Davenpete

Technically ALL soul is RnB - however (and I'm talking as someone who has been heavily into RnB in the past) there should be a line in DJ's mind that makes them stop and say 'is it right to play this' - a lot of the jump blues stuff just shouldn't be played at an event that views itself as a Northern Soul venue - that's not to say the music is no good, it just isn't right - same goes for excessively slow soul stuff (like my pet hate Romance Watson). Dx

I think the arm movement is developed in response to the famous baggy trouser brigade slogan 'where's the bar mate?' - also known as the 'side travolta'. Dx

A soul-less mechanical dancer teaching others to do the same. Dx

What Can A Man Do on the other side of Ain't Nothing But A House Party - as good as it gets, also I've Got Two Hearts by the Poets, though this seems to have gone up a bit recently. And re-the above Instant Heartbreak. Dx

Got the American version of the Sue LP - not only are is the track listing all mixed up, but the opening for the record is on the bottom edge of the sleeve - perhaps the reason there don't seem to be many copies of it about.

Schmuk

Personally i always reckoned the 10 second hiss was the result of wreckheads slapping on records for a few seconrds then whipping them off to play the next one. Dx

Though I'm a pup (being only 49) and never made it to the temple of doom, in my own experience an awful lot of people did take gear, a FEW didn't - (I can number the people I know who didn't touch pills/powder in the low tens) - however certainly in the book it's overplayed, though I firmly believe without gear the scene simply would not have existed - at least for me they were/are only ever a means to an end though - ie facilitating greater enjoyment of the night unincombered by the need to sleep- have never taken them when not going out. Have to say that I thought the programme was head and shoulders the best on Northern that I've seen - though we can all see the holes in it. Dx

I was thinking of covering this up... Dx

I know Pete arrived about 4.00am and he's member 0270 - so it was hardly packed. Dx

Basically IMO if (and I'm talking proper DJs rather than the 'slap it on with no thought or respect' oldies crew) you are DJing for the right reasons - musical envangelism - 'if you like that one you know, then you'll LOVE this one you don't' - then inevitably if you are passionate about the music surely you'll want to spread the word about sounds you feel deserve playing at nighters/soul nights (obviously remembering that they HAVE to be danceable and that the crowd is one that will accept hearing them) - the best way to do this is by DJing yourself. This will inevitably result in loads of DJs - that's not a bad thing in itself as long as they're doing something worthwhile, rather than doing it because they're on a dick swinging ego trip. Even though I buy little or no records nowadays (on pain of death) I, like most collectors, have sounds that are little known or seriously underplayed that I think should be played and I think would get a good reception if spun. Dx

Pick your events carefully by the tunes you are aiming to hear - we only really surface for things like Lifeline. Dx

PS "Make my Dreams" was my old dog's favourite record - he was always up wagging his tail in the back of the car when we were off out for the weekend when this came on... "Disco Nights" is the boss' all-time favourite disco track.

Book excellent for the most part - great pics, though captions would've added something. Dx

This was originally about the first world war I believe. Wasn't it supposed to have been the last record played at the Catacombs? Dx

Letting Drunks In Venues After The Pub's Shut ? Depends if you've got someone else to do their spot. Dx

Wasn't it Sandy Wynns?

Memberships are the solution - if only as an excuse to turn away those that aren't required - needless to say if one of ours turns up without a membership they'd get in - a membership book is also handy for building up databases for email promotion etc. As far as I'm concerned the widespread late licencing of nighters was the worst thing to happen in my time (the separation of 60s and modern being the second worst). Wreckheads yes Pissheads NO. Dx

I was meaning it sounds like her SINGING. Dx

Doesn't half sound like Patrice Holloway. Dx

Soussan special - better than Love Land at least!

I remember him flogging the company system out of his car to a customer for cash and then telling the office it blew out of the window when he was driving!

I remember Paul Smith doing patch vests and baggies for the Japanese market in the late 80s (and indeed couple of casuals came round our gaff in Swindon back then trying to buy patches etc to put on blazers as a purely fashion thing - probably Danny Huff's fault as he used to flog a lot of vintage clothing - as well as dodgy copies of The Q) - it might peak interest amongst a few to find out more etc. Dx

The best of the best - I personally am against substantial amounts of very slow stuff like Romance Watson (I utterly detest that record) being played at nighters as I feel it kills the atmosphere, however there are some that hold their own like Nooney Rickett and Garland Green if played as part of the musical texture of the night. I really love Johnny Gilliam (have had it for many years but it poleaxes me to play it as it's brings me right down) but wouldn't wish to hear it often at a nighter. That said I find a lot of headbanger stompers rather nasty - in the pop shite sense of the word. Dx

Don't get out to modern dos (or any others at the mo) but I currently have the High Heeled Crossover cds on in the car (though on what level many of the tracks constitute 'crossover' is beyond me) - have to say a lot of the mixes on there positively destroy the originals - no idea how old they are, but Eddie Kendricks' 'He's a Friend' as a for instance has just been absolutely buggered IMO - turned into lightweight pop (filling all the gaps with mush). There's also a rather funny 'remix' of Johnnie Taylor's 'What About My Love' which as far as I can hear is basically 99% comprised of use of the pitch control - with the result he borders on sounding like Pinky and Perky. It's fair enough with legit remixes (if they're any good) based on access to the masters and so the opportunity to do something creative and different, but most as you noted seem to be the old track with the base/treble messed around with here and there and some cretinous, clichéd twiddly gimmicks added. Dx