]

2 hours ago, Twoshoes said:

Maybe it's because the promoter has seen them at another venue, enjoyed what they played and  asked them to dj and given them the freedom to play their normal sets rather than dictating what has to be played hoping that the punters will embrace what is offered.

Maybe that is the reason? I will have to ask the next time it happens.

[Guest]

1 hour ago, dazdakin said:

Well said Mr. Rimmer

I ALWAYS play to the floor, its not what I want to hear that matters, or me playing Billy big bollocks, look what I just brought, dance floor is king as far as I am concerned after all it is supposed to be primarily a dance scene.

I even have records in my play box I actually don't like and play em at times if it would suit the flow of any given set 

Dazz

Absolutely 100% correct and if you want to throw the odd new sound in now and again and see how it goes down then that's exactly how all DJ's should  go about their business :-) I have a lot of respect for a DJ that primarily is there to give the punters what they want :-)

[Guest]

23 minutes ago, markw said:

You play records you don't like?? Not sure how that works.   

On your first point, what about records the floor might not know but which you believe in and think the floor would like, if they got to know them and gave them a chance? Or is it all tried and tested for you?

You see now this is exactly the point I am trying to make here.

As a DJ your job is to play to the crowd and not the 5,6,7 people who might also like what you like. There is nothing wrong with throwing 2 or 3 records in that you think people might like but to play a full set of what you like without considering the punters there is just an ego trip for said DJ.

It's like all the singers and bands out there, people want to to hear the big hits they had 30 years ago. The artist may have fallen out of love with that song many years ago because they are sick to death of singing it but if it is what is expected of them they do it anyway. It's called giving paying customers what they want.

[Guest]

31 minutes ago, 1 huskyvan said:

two schools of thought hear if you are a job ing dj and are doing outher people's nights it would be disrespectful to play off pressings incase they had the original but if you run your own night and have not had 6 numbers plus the bonus ball or moonlight as a bank robber there is no way you could play off ov or you would have a lot of disappointed punters when you have to keep saying no haven't got that one had to sell it to buy this one hope this helps and it's only a option so soul police get a life 

Best reply to this thread :-) PERFECT in every way and 100% agree with you.

I have always said that if I ever get asked to do an hour spot at a local gig I would ask if there was any record they did not want me to play even if I had an OV copy (few and far between)

There are a few DJ's I know that can keep a dance floor buzzing with OVO because they have respect for punters and what they want to hear and then I know some DJ's that have mainly Boots that couldn't keep a dance floor buzzing simply because they are not very good DJ's but mainly good local DJ's have a mixture of both :-)

[Guest]

11 hours ago, Majy said:

Not a fishing post at all, Just was genuinely interested in why some DJ's turn up to what is an essentially dance motivated gig only to play music that the majority of people there don't dance to and to carry on playing it for 90% of their spot.

Simple answer to that. This is a collector....a collector who may have a very good and envied record collection and all of a sudden thinks this automatically qualifies him as a DJ. He`s no doubt had friends who`ve seen what he`s got and said "Hey, you should do a spot at XXXX Cricket, Golf, Rugby, bowling, Lap-Dancing Club" or wherever. 

And that`s usually where it starts, he does his mic-shy spot which contains lots of ££££, most of which you know what`s coming next as he cues up with open faders but mostly, there`s no continuity, it`s just a random dug out set which he has no idea how or in what order to play but because he has some BIG TUNES he gets booked again by another mate who thinks he`s a big-time promoter. They should both sit down again and let the people who know.....do!

And then there are the cretins who have a box of pressings and pester their way onto the decks.....oblivious to the fact that if you have to ask, "Can I DJ at your do?".....then obviously......you can`t!

Edited December 19, 2016 by Guest

[Markw]

33 minutes ago, Majy said:

You see now this is exactly the point I am trying to make here.

As a DJ your job is to play to the crowd and not the 5,6,7 people who might also like what you like. There is nothing wrong with throwing 2 or 3 records in that you think people might like but to play a full set of what you like without considering the punters there is just an ego trip for said DJ.

