macca

I've got one like he one Richard has posted. When I raised the subject on here, several experts concluded that it was probably a US counterfeit made at the time of release. It's in my 'dodgy' box...

Has anybody read any of Nick Tosches books? There's one called Where Dead Voices Gather. I couldn't put it down. The principal protagonist is Emmett Miller, a long forgotten minstrel player. The story he tells of the endogamy that existed in both black and white genres is really fascinating. He also wrote one called 'Country', which is equally fascinating as it explores the effect of white on black and black on white in that genre, which may not be that apparent to those who have just scratched the surface.

Then he buggers it up with 'you're still f**** peasants as far as I can see'. That is an elitist statement in my eyes, unless it's meant to be taken in an allegorical way. I often wonder if he'd still espouse revolutionary politics were he still alive, but this is about DG not JL, so I'll stop my farting in church.

Ooops! Just shows that one shouldn't make assumptions then. I had assumed because of his Dartford connections with Mick Jagger that he was a middle class, grammar school educated chap, like MJ. M

I never met Dave, but would have liked to have had the chance. I think we have to remember that he was a middle class class intellectual who happened to wander in on a fiercely proletarian scene and probably found it exotic and compelling, much in the same way as Epstein discovering the Beatles. His literary style could come over as a bit floral and convoluted, but I always found that amusing, even entertaining. More importantly he was knowledgeable, you could always extract something from his B&S articles. I for one certainly learned from him musically speaking.

Tony, the idea was for me to persuade someone to part with a record fit only for framing on the wall due to years of needle abuse, but that had a relatively unmangled, skidmarkless sleeve. I may be asking too much of course... All offers duly considered though!

I posted this a few months ago, but here goes anyway... I have a mint copy of this album but the sleeve is a green radio station generic jobbie labelled KL 1519. I would love to locate a beaten up old copy of DOS that had a half decent sleeve, so if anybody out there has one or knows of somebody with one, please get in touch.

I thought that an Ebay auction was a binding agreement, i.e. if you don't keep your part of the bargain, you run the risk of being banned. On the other hand, if a seller is suffering from H1N1/2 Virus (we can't call it Swine Flu chaps, think of our poor pig farmers) I doubt that he'd be up to writing emails, being 'tubed up' and fighting off biological opportunists like pneumonia. That's where his/her partner/buddies come to the rescue.

The Cameo Parkway cd I have is the Goldmine jobbie, which like Essential Detroit Collection, sounds so low-fi it borders on the irritating. I do remember an album in the 70's that had a few tracks popular on the NS scene on it, The Tymes 'Her She Comes' & Candy & The Kisses 'The 81'. The thought of all that stuff Yvonne Baker, Christine Cooper etc remastered boggles the mind. We live in hope...

Importuning for immoral purposes. Never a truer word spoken etc...

Also a top post Rod.

Top post chorleysoul, top post. Berry Gordy's greatest entertainer that ever lived comment is laughable to say the least.

Impressive collection of scans there. Makes me drool!!

Caught this a bit late. There was a time in 1978 when the Fleet All-Nighters in Peterborough became plagued with local oiks that would converge at opening time to hassle people queuing up. One night some lads from Nottingham I think, I can remember an Asian guy (or of Asian extraction) being singled out for taunts & general abuse. The oiks took on more than they'd bargained for that night 'cos he & his mates piled back outside and took the war back to the oiks, who got a right royal kicking. The only problem was that word spread and at the next nighter there were loads of them looking for 'the paki & his buddies'. I can't really remember what happened after that, cos I was picked up by Mick Cooper on a roundabout nearby. I think we spent about an hour driving around in circles, listening to tapes & 'putting the world to right', peeved that we were missing the first set of whoever was jocking that night. We were very keen and very young...

who's ginger spice?

Just read about this. Does this mean that Adey Croasdell will finally get his hands on all that glorious Cameo Parkway material, released & unreleased? Just thinking & drooling over the prospect of a CD project along the lines of the RCA one on Kent.

Yeah, but for someone as heavily into Chicago Blues & R&B as he was (photographed with Muddy Waters & other Blues luminaries) I don't think it's unreasonable that he would have approved of people like Alexis Korner, then giving birth to a lively British R&B band scene. From what I can make out, he simply found what was to morph into 'Northern' to be something extremely limited in scope. He moved onto pastures new, so it's fairly obvious that he'd be largely ignorant of what happened at The Wheel and other likeminded venues after his departure.

I was charged a $53 listing fee for something with a high reserve that didn't sell. Scalped just for having the privilege of using Ebay.

Just thought I'd post up this extract from an excellent interview with Roger Eagle, considered by many, along with Guy Stevens, to be the Godfather of the British Soul Scene. So the majority of the punters at the TW by 1967/8 were nothing more than a bunch of undiscerning, respect-lacking pill-heads who just demanded uptempo soul dance all night. During 1966, you left The Wheel. Why? Well, I left because they wouldn't pay me a decent wage. After three years hard graft for maybe £3 a night I asked for a fiver and they said they couldn't afford it. I was also getting bored with the music and there were a lot of pills going on. Kids were in trouble with the pills and all they wanted was that kind of fast tempo soul dance. So, I was very restricted with what I could play and I thought 'I'm not getting paid enough money to do this - I ain't going to do it no more'. So I left and immediately got paid a decent wage by Debbie Fogel at The Blue Note Club. I got a fiver a night for four nights, besides doing other things. I was able to play the kind of music that I liked. The range of music. Whereas the pill freaks only wanted the same dance beat - which is what makes it so boring. Its okay you know there were some decent sounds but they made it so boring. You're trying to talk to kids who are off their heads all night on pills and its really hard. And the Abadis didn't want to pay me what I felt I was worth. So you just completely disassociated from them ? Gone. Yeah. I was a black music fanatic and I had respect for what I was dealing with - I don't think they did. Full interview here: https://www.soulbot.com/roger-eagle.htm

Great replies chaps. My sister often tells me of an incident at our aunt's house. My mother, like many of our mums in the 60's, would mail-order stuff from Freemans. Sometimes we got to order records, so one day, my sister went up to my aunt's place to collect the Otis Redding LP mentioned by Tony. My aunt and her neighbour Ivy were having their elevenses and were cooing over the cover, with that gorgeous black lady on the front. You can imagine my sister's reaction when Ivy commented on how lovely 'that Otis chap' was... 'for one of them'. My sis' nearly wet herself laughing. Racism indeed runs deep. I doubt if old Ivy ever considered herself racist in any way. This comment is not intended to be a can of worms, by the way.

A tremendously positive post, that one. I think the tale is always nicer when it comes from the horse's mouth so to speak.

Well the man is here, so I'll go ahead and ask the first question. Did you lay down any other tracks in that session Reverend (or any other session)?

A warm welcome Mr. Washington.

Keep yer eyes on new member shouts. Don't you just love this!? M

After Jacko's much lamented demise this week, I became embroiled in a debate on another forum about which artist had really paved the way for other black artists to reach the great American public, .i.e. to dominate the pop charts and not just the race/r&b charts. I said that person would have have to be Sam Cooke, with Ray Charles in close second place. Admittedly, Jacko reached bigger audiences, especially with the advent of MTV and Global Media, but I think the honour goes to Sam Cooke. What do you's think?