Davenpete

Yep Ellen and the Shandells on Lasalle, also released as Dry Well. Dx

That's coz you're a disco bunny mate : ) I'm more thinking Kelly Marie 'Feels Like I'm In Love' than D Train 'You're the One' I always found this amusing - look at the credits...

Kev Roberts reckoned the 'vote' was simply based on claimed membership numbers and the assumption that the huge membership meant it was the best 'disco' - though I've also heard that it's actually just another RW invention and that that 'vote' never happened at all. Chalky - you're assuming I even dumber than I am - I FULLY understand what disco is (between me and Pete we own as much in the way of GQ, BB&Q, D Train, New York Port Authority etc as we do Northern and Motown), my point here is that WE are pigeonholing into genres that don't really exist to separate what we think of a 'quality' modern versus disco dross - it's just good soulful disco and nasty pop disco - you may hate it, but you can't argue with the fact P&P and Patrick Adams not only produced something as gloriously soulful as Daybreak, but also did In The Bush. In the same way the only real definition of 'Northern Soul' that works is 'music played at venues that consider themselves Northern Soul venues', 'Disco' is merely music played at 'discos' which (as in the original Discotheque in Paris) are simply dance clubs that play music from records rather than having live bands - at various times that's been Motown and the like, Philly, New York Disco, plastic pop sh*te and house. Dx

Interesting to see that a lot are basically saying 'if I like it, it's modern soul, if I don't it's disco' - if it's 70s and danceable it's ALL aimed at a disco of one sort or another (as was 60s essentially) and is therefore 'disco'. Don't forget that Gloria Scott came out on Casablanca - the most 'notorious' of all disco labels. The problem is that people are conflating REAL disco with the cash-in pop garbage by the likes of the Bee Gees, Abba and Cliff Richard - when straight white folks jumped on what had been a pretty hardcore mainly gay and/or black and/or latino scene with more in common with Northern Soul culturally (and musically in terms of the early 70s clubs like The Loft) than it did with Saturday Night Fever. Dx

I tend to agree - whilst I LOVE proper disco - it's synth drums, electro beat etc that I utterly detest. Dx

Have to say this is a bit of a silly question akin to 'describe the colour blue' or 'what do roses smell like' - it's an unanswerable.

Very sad news - had huge respect for Dave (and of course Wendy) - as Roger says they were the very best of the real thing. Pete & Dave

The scans of the labels I've seen on YouTube looked very much like the copies of Trouble that were pressed on vinyl - would really like it on 45. Thx Dx

After a copy of his unissued recordings of 'I'm Going Through Changes'/'The Game Is Over' on 45 - they were pressed up back to back a few years ago. Cheers Dx

He delivers a blinding vocal on Tata Vega's exquisite 'I Got My Second Wind'...

Pardon me but in what way is the last one of its kind? (not being awkward - just not sure). As regards live acts - for me, certainly on the 60s side, it's to be expected that appearances are tailing off to a fair degree. I always found live performances (other than for the sake of having seen the artist in the flesh) somewhat irrelevant - but then it was ALWAYS what was on vinyl 45 (the perfect storm of writing, production, backing and vocal performance) that mattered to me - the only artists I ever saw that I thought were really notably good live (limitations down to age, quality of backing and performance) were Ray Pollard at the 100 Club mid-week before his first appearance at Yarmouth, the Originals at RS' birthday bash, Brenda Holloway and Bobby Patterson... Though over the years we HAVE enjoyed spending quality time (away from the venues prior to and following the events) with artists who have turned out to be very nice and interesting people beyond their musical careers (having looked after a lot of them for Richard and Kev) - especially Jimmy Conwell, Frank Wilson, Barbara Lynn, the Originals and of course Brenda (though we, specially Pete were friends long before she made it over to perform). Dx

HOW MUCH!!!!!!????? Must admit I much prefer it to LC's version - flogged that almost immediately when I got YB. Dx

Daft question - throughout my time on the scene (from 82-on, being a pup) north/south has been irrelevant - there have been leading nighters all over the place playing pretty much the same stuff (dependent on who was DJing of course - the prime driver to what you'd be hearing, remembering that many of the top DJs of the time were from the midlands and south). When I first went to the 100 Club it was quite different musically from 'northern soul' overall, however by the mid 80s and after Stafford it was the leading place for new discoveries by a country mile (along of course with Shotts). The best allnighter though was Bradford, but it generally lagged 6 months to a year behind the 100 Club in terms of what was new and big. The idea of 'up north' is a bit questionable anyway when you bear in mind that Sheffield is closer to London than it is to the Scottish Border. A brief glance at northern soul history makes it obvious that from the earliest years there were clubs throughout the UK playing these sounds and enough fans for the music to make them viable (if it weren't the case why was FL Moore in Leighton Buzzard, Soul City in London and why were most of the early fanzines out of the south etc etc etc) - indeed right back to the 60s many of the key clubs and crews were down south or in the midlands, be it Gloucester, Worcester, Birmingham, Bedfordshire, Market Harborough, Northampton, Banbury, East Anglia etc etc - simply because when it went really big it was centred on the North West doesn't mean it hadn't got adherents and venues in the south listening to and collecting much the same sounds. Dx

I know it was first played at the Cats, but Pete always talks about how this used to bounce off the back wall. Maybe not forgotten but...

By definition it must've been since I belong to you is a made to measure vocal done in response to its popularity. Dx

There's one on eBay right now.

Another nasty - this one should definitely never be revived...

One really dodgy one I've still got a copy of...

Two 'rusty' old relics I wish I still owned. Dx

And a real biggy I've not heard at a nighter for at least 30 years...

Another long forgotten one...

Before my time, but one of my all-time favourites (Moses Dillard - maybe only actually heard it a couple of times at nighters myself) and dodgy pop shite (that I also have a soft spot for) - both actually pretty much forgotten though which is what the thread is SUPPOSED to be about. Was going to add Verdelle Smith too, but I thought that was just too offensive : ) Dx

Since 90+% of those who went to nighters (when these were still around) will have munched their way through a few hundred of these over the years is there really any need for being a stuffed shirt about them being posted in what seems to be a rather silly thread anyway? I for one feel very nostalgic for Riker, Evan's and Smith Klein's (sadly I missed R&Bs, G&Cs, Daps and Filon) splendid products and wish they were still around. Dx

Wigan's finest : )

The Undertones - 'My perfect cousin, what I like to do he doesn' Robert Parker - 'You said he was your cousin, but I found out that he wasn' Only slightly similar, but notable for attempting to use equally awful rhymes... : ) Dx