It's like all the singers and bands out there, people want to to hear the big hits they had 30 years ago. The artist may have fallen out of love with that song many years ago because they are sick to death of singing it but if it is what is expected of them they do it anyway. It's called giving paying customers what they want.

I think you and I are on different pages of the book mate, perhaps even in different libraries! I doubt you'd have much interest in the venues I like to attend these days and I certainly doubt I have much interest in the type of places you like to attend judging by your comments. Each to our own, eh?

[Ian Stacey]

         Well I think Dave & dazz  have answered the  subject  well  on both parts of the discussion  I also feel the same the dancers on the floor rules the play  on the day.

          on original vinyl  .is the accepted way  to be followed.

            IAN   STACEY

  

[Biggordy]

Original vinyl is for DJing with.  Boots and pressings are for listening to at home.  (Then again, why even buy them for that when there are hundreds of great CDs on Kent, Outta Sight etc?).  Simples.

[Dazdakin]

2 hours ago, markw said:

You play records you don't like?? Not sure how that works.   

On your first point, what about records the floor might not know but which you believe in and think the floor would like, if they got to know them and gave them a chance? Or is it all tried and tested for you?

Not sure what you mean when you say how does that work....simple really.

I have records in my play box I don't like, but will play simply because it's not my call.....dance floor is king, punters give money over, I get paid to keep the floor going,  if a tune is requested I got but may not like I will still play it.....provided it fits the rest of the set

 

And defo not only just the tried and tested, I like most djs worth there salt should introduce "new" tunes. It is what the scene "was" all about after all.

Dazz

Edited December 19, 2016 by dazdakin

[Guest 1 huskyvan]

don't want to add fuel to the fire but a number of years ago I bought a double sided acetate with proper ladles both sides to say it's a proper 60s Norhern dancer is a understement I asked John. M about it he had never heard of it  I played it for a well known dj who asked me could he be the one to break it i  respectfully declined as acetates don't stand a lot of playing so record has sat in box ever since where do I go from hear get it pressed or leave it in box never to be heard????????

[Peter99]

2 hours ago, 1 huskyvan said:

 so soul police get a life 

[Autumnstoned]

1 hour ago, Majy said:

It's like all the singers and bands out there, people want to to hear the big hits they had 30 years ago. The artist may have fallen out of love with that song many years ago because they are sick to death of singing it but if it is what is expected of them they do it anyway. It's called giving paying customers what they want.

Reminds me of when I saw Booker T at the Bush Hall a few years back. He was promoting his new album Potato Hole and was backed by The Driveby Truckers, a band of longhairs who could rock. New album tunes sounding great and crowd getting into it when in a break between tunes someone shouts out " play what you're known for  ". Some people need to stop living in the past!

[Guest Spain pete]

7 minutes ago, 1 huskyvan said:

don't want to add fuel to the fire but a number of years ago I bought a double sided acetate with proper ladles both sides to say it's a proper 60s Norhern dancer is a understement I asked John. M about it he had never heard of it  I played it for a well known dj who asked me could he be the one to break it i  respectfully declined as acetates don't stand a lot of playing so record has sat in box ever since where do I go from hear get it pressed or leave it in box never to be heard????????

Post it on here mate  ktf

[Guest chorleybloke]

18 hours ago, Majy said:

Nope, I will dance to most things that get my feet tapping. I don't however wonder if it is being played on an original recording or not.

In my opinion there's no difference between playing a bootleg at a venue and using a laptop.  You could teach a reasonably smart chimpanzee to put one crowd-pleasing bootleg on after another to a full dancefloor.  

[Kegsy]

16 minutes ago, chorleybloke said:

In my opinion there's no difference between playing a bootleg at a venue and using a laptop.  You could teach a reasonably smart chimpanzee to put one crowd-pleasing bootleg on after another to a full dancefloor.  

