Ady Croasdell

I'm worried now

Sorry Mikey, I let that one slip, will have another look. Has anyone got photos, I can't remember much about it apart from being in a state.

i can totally see the OVO arguments but think they would probably only apply to a small percentage of clubs and there are always exceptions to most rules. I think the OVO crowd should think about the supporting the music's makers as well as preserving their scene.

Agreed Dave but of course soul records were even more mysterious objects than they are today, very few of us had a clue as to rights, producers, artists etc. In the ensuing 40 years we've learnt enough to be able to pay our dues if we really want to.

As there is never going to be a time when all the soul records in the world are available for everyone to use, I beg to differ, your hypothetical case is just that and therefore those points irrelevant cos it ain't gonna happen. If I applaud a record, I applaud the music or the DJ for playing it in the right place at the right time. I have never in my life applauded a DJ because they have acquired a record, especially if they've paid a load of money for it. Anyone can buy a record as long as they've got enough money, just keep increasing it until it sells. Seriously, does anyone other than Steve do this? Neither do I think that anyone who played a reissue available to the public would stand there waiting for applause for having bought it. If there was applause it would be for the quality of the record and possibly for playing it at the pertinent time. And of course they wouldn't then claim to be leaders of anything as most of the crowd would know the record was available; your scenarios are so ridiculous that the conclusions you then draw from them are pure gibberish. You buy an original, good luck to you, well done but if Mr wannabee wants to buy a reissue, then he's contributing to the legitimate music makers and is actually putting some money they're way while you are not. So the answer is yes, it is caring for the music/ scene/ origins. Ady

Just out of interest Paul, why wouldn't you play a legitimate reissue, as you're only just starting to DJ, I wouldn't have thought the venue, promoter or crowd would be that fanatical.

Don't be ridiculous where on earth did anyone say it's OK to play boots? If I play a new Kent release I'll say it's on Kent and that it's now available in the shops, go out and buy it and support the people who made the music in the first place. I'm sure there are a lot of DJs on here who would do the same.

Because there are too many records and new ones being found all the time, I thought that was one of the great qualities of the Northern Soul scene. A DJ would either find or champion a record, the collectors and other DJs would chase it and hopefully a contact would be made, the record re-released and bought by people who just wanted to have it on 45 and weren't desperate or couldn't afford a US original. The DJs should then move on to their next discovery and play out the original in a few years time when it was due a bit of a revival. Only a small percentage of played records would actually get re-released due to the hard and expensive work that goes into it and the size of the Northern Soul market. It's a silly premise, the UK issuing about as many 45s as were released in Black America between say 1963 and 1980. So points 1 to 7 are bollox though quite entertaining bollox. Ady Croasdell AKA Harboro Horace soul music fan.

I felt such a fool, the only one in a dog collar and fishnets.

As a footnote to this thread, the track is now out on vinyl and CD and I recently received this mail from group leader and label owner Tony Nardi "Hello from Colorado. We received one of the CD's just as we were leaving Hot Springs, Arkansas. We had made a quick trip to Chicago for a family wedding, then drove down to Hot Springs for just 24 hours to take care of some business. As we were leaving town we stopped to pick up our mail and there was the package from the UK. We were completely blown away by the production. We certainly appreciated your kind words in the sleeve notes, as well as your dedication to accuracy. We talked to the other band members as we were traveling back to Colorado. They were very excited as well. We told them we'd send them copies as soon as we received the others. One of our daughters is in Hot Springs and will send them to us as soon as they arrive so that we can disperse them properly. Eddie (lead singer) stayed here in Colorado while we were gone and we couldn't wait to show him the CD. He really got a kick out of it as well. We can't tell you how much we appreciate the professional job you did, and the respect you showed all the artist involved in this project. We hope it sells well for all of us. Thanks again. It's an honor doing business with you. Tony and Karla Nardi Thanks to all the Soul Sourcers who generously helped and if you've any other hot contacts feel free to run them by us at Kent. Good Guys Don't Only Win In The Movies!

I don't think it's lazy to buy a legitimate reissue, it's actually more likely to help the artist than buying an original would. As DJs entertaining the public, one of the deciding factors should be what's the sound quality of the different legitimate pressings like (the boots will nearly always sound worse). UK presses aren't always that good, some Disco Demands were poor others were good. I bought a US Showmen 'Our Love Will Grow' rather than play the inferior quality Action copy I had. Several UK Atlantic 60s pressings were bad and I think most UK Motown and Stateside was dubbed in the 60s so would be inferior sound to their US counterparts in most cases.

