Ady Croasdell

PMed it. Thanks

I now have a rough discography of this and a couple of other Dave owned labels. If anyone thinks they may have extra info I can send it to them or if they are just curious. ady.croasdell@btinternet.com Ta Ady

'Appen this will work, so you can concentrate on the half time analysis of Wales' watertight defence.

Thanks for that I didn't know. Someone with impeccable taste! I'll pass it on to Dave Box and Darrow

Yes apart from Jewel Akens had left the group by Minit

Just as well Steve, the Cleethorpes ballet isn't all that.

The reactivating little-known oldies ploy can easily backfire. I've played a few gems from the past that I thought would ram the floor and have people slapping my back saying "great choice mate" only to have the tumble weed blow across. I think by the sound of it you need 6 months off, you might enjoy your own dances more and revitalise you for a comeback or realise it's more fun going with the flow than trying to influence it.

QED

It doesn't matter how brilliant a record is there are very few situations where somebody will dance to a record they don't know. Usually the best you can do is to get them on your side by playing stuff you know will go down well then try and slip one in and hope it only half empties the floor. Then if it got a reasonable response stick wiith it and don't chop and change too much. It often takes up to 10 plays even at home to really get into a record (and it's much easier to get into your own records rather than someone else's) so we're talking in terms of years playing out rather than months I'm afraid. there are plenty of exceptions but I think a lot of DJs would agree with this scenario nowadays. The best way to speed things up is what Keb did with his band of followers at Stafford and give them tapes of his new stuff to play at home so that when they were played first time at a nighter they were ready to rush to the floor-plus that scene had the crusading aspect to it. I think if you might need to cut back your expectations a bit, I have in recent years.

John it was far from "almost certain" the artists would be cheated out of their royalties. Many record companies kept meticulous records and paid every cent owed. Many artists have short memories and forget about the advances they get before the record comes out. We have boxes of original artists royalty statements and cheque stubs that show this to be true. It's a lazy generalism that is now being touted as how it always was. Ady

Yes and Alan Beck introduced me to Anthony who was a great guy.

I can't think what the label looks like but unless it says licensed from ITP it would be a boot

They were two of his songs. Blimey 'out Of Time' I love the record but wouldn't want to hear it out much. Mind you the Free's 'All Right Now' was a massive skinhead/mod record around 1969/70 we would moon-hop to it in our DMs; a tenner on that being a big record in 6 months time.

I was just plugging!

Or you could get the Kent CD with it on for about the same price and have Bobby Wisdom, Morris Chestnut, The Stunners, Carl Henderson, Young Brothers and Sequins-just a thought

I repeat, which Chris Farlowe?

Which Chris Farlowe?

Top man Dean, he deserves the applause.

Is there an independent and objective review of the Butlin's weekender anywhere? I was meant to be on but it clashed with my future son-in-law's stag do.

Vive la difference!

I don't agree with that and I was doing it before the term was coined. "Northern" was the description of the music and "Nighters" the description of where we went.

You're not a soulie Manus, but you're the type of chap I'd have at my dances any time. I think the scene got so weak in the early 80s, especialy up North, that the Stafford crusading was neccessary and revitalised it. However some may have then seen this as a blueprint for how it should always be. When the scene started out it was only underground because it needed to be, you couldn't get licenses for nighters and the drugs made it taboo to society. These days things are more relaxed and if you don't affect others you can get on with enjoying the music in relative peace, underground or overground. In the Northern Soul book a point is made about it being a scene for disenchanted youth. I was a youth but wasn't remotely disenchanted, we were living through exciting times with loads going on and I went to the dos for love of the music and to have a whale of a time. In the 80s Stafford definitely lead the way with the music but I don't think you could beat the 100 Club (or Leicester for a closer geographical example) in terms of a brilliant night out.

Nearly recovered from the stag weekend that started on Wed night so here comes my six pen'orth. I thought it was an excellent show, 4 outta 5. I was worried when he was sat on a fire escape outside a derelict building that it was going to be all cliches but it wasn't too bad throughout in that respect. I enjoyed the juxtaposition with the straight life of the times and thought the music choices excellent though I found Turley Richards to be a poorer copy of Bettye Lavette's earlier I Feel Good All Over. There were a few repeated falacies like it being very working class, I always found it an eclectic class mix though not too many toffs certainly. Also I don't think the majority of sounds would be cut in small cheap studios, think of all the major label monsters and even the smaller labels used to use good studios, there weren't many ghetto studios. The baggies were overdone but it doesn't bother me too much, I'm mainly interested in music from a certain era so if somebody's thing is fashion from a certain era I can't knock them. The US/UK comparison was good, it would have been great to get an act or two on but hopefully that will be in Part 2, if there is one. Bruce Lee was unfortunate but Fran's description of her experiences were excellent and would be an eye-opener for a lot of people; something to be proud of. The dancing lesson was a bit boring but maybe neccessary for the personalisation of the show and its reason for being made. The Black & Whites in the film looked on the large side, a couple would have seen me through the weekend- I always was a gear lightweight. I think I spotted the Teapot dance move which was fun. So for Part 2; what happened after Wigan-Northern goes back under the ground. How the US artists, writers and producers relationships with collectors and dancers have developed over the years. The internationalisation of the scene. Collecting goes bonkers. Tape vaults get raided and waistcoasts and mug production booms!

If any of the indignant ones want to hear some quality rare Northern Soul sounds they won't hear anywhere else in the world, feel free to visit us down at the 100 Club in sunny London. I do get the feeling some people don't know we're here sometimes. Maybe I should promote it? But then it wouldn't be underground anymore Though it is in the basement

Probably not on styrene, just a hope as the sound can be better when mintish. We'd love a proper dub Bob but time's a bit short, PM me the chances of it please. Thanks Ady