In the same way that a smart chimp could do exactly the same with a box full of OVO, however if said chimp kept playing the wrong side the night would have to be advertised as a rare and underplayed night 

[Twoshoes]

Maybe your question should be aimed at the promoter not the Dj's, a good promoter should by and large know what type of sound's his regulars like to hear ,not that he should just cater for those of course but regulars' keep a night going, he should then choose his guest Djs accordingly as should a punter avoid a night if he knows the music policy is one he is unlikely enjoy. There are several well respected dj's in my area who I would not choose to go to an event if they were dj'ing, purely because I know they don't play the kind of tunes I want to hear. Surely its the promoters job to choose his djs wisely in the first place. 

[Twoshoes]

 

47 minutes ago, chorleybloke said:

In my opinion there's no difference between playing a bootleg at a venue and using a laptop.  You could teach a reasonably smart chimpanzee to put one crowd-pleasing bootleg on after another to a full dancefloor.  

Sorry to go off subject but as someone who has inadvertently gone to a night where it was on a laptop the chap doing the pressing (no pun intended) played Third Finger Left Hand in a Motown sequence, with the whole wealth of internet options at his disposal guess which version he chose....The ffffing Pearls, now there was a less than intelligent monkey.

[Nocker]

Guys most people attending a local Northern Soul gig nowadays are well into their 50s...60s and go for the nostalgia and just to hear records they know, most and this is a fact, don't care if its a boot or not, they want what they know and like.

Very few of them have the same mind set as they had when they got into the scene, apart from die hard collectors and OVO DJs.

At a local do you cant break a new record/new OVO discovery like you could 40 years ago..oh and by the way here's another fact, in the 70s hey day EMidisc's of the top tracks we're distributed around the to build up demand and were played out by top DJs of the day!!! are they not boots? Playing boots at Northern Soul gigs weather people admit it or not has gone on since the year dot, go to a local do next time you see one advertised, clock the age group and i bet i could name the play list, and almost guarantee they are playing boots, Who do you think is is buying all the outa site etc stuff not OVO collectors but people putting on Norther Social Evenings for the over 50ts....

Edited December 19, 2016 by Nocker

[Guest]

2 hours ago, 1 huskyvan said:

don't want to add fuel to the fire but a number of years ago I bought a double sided acetate with proper ladles both sides to say it's a proper 60s Norhern dancer is a understement I asked John. M about it he had never heard of it  I played it for a well known dj who asked me could he be the one to break it i  respectfully declined as acetates don't stand a lot of playing so record has sat in box ever since where do I go from hear get it pressed or leave it in box never to be heard????????

Get it pressed mate 100%

[Guest]

2 hours ago, autumnstoned said:

Reminds me of when I saw Booker T at the Bush Hall a few years back. He was promoting his new album Potato Hole and was backed by The Driveby Truckers, a band of longhairs who could rock. New album tunes sounding great and crowd getting into it when in a break between tunes someone shouts out " play what you're known for  ". Some people need to stop living in the past!

I agree that people should let music move on and progress but they should also be allowed to listen to whatever they want to as well.

If the Booker T gig was to promote his new album then nobody should expect to hear the old stuff, it is wrong of people to expect him to perform them unless they want to throw some old stuff in at the end.

There are some knobs about tho.

[Guest]

1 hour ago, chorleybloke said:

In my opinion there's no difference between playing a bootleg at a venue and using a laptop.  You could teach a reasonably smart chimpanzee to put one crowd-pleasing bootleg on after another to a full dancefloor.  

PMSL :-) how would the chimp know it was a pressing or not?

[Guest]

59 minutes ago, Twoshoes said:

Maybe your question should be aimed at the promoter not the Dj's, a good promoter should by and large know what type of sound's his regulars like to hear ,not that he should just cater for those of course but regulars' keep a night going, he should then choose his guest Djs accordingly as should a punter avoid a night if he knows the music policy is one he is unlikely enjoy. There are several well respected dj's in my area who I would not choose to go to an event if they were dj'ing, purely because I know they don't play the kind of tunes I want to hear. Surely its the promoters job to choose his djs wisely in the first place. 

