Dave Moore

For me it's the one rekkid that defined an era. The mid 70s was a great time for me and this 45 sort of encapsulates everything we got up to then as a gang of close mates. Not just the Casino, but travelling around the country with a tape deck, cars with bald tyres and no insurance, (or lights in one instance!), sat in the back of an illegally hired transit van en route to Bedford, the coach trips to Yate, visiting just about every second hand record shop in the NW, buying records that were heard for the first time in your home town, jumping in taxis for badly planned cross Pennine trips to Wakefield Unity. It'll always be a special record to me. I don't wanna hear it every time i go out and could probably do without listening to it for a few more years but I'll never deny the way it became the backdrop to lots of happy soul shennanigans with a bunch of like minded friends. Happy Days! Hopefully more to come! So I voted A/1

Not enough I can assure you? As a very poor musician myself and someone who tried to write music I was, (and still am), interested in the way some music fans take up the quill and try to recreate the sound they are drawn to. Carl Dixon is someone I admire who also decided he wanted to create the music as well as appreciate it. Simple really. Both he and Ian took different paths on their quest but both undertook it 100% and with gusto that I can't help but commend. Of course if you're more interested in the 'oldest pair of dancin' shoes' or the millionth thread about 'DJs' you could always simply inhabit those posts and ignore my sycophantic script eh. Sycophantic? And you from Lincolnshire too? Cracking word and I congratulate you on it's usage. However misplaced it may be.

Ian, Here's question for you.. The jump from DJ to Record Producer? I believe most 'music scene DJs' (of any description) are simply selectors and 'putteronners' of records. IE. A pop radio DJ needs to have MC skills, verbal skills and a host of other skills not necessarily a requirement in a small compartmentalised specialist 'scene'. So... what made you decide to manufacture a product based on soul music. Once you made the decision how did you learn the skills? Do you write music and lyrics? If so did you learn to write music after you decided to produce? Do you play any instruments? How did you learn about chord structure, bridging, pitch, tone, and the other associated subjects? Lot of questions there I know but they're all really tied together.

The fact that things like TEF are accepted nowadays is one of the reasons I am careful about where I go. Although, to be honest it was played in an RnB room which is about as alien to me as C/W anyway so I'm in no way criticising the record or that particular genre of music per se, I don't posses the knowledge for that. My 'problem', if it could be described as that, is when this style of record ends up on the Technics at a Soul event in a soul room. I'd much rather hear something that makes me think .."Haven't heard that in years" than listen to a C/W influenced dreary plodder that makes me think..."Eh, WTF?" The observation that it filled a dancefloor is quite right. Many people enjoy it. That's great. But they're RnB fans. Maybe a true RnB fan would be better qualified to comment on it's merits (or lack of them) , as an RnB record. Me? I just wanna stay on the soul track when I venture out. Things like The Five Royals set my teeth on edge every time I hear them at a soul do. They also pack the dancefloors so maybe it says more about the dancers than the record? To me it's about the strings of Revilot, the tinkling keyboard of the Harthon set up, the impassioned vocal of a Roy Hamilton, the synchopated, almost telepathic duo of drum and bass as Jamerson and Benjamin practiced. The likes of Len Jewel, Don Davis, Fred Smith, James Carmichael, LeBaron Taylor, HDH, G&H, etc are the authentic exponents not some old geezer who our mothers used to twirl to just after the war. TEF? Thanks but no. He was probably a real nice guy but.........not for me I'm afraid. All a personal choice I suppose.

Eh? Is that supposed to be some kind of riposte because I don't like your particular interpretation of black music? Come now, surely you can contribute more than that?

Tennesse Ernie Ford.... If RnB rooms wanna play that stuff let 'em. No skin of my nose. But it's when it's all mixed up in one room that I baulk. Bad enough subjecting my refined aural intruments to that Five Royales crap every time I go out without delving any further into the RnB, C/W, mire. Cliperteee Clop! Cliperteee Clop!

Still looking for a minter. Trades available.

There's a few places that purvey this most exquisite delicacy with a Northern 'touch'. Some branches of Iceland sell 'em as do a few branches of Macro. I used to have to drive to Reading for 'em. Bit of a trek but worth every mile.

Dave, Are you aware that your avatar is the sponsor of the illustrious Lords of Turf Moor? I always suspected you were secretly longing to be a Claret. We welcome you over from the darkside.

PM'd you.

Ady, Have PM'd you with the Godoy Golbert link to other folks and the possible lineage of Delanieur Music. It's gonna take some real team effort detective work to get to the bottom of this story I reckon. On both sides of the pond too. Be worth it in the end though.

He certainly did. Mr Barnes was the 'Si' of Geo-Si-Mik Productions. Geo rge Clinton Si dney Barnes Mik e Terry All three of them legends. The Blue Cat copy of IHOTOS I rate as hard to find. Have seen a couple over the last few yeras but both were trashed. £320. I'll take ten please.

Cheers Sid, I'll be onto it. Spain good. Turkey same? You should git yer arse to Hitsville next September. Right up your street.

Haven't checked the link but.....there was a stage play based on Marvin's life created by his sister a couple of yeras ago. It got quite good reviews and played in a couple of major US cities. It wouldn't surprise me if it had been reworked for a movie. Hope so, would love to see a faithful looking representation of his Motown days.

