Ady Croasdell

He Didn't Know and Let The Good Times Roll are Spring tracks they must have added to the Uni LP hopefully legally by licensing them from us.

If we'd been finding a constant stream of If That's What You Wanted, Key To My Happiness and Agent O O Soul we might not have gone so far down that road, but I think the scene needed a variation in black music styles about that time to make it interesting and vital, so with our roots I think we would have gone down that path anyway. Records like Johnny Maestro weren't that easy to find.

Just to clear up any 100 Club/Stafford misconceptions. The original 6TS nights were very much 60s Mod Soul nights as inspired by original mod Randy Cozens and some great London based soul DJs who knew their stuff. So we played mid-tempo, R&B, Latin influenced and cool mid tempo numbers out of choice, not because we had run out of stompers. They were evening nights with beer as opposed to nighters with gear and the mix was brilliant. When we changed to nighters out of necessity, we reverted to a more Northern formula to match the new hours, after a few years the scene had stagnated somewhat and the newies of Stafford revitalised everything. Being more of a soul fan than a Northern fan, I personally took the beat ballad, Latin and R&B type records and added them to my play list. We kept the classic dance style records but personally i didn't go for the manic dancers like She's Fire that some of the Stafford crowd liked (I'd stopped taking doobs by then!). The master tape discoveries from Scepter Wand and RCA etc, meant we could play great new discoveries like Magic Touch, Torture, Ooh It Hurts Me in the classic uptempo style but could also spin What's With This Loneliness, Willie Kendrick's She'll Be Leaving You and The TKOs Make Up Your Mind. So we went mid-tempo at times out of choice not necessity and still played brilliant new classic stompers. A case in point was me swapping Ernestine Eady with Butch for Cleveland Robinson Love Is A Trap. Bad economic sense but I don't regret it and played Cleveland much more than I would have Ernestine Eady because I love one and am indifferent to t'other.

No and I saw the lad I sold it to on the 22nd at the Harboro do. He'd have told me if he'd contacted the bloke he sold it to.

I think that early 80s period was a time when the knowledge of collectors, DJs and dealers taught us what records were genuinely rare and the clever ones picked up tomorrows monsters relatively cheaply. I am very sorry to say I was not one of that clever crowd. Yes I think rarety at the start of the Northern Scene was secondary to how good the music was. Because it was all new, the quality of the record (for the tastes of the time) mattered above all. It still is to a large extent but rarety has come more into it on some parts of the scene. I think the Tams HGDBM was first re-released because of the scene but picked up plays from non-scene DJ's quickly and crossed over to the great unwashed. It must have been N Soul's first big hit, and possibly its biggest

Yeah Cavaliers before Al Gardner but before that at least three different Larry Banks versions.

Really sorry to hear that news mate. He's a tough charachter but he'll need to be at the moment. My thoughts and sympathies are with you Nogger. Ady

I won't be able to hear it until next year now.

At Ace we've got a master tape which goes on quite a few seconds longer at the end. Andy Rix used to play it out.

All sorted for this and the two others now thanks. SS does it again. Ady

PM me if you can help and I'll give you summat for your stocking.

PM me if you can help and I'll give you summat for your stocking.

I should also say that Dave Burton let me have it for much less than he could have got for it because I was an impoverished student and he was always dead kind to me.

I bought a copy off Dave Burton from a legendary chest (literally) of 45s a music biz rep brought down his shop in Soho about 1972. Lots of discoveries came out of that box. My favourite story that I bore everyone with is - I was in Val Shively's shop in Philly when John Anderson happened to also be there and I asked him if he'd ever had Nolan Chance on Bunky. He told me it didn't exist to which i smugly replied that I'd got one. No one knows everything! i sold it to John Vincent in the mid 70s, I'm not sure where it ended up.

We thought of it as an 8 track 12", but it's debatable.

You were working as a journo for the gutter press (Back Beat!). Those exposes on my flairs probably blew your chances.

It was actually just short of 100, 80 or 90 something. i had about 6 Corey Blakes and sold them for a few quid each; not the smartest.

See the post before yours Mike.

Steve Furst aka Lenny Beige one of the support actors in Little Britain and the gingerish geezer in the Orange ads has been a regular for years.

Yes most are just sightings on a night out but Shane, Sean, Steve Davis, some of Primal Scream, Paul Weller and a couple of others are big Northern / soul fans.

That's a good one I would have bored people with if I could have remembered it, he must have been with those prats who came down from the Dirtbox. Who threw him out? Sean McCluskey from the Joboxers was a 100 Club regular and DJed there too.

Yes but different design. Thanks for the labels Michael, very nice.

It's also on a recent Kent City 7" vinyl 45 release with the Pretenders A Broken Heart Cries on the flip. Limited edition though so be quick, when they're gone, they're gone

Shane McGowan was the 100 Club cloakroom attendant and loved the music and came to dos regularly. Same with the Alarm and trash group the Stingrays. Tony Smith saw a Sex Pistol, Roisin Murphy comes down occasionally and Kenny were big in the 70s.

I think that was another regular (not 6TS) night he was there. He was well behaved on our night.