I think you have hit the nail on the head.

[Guest]

38 minutes ago, Twoshoes said:

 

Sorry to go off subject but as someone who has inadvertently gone to a night where it was on a laptop the chap doing the pressing (no pun intended) played Third Finger Left Hand in a Motown sequence, with the whole wealth of internet options at his disposal guess which version he chose....The ffffing Pearls, now there was a less than intelligent monkey.

I have been to one exactly like that :-( I even offered to go home and bring him some records to play or do a stint for an hour but he just said no ta I like to run it myself lol he played to an empty dance floor all night (the beer was good tho) until he started playing the old youth club records where a couple of people got up and danced.

I must say tho that I did enjoy what he was playing but it was never a Northern Soul gig and should not have been advertised as such.

[Paul-s]

Well, people 'used' to travel to hear dj's because those dj's had 45's that were unique and defined their unique sets. When we used to book DJ"s it was because we wanted to hear what 'they' wanted to play, share and dance to themselves', their unique sharing of 'soul'.

Reading this it seems there is a 'smashy nice' type perspective where you hire a DJ (like the old school type who do weddings and funerals) and the DJ plays what the crowd wants, or rather 'know'. I guess this can be traced back to Mr Ms and oldies nights at Wigan. Still, it tends to rotate around the same menu of records that frankly become very boring, very quickly. I remember leafleting at three separate events one night and hearing the same rota of tunes in each one....like some kind of Groundhog day experience. Not for me, but some feel cosy in that environment which is fair enough. However, to pontificate on DJ-ing as a jobbing thing on the scene is i guess a sign of the times, but not a good one. Thank god Butch and a school of others still evolve and add to the scenes musical development, as a love and passion rather than as a job.

[Guest]

3 minutes ago, paul-s said:

Well, people 'used' to travel to hear dj's because those dj's had 45's that were unique and defined their unique sets. When we used to book DJ"s it was because we wanted to hear what 'they' wanted to play, share and dance to themselves', their unique sharing of 'soul'.

Reading this it seems there is a 'smashy nice' type perspective where you hire a DJ (like the old school type who do weddings and funerals) and the DJ plays what the crowd wants, or rather 'know'. I guess this can be traced back to Mr Ms and oldies nights at Wigan. Still, it tends to rotate around the same menu of records that frankly become very boring, very quickly. I remember leafleting at three separate events one night and hearing the same rota of tunes in each one....like some kind of Groundhog day experience. Not for me, but some feel cosy in that environment which is fair enough. However, to pontificate on DJ-ing as a jobbing thing on the scene is i guess a sign of the times, but not a good one. Thank god Butch and a school of others still evolve and add to the scenes musical development, as a love and passion rather than as a job.

However you look at it there is a need for both types of DJ and one type is no better than the other.

A good DJ has the ability to read a room and know what is needed from him/her to keep the atmosphere and that dance floor going.

Butch and school as you put it did not just play to empty dance floors and play the music they liked (shakes head) they did it the right way and progressed slowly by introducing new tracks mixed in with some of the best oldies etc. I don't mind that at all and fully expect to hear a few new choons at gigs I go to, in fact I quite like to hear a few new choons mixed in to a set.

Don't get me wrong here but people like Keb Darge (who plenty rate as a top DJ) went all out to bring in new oldies (if that is not a contradiction of it's self) did not do the scene I was into any good :-( it was nothing like what I wanted to hear. Yes there are a few choooooooons that came out of the Stafford years but it was not for me. I have no problem with people who liked what Keb and others did but it didn't suit me and that's fine by me so I left the scene for a few years because that is the way the scene was going and it just was not for me.

[TOAD]

you can safely say that there are two different scenes! And one lot just don't want anything different stuck in a time warp

[Guest]

5 minutes ago, TOAD said:

you can safely say that there are two different scenes! And one lot just don't want anything different stuck in a time warp

Fantastic time warp tho.

To you the oldies scene might be a throw away scene but to me and thousands if not millions of others it's fantastic. We cherish the music.

