Davenpete

Just pathetic. Dx

The other two on CD20 are (as I'm sure the vast majority will know) the Fantastic Four and JJ Barnes. Certainly in the case of the Kent CDs (at least the ones like the King CD which I designed) the artists are IDed in the booklets. Dx

One Day Love by Tommy Dodson was always a biggie (plus Marsha Gee of course). Dx

The forum is called SOUL Source - sorry but there's quite enough effing jazz and jazz forums around - it's not like its not well served on the net, I KNOW there's a lot of crossover, but (having been force fed it by my father) full-on jazz leaves me absolutely cold. Personally I think it's pretentious twaddle (and when you get into free-form stuff I simply won't accept any argument suggesting it's anything other than self-impressed masturbatory shite) and I for one don't want to put up with chin rubbing discussions about Coltrane, Bird, Oscar Peterson or even the Crusaders. Dx

So does that mean pretty much the whole so Kent Stax Volt CD encompass all of his all-time favuorites?????

Seems someones been 'trimming' the sound file!

Spar? - Isn't it Herbert Hunter then?

Spent a whole 5 or 6 hours in the friends wonderful world of the North Wales seaside holiday prison - the invite was very much appreciated and whilst the Volcanoes were undertand really one Volc and 4 anoes - I have to say that between them they did an absolutely brilliant set with False Alarm I reckon about as good as it's possible to get without Weldon and a kiddies toy piano on stage (Extensive Ritz Rix draping just doesn't work the same). Nearly saw and hour of John Poole's set and have to say I was very pleased to hear at least he was playing a really good blend of classic but healthy oldies (nothing really gorgonzola) - except of course for Otis Blackwell which he must have played for a bet surely. Very weird not being around much for the last 5-10 years to find that we really DID only even vaguely recognise about 5% - unfortunately many of the rest seemed to be clad in the same (wrong) lookalike parka and a wide variety of trilbies - no matter how inappropriate - perhaps in a silent recognition of the legendary scene setters Freddy Part Faced Davis, Harry Worth and Bud Flanagon - hey ho they did seem to genuinely enjoy the music though I'm sure they must have found it weird to see people so out of place wearing normal nighter gear. Moaning aside we really did enjoy the whole 1.5 hours talking shite in the foyet we spent loitering behind the posing chain - so great to see everyone though Tim seems to have been hard at work developing the 'Brown' name brand image with clearol beaver brown just for men (is it true he's younger now than he was a decade ago?) - I know he went all Charlie Rich years ago but I could have told him his hair was blackish. Thanks R&K a much appreciated thought and gesture, hope J is feeling a lot better, love Pete & Bungo