Nice to put a name to the face eh? Makes Va's place look like a palace! That's the cleanest, most organised rekkid warehouse I ever did see! Well done that Man.

Thing is with Motown. It's been around for 50 years in one guise or another. From the early transitional sounds of The Satintones and Gordy's compositions that were cutting edge at the time, through to the Boyz To Men phenomena and beyond. It always seemed to find it's own little niche in the industry in whatever decade. I'd wager that pound for pound, the talent that emerged from West Grand Boulevard and later at MoWest, matches anything that any other company enjoyed and actually surpasses most if not all,and I include some legendary labels (people) in that statement. Okeh, George Leaner's labels, Mirwood, to name just three set ups that were fantastic but fell short of Motown's contribution to, not just black American music, but music in general.To dismiss SW is to dismiss one of the most innovative musicians of his generation whilst to do the same to the Jackson 5 is to ignore the contribution that they made to a company that put the whole world on a dance-floor over a couple of decades. Stevie fills stadiums still and MJ (ahem) doesn't but probably still would if not for his 'personal life' being so 'bizarre'. And not all the fans are 50 somethings looking to tap their feet to Uptight! To put Motown and it's contribution to music, especially ours, in perspective is simple. Forget the label, forget the logo, forget the rose tinted glasses even. Just sit and contemplate the PEOPLE who were responsible for the music it produced. Many of them became real legends, not just with fans but with other world respected musicians. Gordy, Smokey, Levi, Stevie, Diana, Tops, Tempts, Supremes, Vandellas...etc etc. These front of house names became so famous that the average guy in the street knew which label they made rekkids on. How many other labels could claim the same? Lets try with these 5: Everley Bothers? Altman Brothers Band? The Mamas and The Papas? Dylan? Roy Orbison? Think the man in the street would know? I doubt it. Motown - Leave it alone. It paid it's dues, a few howlers along the way? Sure, no argument there but out of a catalogue of that size I reckon it's entitled. As for some of the songs/artists mentioned in this thread? Well, many ended up with the trappings of success and that was due to millions of people appreciating what they did enough to pay their bucks and buy the songs. Compared to the X Factor/Pop Idol/Reality TV shite foisted on a public so devoid of quality options as far as music is concerned, I'll take Holland Dozier Holland over Mark ronson 7 days a week, fifty two weeks a year. And (said in best Forrest Gump accent), "that's 'bout all I have to say 'bout that".

Just finished reading a few books for the third time and thought I'd pass on what they were for any likeminded folks who maybe haven't read them. Make great presents for people interested in this kinda stuff: ROCKIN' DOWN THE DIAL - David Carson - Momentum Books Records the history of the airwaves of Detroit from it's early all white beginnings of the Post War years through to the demise of AM and the FM revolution of the 70s. It's not really a book about soul music per se but rather a history of the medium of Radio but as you'd expect the soul music provides a large part of the material in the hey days of the medium. The art of the 'DJ' of the era is a great story of individuals with larger than life personalities and talent to match. Some great legendary DJs are featured along with a few nice pics and some interesting weekly charts. On on e chart The Human Beinz - Nobody But Me beat The Beatles to the #1 spot! Well worth reading if you like the history of music in general and the history of genuine radio DJs especially. TEMPLES of SOUND - Jim Cogan and William Clark - Chronicle Books Having spoken at length to a few record producers over the years I'm always fascinated by the art. Bringing all the components together and eventually creating a musical tapestry when guys turned up with their own instruments a lot of the time was a real art. In this book the guys investigate a few of the iconic studios that the US producers worked in. Once again, not a full blown 'soul' book but the book features many legendary locations that produced the music including of course Motown's Snakepit, Muscle Shoals, Sigma Sound, Stax etc. It's also an eyeopener to learn that, like Motown, nearly all the studios had people who were the houseband. The realk unsung heroes of the recoding industry in my opinion. Lots of great pictures of the artists and producers at their work too. Well worth the effort if you're into this type of historical information. So, there you go. Couple of stocking-fillers for anyone with an anorak in the family and whose stuck for prezzie ideas.

No 'tyre kicking' here. Buster and Eddie - Can't be still - Class Will pay book price for MINT- copy on DEMO.

I never realised that. Great stuff. Just done some reserach and it appears that Wanda was actually the only Marvelette in attendance. It seems to make sense as the cover of the album clearly shows three girls but only one can be positively identified (Wanda). The other two were The Delicates who are credited as being the latter half of Undisputed Truth! Ain't Google wonderful! Hey Hey, learn something new everyday. Cheers chaps.

Nick, Not of much use to you I know, but Mike is well known as a good guy. There must be a problem. I will try to contact him for you. I'd be surprised if he was purposely scamming anyone. Let's hope he's OK. He has a family with 5 kids he's adopted. In fact, send me your paypal address and I'll pay the refund for him.

Hi Dave, I thought this LP was instigated as the group reformed. Hence the "Return of...." It didn't work for them so the group disbanded again after this LP I think. Andantes? I've not heard that tale before. Have to dig it out and give it a good listening to.

Oh Yes Indeedy! As anyone who witnessed their final rehearasal at Prestatyn will testify. Worth the entrance fee alone.

The Precisions.