[Shinehead]

23 minutes ago, Majy said:

Fantastic time warp tho.

To you the oldies scene might be a throw away scene but to me and thousands if not millions of others it's fantastic. We cherish the music.

Each to their own , but listening to the same regurgitated oldies would  drive me insane.

Just a question do you also wear the seventies gear as seen at most oldies nights and if so why ?  

[davidwapples]

The answer to why promoters give bootleg djs a slot is down to money.

Bring in a named dj to play classic oldies and pay dj fee travel expenses drinks etc 

Get your mate to play pressings for 20 quid and a pint then they return the favour at their event

Just people saving money paying people to play records who saved money when buying pressings

Edited December 19, 2016 by davidwapples

[Local]

Yet another three page (at the moment) thread of complete b*ll*cks.

Local soul nights and up front events are two completely different animals.

Most people attending local soul nights are not soulies in the true definition, most wouldn't know, or care even less about the authenticity of a record, but then again that statement also applied to a large number of punters who attended venues back in the mid 70s .

If a Dj ?  plays a bootleg and the attendee of the event wants to listen and dance to it where's the harm in that ?

Lack of taste or knowledge doesn't mean that someone belongs to a sub species that should be despised and looked down on by a self appointed hierarchy. People buy all manner of fake items, handbags, watches, clothes, perfumes etc if the buyers of all this crap are delusional enough to believe they have got anything like the real thing then who am I, or indeed anyone else, to pass judgement.

This is not to say that I personally approve of "Fakes" in any shape or form, but I am realistic enough to recognise, that should I wish to view a real Reubens or Picaso, I'm not going to see them hanging in the "Local (please insert the cuisine of your choice ) restaurant in Cannock town centre.

Live and let live chaps, FFS, no ones getting killed !!! 

 

Edited December 19, 2016 by local

[Soul16]

26 minutes ago, Majy said:

Fantastic time warp tho.

To you the oldies scene might be a throw away scene but to me and thousands if not millions of others it's fantastic. We cherish the music.

'We cherish the music' - There goes that 'it's all about the music' line again.

The music is cherished by collectors/DJs that care enough to seek out the genuine 45s, it is also cherished by companies that legally re-issue it on CD from original master tapes (where available), Ace/Kent being the finest example. It is cherished by those on our scene that seek out the artists that created those records and tell them how those often forgotten recordings they made are revered by us soulies, Andy Rix and Ady Croasdell, being just two examples.

Being happy to dance to dodgy sounding fake records, spun by fake DJs is not cherishing the music, it's fake - just like this thread, this whole thing has to be a wind up and I must congratulate you on getting three pages out of this so far 

Merry Christmas 

 

 

 

[Chalky]

To me the topic is more a dig at the rare or upfront as it is known side of the scene and venues like Stafford rather than someone playing boots?  The oldies side is by and large original vinyl, certainly nationally although rogues will still get through.  I would have thought the bootleg Djs are more local.

Ever since the scene began and Djs had a thirst for the next new discovery rubbish has been played amongst the quality.  There is countless examples of records from all eras that didn't stand the test of time, Stafford is no exception, it had a quite an incredible turnover of records for the time it ran and many scene classics came from that era not the few you intimate, not just Stafford either but venues throughout the 80s into the 90s and beyond, Blackburn, Wilton, I could go on.

Edited December 19, 2016 by chalky

[ajb]

On 12/18/2016 at 18:31, Majy said:

Your right I don't understand the point of OVO! And i don't understand the point of only playing OV either.

having just wasted half an hour of my life reading through this thread, i feel it only right to put a reply 

the statement above quite simply mystifies me.

lets just throw away fifty years of history, and piss up the backs of those who have traveled far and wide, spending fortunes to build one of the most enduring scenes known to the world, and one we should be proud of 

if you don't understand its not worth the time to explain 

if your happy visiting your fake DJ's playing their fake records, then so be it, good on ya'

but please be mindful that the closest these guys have come to crate digging is typing "NORTHERN SOUL" in an Ebay search tab

[Frankie Crocker]

On 18/12/2016 at 18:59, Majy said:

This is a list of records (posted on here) from the the first month of Wigan Casino, most of which were played at the earliest gigs before Wigan.