DANA VALERY — STOP PRETENDINGJOHNNY CASWELL — STOP, YOU’VE BROKEN MY HEART - Bobby Diamond StopROY HANDY — LIVE, LIVE, LIVE WHILE I CANROBERT L MARTIN — I GOT A GOOD THING GOINGDEL CAPRIS — HEY LITTLE WAY OUT GIRLDON PARKER — I’M PACKING UP - Damon FoxTHE SUPERLATIVES — I CAN’T STAND TO LOSE YOU - EJ ChandlerJOHN MADARA — PLAY THE GAME OF LOVE - Hide & Seek - Eddie ReaganFREDDIE JONES — MY HEART’S WIDE OPENDEL CAPRIS — JUST THE TWO OF US AL DEL LORY — DISCOTHEQUE ALIBIROBERT L MARTIN — COME AND GO WITH MECINDY SCOTT — WHEN HE CALLS ME BABYJUDY STREET — FINE, FINE, FINETHE NEWBEATS — COME ALONG - Fluffy FalanaJOHNNY ROBINSON — WITHOUT A DOBUT (SHE LOVES YOU)RONNIE McNEIR — BACK ON THE STREETS AGAINBOBBY DIAMOND — I WALKED AWAYLEN BARRY — TURN OFF THE MUSIC - Sweet Music - Chris CerfLAURA GREENE — CAN’T HELP LOVING THAT MANH.B. BARNUM — THE ICE MAN - Billy WatkinsED WINGATE — GIVE ME LOTS OF LOVINGTHE JEWELS — YOU KNOW IT’S EASYBRAINSTORM — HEARTACHES AND PAINDEE DEE GARTRELL — OVER AND OVER AGAINTHE EPITOME OF SOUND — HOW CAN I EVERFRANK WILSON — CAN YOU GUESS WHO LOVES YOUTHE VOLCANOS — SHOWSTOPPERBARBARA MILLS — THE HARDER THEY FALLRILEY HAMPTON — HE BROKE YOUR GAME - Frank DellMAURICE McALLISTER — YOUR LOVE IS SLIPPING AWAYRAY WHITLEY — I’M MOVIN’ UPTOWNMIKE POST COALITION — ALL OF MY FEELINGSBILL HARRIS — FOOL FOR YOU - The Nikki NewarkersYVONNE DANIELS — DON’T PITY MEJEANETTE HARPER — FOOLS PARADISELEE VALENTINE — I AIN’T GOT NOTHING BUT THE BLUES - Friendly PeopleWILLIE HUTCH — I’VE GOT EVERYTHING - Lou Roberts - Everything you always wanted to know about love.GENE McDANIELS — LIVING THROUGH SLEEPLESS NIGHTSHERBIE WILLIAMS — THE LOVER WHO LOVES YOU NOTLAMARR THOMAS & THE CHAINS THAT BIND — ALL OF MY LIFE WAITING FOR YOUTOP CAT — I WANNA SPEND SOME TIME WITH YOUDEBBIE DEAN — BIG BAD WORLDJOHNNY MOORE — THE ONE YOU LOVE Not sure what it says about me that I know lots of the pop shite (specially as I used to own most em)... Haven't bothered naming the obvious or previously named ones. Dx

Sold my orange copy last year for £150 - ridiculous. Dx

Who ARE these dickheads???? Dx

Barbara and Brenda by a country mile. Dx

A carver/acetate/emi-disc is cut to order so anyone could have one done any time. The version that was popular in the past was by Nancy Wilson on Capitol, played at the Twisted Wheel through the later part of the 60s. Dx

Douglas Gibson defo - just as well as that's the one I own. Dx

What amused me was the way a few years ago some people were making a big thing of collecting what they were terming 'acetates' - if you tried to tell them the difference in kudos and importance between an actual studio acetate and some poxey EMidisc they just couldn't get their head round it (including a certain 'well known DJ' who dimwits were raving about for playing Loving By The Pound 'off acetate' - despite the fact that everyone with a modicum of inside info knew full well had been cut from the Do The Crossover Baby CD). Dx

Some bird in the front row was giving him the come on - but his mates had warned him off after she'd cheated on them and he didn't want to risk falling for her. Apparently she was just a little flirt. Dx

It would help if you weren't asking about second rate chart garbage. Dx

My first allnighter (Curtis Mayfield) courtesy of Tony Adams from Banbury (where I was at college)... Funnily enough I didn't enjoy it that much - but I was a daft little mod at the time and rather overwhelmed and under-wrecked. I remember in later years (86 or 7) a porn magazine being passed round at Knutsford by Geordie Martin (this was around his spud gun period) which much to everyone's amusement contained a long and detailed letter from two girls claiming they went to the nighter regularly to get off their heads and pick up lads to go at round the back by the bins. Dx

'Always filling the floor' does not necessarily mean good! Basically that means the three cheesiest oldies. Dx

