Davenpete

The Bea's version on the B side of Where Do I Go From You had a few plays - the backing on this version is great - pity about the stupid lyrics. Dx

Always thought the over-use of the mic was 90% egotism on the part of the DJ - unless he was imparting worthwhile info (the artist and title of a little known record for instance), something surprising about it or an interesting link with a preceding spin, and as noted you can rarely hear what is being said... After all - are we about the music or just doing our version of the local disco? Dx

Not particularly - was just commenting in relation to people getting off-topic rather than talking about what's being played at venues. Dx

I think many people with their own personal musical taste axes to grind (ie Deep/Slow soul fans) are making points that are irrelevant to the original question/post which is specifically talking about music AT VENUES on the (Northern) Soul scene. Dx

I think every generation must enjoy THEIR time on the scene. When I started going (being a mere pup of 50 - after the Casino closed) I was constantly lectured how it 'wasn't how it used to be' and that all the best records had been found etc etc etc. Of course now the early-mid 80s are seen as a golden era musically (frankly in my view partly down to the fact that the scene HAD shrunk significantly - meaning you were into Northern for the love of Soul and NOT because all your mates went - 90% of the reason the scene got back on track IMO). I know that as an old Wheel goer, Torch and VaVa fanatic Pete has a similar 'downhill in a big way' view of the the Casino post-75 - yet of course he missed some of the greatest spins ever played their in switching totally to the Mecca, Angels, The Warehouse etc in the late 70s. It used to annoy me to be lectured about 'the good old days' - sure the scene MAY have been a gazillion times better in 19XX - but I had no opportunity to experience it back then, so in practice it just becomes sour grapes on the part of the lecturer. Anyway Bazza's also made an important point - if you've not heard a record before it's new and fresh TO YOU - even if it's been hammered to hell historically. I remember my old partner in crime Wayne Pallet actually hearing Out On The Floor at a nighter for the first time at the Unicorn and thinking it was tremendous in an allnighter (he knew it of course but ironically because it was 'played out' he'd been going weekly for three years before he heard it spun between 12 and 8). I would say I think that totally new 60s discoveries that genuinely measure up (and I DO have an issue with second rate sounds being played simply because they're either unknown or very rare) are getting damn thin on the ground - so surely it's time to start ressurecting genuinely forgotten oldies (though as ever SO many 'oldies' DJs stick to the lame 100 same old same oles - mainly I suspect because they are too feckless, inept at building a balanced spot and lacking in knowledge to know-of and how-to spin anything else) - I have loads of 'proper' Northern records I've never heard played in the 33 years I've been going (except by me of course) and I'm sure I'm not alone in this. Dave PS Bazza - J&B Purify's Wheel biggie 'Let Love Come Between Us' is the best by them IMO.

Couldn't remember which one it was and out of politeness didn't name you. Dx

Wasn't the plain yellow label Philly Dog by the Dynatones (off the album) meant to have been the first pressing for the Northern Soul market. Dx

Posted a comment on there. I notice he says he 'hates disco' in his profile - perhaps someone should point out that huge swathes of Northern is technically disco. Dx

It's an old argument and everyone will have heard the story of the decca picnic player in the Boardroom at Motown on which they tested acetates to hear how their buyers would consume the recordings. Analogue at its best will by definition be better than digital because it is a continuous stream of information as opposed to a string of snapshots of the sound (no matter how frequent they are - think real photograph versus newsprint). When you get to youtube etc they're further compressed - meaning there are even fewer samples and lower definition still. In addition CDs tend to be mastered to match their strong points - ie they're trebly because it makes em sound crisper and more 'impressive' compared to what I guess the industry looks upon as the wooliness of vinyl - which of course we see as atmosphere and character - with proper bass (for instance you were never MEANT to here the chains crisply and identifiably as 'chains' in Nowhere to Run as you do on the CD - they're part of the intentionally created 'soundscape' of the recording, so that the CD mastering has fundamentally changed the character of the track from what was intended). Dx

Covered as 'He's So Fine' - Judy Street wasn't it? Dx

Apparently she got extremely upset at suggestions she wasn't the singer - she defo was. Dx

dadah dadahah dadha dadha? the Wooden Tops 'You're F*cking Nicked Mate'

My Baby Changes Like The Weather - Bobby Calender? Dx

Two of a Kind - much nicer record - had two copies of Jeanette over the years - didn't pay over £15 for either of em - last one I bought at Morecambe from a box with about 25 copies in. Dx

What a silly question.

The early days were well covered with the Flamingo, King Mojo and Wheel featured in the documentary - the main issue is that it gave the impression that eveything just stopped in 1981. Dx

Pushbikes? That's the Anton factor - sold another chunk of mine off early this year - but still have a about 500 that I just CAN'T sell - plus a load that ain't worth selling. Dx

Think it was surprisingly good - reasonable music selection for the uniniciated (though Sugar Pie... was a bit of a bum steer, they'd have been much better concentrating on Just A Little Misunderstanding which we got a smattering of just before it), all the right people (though some other punters would have been nice and given a wider perspective perhaps - whilst the DJs gave authority, it made it sound to much like some kind of commercial disco movement, specially with the excessive amount of time given to TB). Ian was very good, concise, informative and contrite - good lad. No mention of collecting though and nothing about the 'reset' to proper soul of the very end of Wigan and the 80s/90s and at least the 100 Club and Stafford should've had a mention and of course our wonderful Mr Croasdell. Dx

Down & Out and The Drifter - always amazed I never heard anybody pair these. Alfie Davison and Greg Perry are inextricably linked in my brain - parlty though being booted back to back, but also coz they work so well together. Dx

Very sorry to hear about this - though it was a long time since we've seen her - she was a lovely, lovely lady. Our thoughts are with you Jon. Pete and Dave

Outragious - I want one. Do you think they'll do me a special Russ Winstanley toilet brush. Dx

I think Ricky and Sue are ranking high as favourite people oop North - me and Pete love em and spend all weekend there when we actually DO make it out. Dx

A really nice guy - sad news. Dx

Yes gotta be the Marvellettes. Dx

The Q 'That's The Way' on orange Hound are defo dodgy coz I remember my landlord when I was in Swindon (Danny Huff) coming back with a shed load of them that he got off one of the band members, who'd re-pressed them. Dx