How many of these are classed as rare soul recordings?

JOE HICKS - DON'T IT MAKE YOU FEEL FUNKY

SAXIE RUSSELL - PSYCHEDELIC SOUL

AUDIO ARTS STRINGS - THERE IS NOTHING ELSE TO SAY

EDDIE FOSTER - I NEVER KNEW

MIKE POST COALITION - AFTERNOON OF THE RHINO

MORRIS CHESTNUT - TOO DARN SOULFUL CUT

STANLEY MITCHELL - GET IT BABY

TONY & TYRONE - PLEASE OPERATOR

JOHNNY CASWELL - YOU DON'T LOVE ME ANYMORE

UNKNOWN INSTRUMENTAL (sounds a bit like You Want It You Got It)

NANCY AMES - I DON'T WANT TO TALK ABOUT IT

JR WALKER - I AIN'T GOIN' NOWHERE

TERRIBLE TOM - WE WERE MADE FOR EACH OTHER 

LYNNE RANDELL - STRANGER IN MY ARMS

EARL JACKSON - SOUL SELF SATISFACTION

VOLCANOS - THE LAWS OF LOVE

LEE ANDREWS - I'VE HAD IT

THE SAPPHIRES - THE SLOW FIZZ

EDDIE FOSTER - I NEVER KNEW

THE ADVENTURERS - EASY BABY

FRANK BEVERLEY - IF THAT'S WHAT YOU WANTED

CISSIE HOUSTON - BRING HIM BACK 

GLORIA JONES - TAINTED LOVE

LOU RAGLAND - I TRAVEL ALONE 

PHIL FLOWERS - DISCONTENTED 

LEON YOUNG STRINGS - GLAD ALL OVER

DETROIT SOUND - JUMPING AT THE GO GO

MIKE POST COALITION - AFTERNOON OF THE RHINO

GOLDEN WORLD STRINGS (TOTAL ECLIPSE) - SUPERTIME

THE JELLY BEANS - YOU DON'T MEAN ME NO GOOD

FREDDIE CHAVEZ - THEY'LL NEVER KNOW WHY

Many of these are now scarce. A few are outright rare. Golden World Strings is a bootleg. Devotees have travelled far and wide to hear these records down the decades as they appreciate the fidelity of the original sound and the authenticity of the record. Any Tom, Dick or Harry could amass heaps of bootlegs, reissues etc and put together a catchy set for a pub night, but the punters would not be overly impressed as they might as well stay at home and listen to a CD. Truly rare records can make a good soul-nite extra special. Some DJ's will use a slow starting evening to experiment with unknown sounds to gauge crowd reaction but novices occasionally spin to please themselves which is not what it's all about really.

Edited December 19, 2016 by FRANKIE CROCKER
repetition

[Chalky]

On 18/12/2016 at 18:59, Majy said:

This is a list of records (posted on here) from the the first month of Wigan Casino, most of which were played at the earliest gigs before Wigan.

How many of these are classed as rare soul recordings?

JOE HICKS - DON'T IT MAKE YOU FEEL FUNKY

SAXIE RUSSELL - PSYCHEDELIC SOUL

AUDIO ARTS STRINGS - THERE IS NOTHING ELSE TO SAY

EDDIE FOSTER - I NEVER KNEW

MIKE POST COALITION - AFTERNOON OF THE RHINO

MORRIS CHESTNUT - TOO DARN SOULFUL CUT

STANLEY MITCHELL - GET IT BABY

TONY & TYRONE - PLEASE OPERATOR

JOHNNY CASWELL - YOU DON'T LOVE ME ANYMORE

UNKNOWN INSTRUMENTAL (sounds a bit like You Want It You Got It)

