Ady Croasdell

I'm not sure there was much else to say after that so I played them a few tunes

Thanks both. I see the AMG was 76 so Baba a bit before at a guess

Sorted for these thanks very much chaps.

10-15 years ago I was invited and spoke to their annual DJ conference which I think was in Berlin. I started off my lecture "I know most of you like to mix and play about aurally with records but I play 45s at 45 rpm, pick the stylus up, put it on at the start and take it off at the end and play another one in the same way. I reckon Smoky Robinson, Curtis Mayfield and Arthur Wright had a better idea about what soul records should sound like than me.

Is it an early 70s release?

That's fine, thanks. PM or ady.croasdell@btinternet.com Cheers Ady

Scans of I Just Can't Get Over Losing You on Fraternity, Can You Talk on Dooto and Wait For Me on Boo. Hi-res from originals please, no net nicks for this project. Thanks and credit and CDs await. Ady

It was. Horace

In addition to the three ones already added to Dave's list: 1013 The Composers With Friends Like You Who Needs Friends/Just Call On Me 1017 Sterling Blyth Only 17/Twilight Zone 1038 Big Jay McNeely Sock It To Me/Without A Love 1047 Charlie Owens There Goes My Heart (Crying For Love)/All My Life 1051 Al King Without A Warning/Get Lost I think they all exist, I reckon I've seen them at some time or another. The dates on Dave's are a bit skewiff. It started in Jan 65, 1016 was the first '66 release, 1034 the first '67, 1048 the first '68, 1058 and 1059 were 1969

I should jolly well hope so!

Hi Dave, The Mousetrap all nighters were in Finsbury Park nothing to do with the 100 Club. I did run a Black Cat one at the 100 Club with Bob Morris and I think Mace, that was probably 90s. The Mousetrap does alternate R&B and psych nighters, I don't remember them being mixed. Are you sure Tim Ashibende promoted with Brian, i can't remember him being a promoter.

Will fill in more tomorrow

Please- for using in booklet. Ta Ady

You're on fire with that N'Orleans soul. Thanks very much indeed ady

On Cinderella, anybody got a sound file I could hear? Ta Ady

Brilliant, yes please. I'm at ady.croasdell@btinternet.com or a PM would probably work too. Cheers Ady

Thanks Robb, We don't like to nick them off the internet without the owners consent so I'll keep trying. Cheers Ady

Please

Quite a few goodies outta Florida

Super geezer, I met him at Jerry Williams' place, his name is all over the place. He worked with Irma Thomas, Don Gardner on Tru Glo Town and Rudy Love's 'Suffering Wrath' worked a lot with Monk Higgins in L A probably Chicago too.

I don't think the proposed 4am finish is a good move. I found that when we opened the 100 Club at 10 instead of 1.30 people still didn't bother to turn up until midnight. I think there are only a few hundred people around the country who want to hear the newer discoveries and they are used to attending all-nighters, I think they would prefer to know its there until 6am even if some left at 4. I think the problem is there aren't the "troops on the ground" as Keb might have described them who almost dance to new plays as a point of honour in encouraging the progression of the scene. Both Butch and myself reckon it takes at least two years now to get a record properly recognised by a crowd even if you're playing it every 100 Club. Butch does have a brilliant technique of putting the new ones in at the right place when the dancers are enjoying it so much they don't walk off the floor. I'm still working on it! The other thing is that most newies fans are getting on and don't do the non-stop dancing like they used to, indeed many are record bar frequentees and gold-medal verballers. I can see the quandary of funk and have found it hard to manage its progression at the 100 Club but it has kept the scene going and in our case enriched it greatly , it's just getting the balance right and hoping DJs are flexible enough to have a varied box they can tailor for the crowd that turns up on any given night. I only managed Lifeline a couple of times (at the Stables) but felt it would benefit from a slightly smaller venue. The organisers, DJs and crowd are absolutely top notch so I hope they can reconvene in 2016 in a bonza venue that satisfies the poorly-served rarities fans up-north.

Being picky, Eloise Laws was cut in early 1973 well before the era associated with disco it was more a progression of Motown with Philly sound influences

I'd guess a boot or they'd have said who they licensed it from

I think the unreleased ones will bowl people over; it could be the equivalent of what the Rare Collectible & Soulful CDs was for dancers

sorted, thanks Gene