This is of course a minefield as I'd be very surprised if all the latterday Soul City releases were legitimately licensed, I'm sure some are but others we've been trying to get for years with no luck at all.

Great reading Mal and congrats on the find. I think that June Jackson Show Business is a test pressing rather than an acetate isn't it; which is of course a very different thing for discographers.

Well I blagged a couple of tickets from the film-makers for a small cinema preview last week and actually went along in a positive mind as Val Palmer had seen it and reckoned it was good. I have to say I was badly disappointed. The actors were pretty poor dancers and as the climax was a dance off it made the whole thing a bit second rate. The dance scenes from Stoke were obviously unusable as they used all the This England film, coloured it n a bit and interspersed it with the recent Stoke filming. The story was horribly obvious and dragged in places, the love scenes were so cringing I actually had to put my hand over my eyes at times. The music was OK, a couple of tracks seemed to be re-recordings, i particularly enjoyed On A Magic Carpet Ride at the end and had a flush of pride as it was one of my discoveries that usually gets dissed. There were several mistakes in the detail, but it would be petty to point those out, it's fun looking for them, it was the film as a film that disappointed me. Good points were the baddy was good and believable, though a trifle old. Liam made a few good appearances, the crush at the doors was very authentic and the female heroine was fit, but better looking than the original girlfriend that was meant to be the bees knees that I got confused. Having said that, my partner Donna really enjoyed it and gave it an eight, while a work colleague enjoyed it and thought it would reflect well on the scene, I'm not sure about that but i hope so even though it wasn't my cup of tea at all.

As a promoter and reissuer of records I would have no qualms about playing a Disco Demand or Kent or Grapevine 45 but wouldn't play a Soul Sounds, OOTP or most Goldmines as the royalties won't have gone to the label owner, writer or artist. Its a ridiculous situation if you can't play a reissue (or usually 1st UK issue) because a DJ has either discovered it or paid a lot of money for it. I'd play a Kent 45 of Salt and Pepper if Butch wasn't going to play it (credit where it's due) or spin it at a nighter where I'm guesting even if Joe Bloggs was on next an had coughed up X grand for it.

I think that's from an unreleased Money master tape we put out on CD

We're working on getting some of the Crossover tracks for a Darrow CD, hopefully in our research we can unearth some of the unissueds that are probably there.

Same, here but I'm assuming it's gone to a very good home and will get some plays up north now. I reckon half a dozen collector's will be kick ing themselves!

Brilliant, one of Randy's, Sylv's and my daughter Charlie's favourites. It should be played!

Hi Dave, there were 2 Lous at 45 and one 78 and as it now turns out yes 3 Gerris. As Shute kindly pointed out, at the current price you'll be able to snap this one up!

Well that shows there are only two playable ones in existence now then

OK this gets really bizarre now! The story as far as I was concerned was how I've described it earlier so imagine my confusion when a very good friend rang me up to tell me he'd made a cock up. He had been sifting through some old albums and 12"s which he hadn't gone through for years and in among them was a 10" acetate he knew nothing about. As he was outing a few things via John Manship he took that along and was chuffed when told it was a big money item. So it went on the auction as described and when he read the description he realised it was my record! Worried sick that he'd sold one of my top tunes, I was actually rather pleased that I'd got a super rare disc that I'd totally forgotten about and I'd have probably flogged it through John anyway. What must have happened is that I had three not two copies and took it to the Great Yarmouth TAC weekender with him where we shared a record stall and the thing just got mixed up with his old vinyl. I probably stashed it in there when i was pissed. Though it seems ridiculous that I wouldn't know the complete story of a major discovery that I had found the only three copies of, you have to remember that this would be before it went to cult 100 Club status and it wouldn't have been as big a deal then as it is now. Also people didn't appreciate how rare, good and valuable some acetates were. I actually did a similar thing with my second copy of Lou Johnson's The Panic Is On and left it in Jim Eddlestone's LP bag, he brought it back for me at the next 100 Club and called me a c**t! So yes it's authentic and assuming the second copy really did get broken which appears likely as its never re-emerged, is now the second copy of a very rare acetate.

I got the second copy of John Leach Put That Woman Down out of there when it was hewge. Mick Smith would have scored some good 'uns from there too.

Ignore Tony Manus, he's jet lagged and was only my understudy! :lol:It could have been Graham selling it from his "special" stash, he knew some records were fetching more than the 25ps and 30ps we were putting most discs out for. I remember him asking £2 for a UK Tymes 'Here She Comes' demo and being such a skint student I couldn't afford it.

Oct 9th I think Mark, check Events as I'm stuck at Butlins with Billy Bear doing The Hustle both musically and financially