NANCY AMES - I DON'T WANT TO TALK ABOUT IT

JR WALKER - I AIN'T GOIN' NOWHERE

TERRIBLE TOM - WE WERE MADE FOR EACH OTHER 

LYNNE RANDELL - STRANGER IN MY ARMS

EARL JACKSON - SOUL SELF SATISFACTION

VOLCANOS - THE LAWS OF LOVE

LEE ANDREWS - I'VE HAD IT

THE SAPPHIRES - THE SLOW FIZZ

EDDIE FOSTER - I NEVER KNEW

THE ADVENTURERS - EASY BABY

FRANK BEVERLEY - IF THAT'S WHAT YOU WANTED

CISSIE HOUSTON - BRING HIM BACK 

GLORIA JONES - TAINTED LOVE

LOU RAGLAND - I TRAVEL ALONE 

PHIL FLOWERS - DISCONTENTED 

LEON YOUNG STRINGS - GLAD ALL OVER

DETROIT SOUND - JUMPING AT THE GO GO

MIKE POST COALITION - AFTERNOON OF THE RHINO

GOLDEN WORLD STRINGS (TOTAL ECLIPSE) - SUPERTIME

THE JELLY BEANS - YOU DON'T MEAN ME NO GOOD

FREDDIE CHAVEZ - THEY'LL NEVER KNOW WHY

Most on em are rare or fetch decent money, odd iffy one.  Again I don't see the point of this topic, it more and more seems like a dig at the side of the scene that doesn't conform to playing Wigan oldies?

[BrianB]

I have read all of Majy's replies and he has contradicted himself time after time to make his response defeat the reply. 

I regularly read my local team's Internet forum, and there are loads of trolls on there whose sole purpose is to wind every body up.

This is a poor attempt at a wind up, and I for one am getting fed up of it.

To be fair, there has been some really good responses from true soulies , that shows their passion and loyalty to our scene. Move on now Majy , there's a good lad...

[TOAD]

5 hours ago, Majy said:

Fantastic time warp tho.

To you the oldies scene might be a throw away scene but to me and thousands if not millions of others it's fantastic. We cherish the music.

obviously you don't understand and don't listen so why waste time discussing it on here !

[Guest]

4 hours ago, shinehead said:

Each to their own , but listening to the same regurgitated oldies would  drive me insane.

Just a question do you also wear the seventies gear as seen at most oldies nights and if so why ?  

No I don't lol

I just love the music and it feels as fresh as it did 40 years ago. If you can't feel it then I have no way of explaining it to you.

[Guest]

4 hours ago, Soul16 said:

'We cherish the music' - There goes that 'it's all about the music' line again.

The music is cherished by collectors/DJs that care enough to seek out the genuine 45s, it is also cherished by companies that legally re-issue it on CD from original master tapes (where available), Ace/Kent being the finest example. It is cherished by those on our scene that seek out the artists that created those records and tell them how those often forgotten recordings they made are revered by us soulies, Andy Rix and Ady Croasdell, being just two examples.

Being happy to dance to dodgy sounding fake records, spun by fake DJs is not cherishing the music, it's fake - just like this thread, this whole thing has to be a wind up and I must congratulate you on getting three pages out of this so far 

Merry Christmas 

 

 

 

I bet the artists that you pay royalties to for playing their records in public are very thankful for your support....... WHAT! You don't pay them royalties for making money from their hard work and recordings? Surely that's ripping them off too isn't it!

[Guest]

3 hours ago, chalky said:

To me the topic is more a dig at the rare or upfront as it is known side of the scene and venues like Stafford rather than someone playing boots?  The oldies side is by and large original vinyl, certainly nationally although rogues will still get through.  I would have thought the bootleg Djs are more local.

Ever since the scene began and Djs had a thirst for the next new discovery rubbish has been played amongst the quality.  There is countless examples of records from all eras that didn't stand the test of time, Stafford is no exception, it had a quite an incredible turnover of records for the time it ran and many scene classics came from that era not the few you intimate, not just Stafford either but venues throughout the 80s into the 90s and beyond, Blackburn, Wilton, I could go on.