Surely it's 'WAIT, you've only known him one week or two'. Dx

The boss says that when he first started going (Wheel) everyone owned a copy of Stay With Me (and indeed a lot of em loved the Stones too) but that didn't mean they should be or ever were played during the time when northern had become 'northern'. I think the watering down of the scene and the changing of the sound to suit DJs or audiences personal tastes is the biggest danger - I think this is partly because some people have become so obsessed with playing 'new' northern that they have lost sight of 'is it good enough?' - some of the stuff that gets posted on facebook etc etc is just crap and that's why it wasn't played back in the day (or even my day)... As SO many have over the years my plea is to hear genuinely forgotten quality oldies and new stuff that is genuinely unknown but is genuinely good enough... Fact is there IS a finite number of tracks that are 'right' for a northern venue that sticks to its guns, but if you include the vast pantheon of great tracks of the past (many of which of course were lost in the rush of new things turning up) - hell I hardly ever hear much of the 'proper' northern tracks I really LOVE (I KNOW a lot of em are rare, but so is a lot of the dirgy shite that people ARE playing) - you could literally DJ for days and days with this stuff unrepeated without dropping the quality and without 90% of people having heard it more than once or twice in the last 10 years (it was this that to my mind Lifeline did so wonderfully). In my past Ska/Reggae, full-on Latin, psyche and early RnB were very popular too amongst nighter goers (indeed I collected A LOT of full-on RnB in the late 80s - I never played it at 'northern' nighters nor thought it should be myself), more recently funky northern and salsa type stuff - it's OK to like em, just don't convince yourself they're 'northern' because you want to be 'allowed' to like it without feeling you're betraying your northern roots. So I guess my view is that a pure scene WILL survive, but ONLY if it sticks to its musical guns - the greatest danger is that it will be watered down into a homogeneous mush of vaguely dance soul sounding pop - because if there's nothing to make it stand out, there's no reason to get into it as opposed to anything else. I remember meeting a guy outside the 100 Club in the 80s who had been a serious mod in the 60s - never missed a Flamingo - and stopped going when it closed - he was worried sick that the sound of 'soul' had been turned into some pale shadow and was literally in tears when he got in and heard it was still 'right' - I don't want to be him myself in 20 years standing in a venue in tears because I've discovered it's become some kiss me quick, 'now that's what I call northern' jivebunny theme park version of the real thing - better that it contracts to a tiny group of people into the real thing. Dx

We have quite a few copies of this mag going back to mid-67 (along with some very early Blues and Soul) that Les Cokell gave us way back - there's some amazing levels of knowledge given the time. Dx

Actually NO you can't copy labels perfectly nowadays (at least not to the eye of someone in the print business) - most of the cheapo cheapo local labels' production runs were printed letterpress on coloured paper (pretty impossible to get nowadays in the right weight) or overprinted on pre-printed litho labels (hence the splodgy type on most - especially with silver text) - letterpress is literally almost impossible to get done now as nobody has the presses any more... It would be possible to absolutely perfectly copy a record (matrix stamps and all) if you had unlimited access to master cutting (to get the run ins and runouts right etc etc) and a granvure die maker to do the matrix stamps etc - but the record would probably cost you at least a couple of grand before it ever went on press. Dx

I'm sorry but (between this and the other thread) what an absolute load of sanctimonious double think and unfair point scoring against Ian, with anyone offering any comments to try and add balance to the pack mentality being accused of being in cahoots with him in some way. As I understand it from what's been said in this thread: 1. Those people who have received them have been made to promise on their honour that they would never sell them - or pass them on to any third party. 2. Ian has made no attempt to sell any of these and has circulated them only to a very small group of people. 3. Many of the discs have never been released on 45 - so how could they be passed off as 'originals' 4. The world is absolutely awash with bootlegs being passed off as the real thing for profit - why are these not far more offensive than what Ian is doing. 5. Over the years you and I know that there are many respected DJs who've got up to it (I could name specifics but I won't) - I've never previously seen Ian accused of it - despite as probably the greatest breaker of new discoveries ever he has been in the best position imaginable to do so (coz nobody knew what the real thing looked like). 6. As these seem to simply be label lookalikes on standard vinyl any collector worth the name should be able to spot the lack of matrix stamps etc etc Dave