For the last time. I AM NOT HAVING A DIG AT ANYONE OTHER THAN A DJ THAT PLAYS FOR HIMSELF AND NOT THE DANCE FLOOR.

It has happened at many gigs I have been to in the past and just wondered why it happens. I thought by asking that question I would find out why but all that has happened is people defending  record collectors. I have NO problem with record collectors and I have no problem with any part of the scene Oldies,  Modern or Modern Modern. I couldn't care less what you are in to because that is a personal thing and everyone can make their own mind up on that subject.

I try to answer posts on the thread and has become way off topic and turned it into a slagging match.

My musicale taste is very eclectic and enjoy all types (even modern soul) but I don't like to dance to the modern stuff because it does not encourage me to do so. The Older stuff does and that's all there is to it. But I digress from the main thread subject again.

[Guest]

2 hours ago, BrianB said:

I have read all of Majy's replies and he has contradicted himself time after time to make his response defeat the reply. 

I regularly read my local team's Internet forum, and there are loads of trolls on there whose sole purpose is to wind every body up.

This is a poor attempt at a wind up, and I for one am getting fed up of it.

To be fair, there has been some really good responses from true soulies , that shows their passion and loyalty to our scene. Move on now Majy , there's a good lad...

contradicted himself?

How have I done that? Examples please.

[Steve S 60]

3 minutes ago, Majy said:

But I digress from the main thread subject again.

I think you digressed in your very first post.  You put up the title "So how many dj on here with bootlegs and re-issue vinyl?" and then asked if DJs play for themselves or for the dancers.  What your first post had to do with the thread title escapes me.

[Guest]

17 minutes ago, Steve S 60 said:

I think you digressed in your very first post.  You put up the title "So how many dj on here with bootlegs and re-issue vinyl?" and then asked if DJs play for themselves or for the dancers.  What your first post had to do with the thread title escapes me.

I thought it was obvious what the thread was about!

When people go to gigs lots of them ask the DJ to play a record but because he or she does not have that record on OV they wont play them and because they wont play boots etc they are restricted to what they have on OV and play stuff that not many people outside record collectors know. This results in less than a thumping dance floor and more a Soul for millionaires spot. So the point was does a DJ play boots because they don't have OV and want the dance floor buzzing or do they just want to play to an empty dance floor? If it's the latter then stay at home and don't bring the rest of us down who want to dance and have fun.

What is more important?

Giving the punters a really good time or playing OV?

Simples really.

Edited December 20, 2016 by Guest

[Wiggyflat]

I think you need to address this with the promoter.

If I played an oldies event I would try to bring the top 500 on originals and would try to play any requests.Most sensible people know what the oldies crowd want.

If it was a non ovo event ditto or I would turn the gig down if the promoter insisted i play boots!.

If someone was booked for a non ovo event and brought boots he should be able to please an oldies crowd with his boots.If he can't then he needs to go to read some books.Kev Roberts Top 500 would be a start or John Manship's Bootleg Guide or ask himself why is he deejaying and not learning the ropes first.

If he has turned up at an oldies ovo event and has not enough ovo  oldies to keep the crowd happy ie there were requests for Cheatin Kind or Court Davis then the promoter should have booked Phil Dick or Mick H or a person who has a good selection of oldies.

 

If it is a newies upfront event then it's get your plates and unreleased's out and your esoteric bits.Ovo of course. 

This OVO debate...the old  "pressings" were done for monetary reasons.Records were dropped and people were after the new sound.(Well the select deejays_ were after new sound).Pressings were played at home or the local Pidgeon Club.They now have a new use at the modern equivalent of the Pidgeon Club where everyone can be a star for 5 mins and "fill the floor". ....meanwhile at other events the ethos of playing the new sound still goes on but the majorityof people are busy at the pidgeon club.Anyway I am waiting for the new term. N.B.P (Never Been Pressed Events) 

Edited December 20, 2016 by wiggyflat