Roburt

Going back to the above post ............ that 'Biggest Show of Stars for 67' package was on the road for over 3 months (probably even longer). Just goes to show how hard a lot of the support acts must have worked for the small fees involved ...... with tickets for the DC show costing from $2.50 and 8 hit acts being on the bill, the 'lower acts' (& I guess Spyder would have fallen into that category for this package) must have been raking off about 10 cents from the sale of each ticket. Another DC show ............... Old Town & Polydor recording artist .... at Jimmy McPhail's Gold Room. Jimmy McPhail (born in 1929; died 1998) was a DC based blues singer who was born in NC but moved to DC as a infant. In 1950, McPhail won a talent contest sponsored by radio station WWDC, First prize was a week's engagement at the Howard Theater with Duke Ellington, who asked him to come to New York to perform. However, McPhail also got to perform at the Howard with Ella Fitzgerald, who asked her agent to find him additional work and helped launch his national career. In 1959, McPhail bought the Melody Inn, a nightclub on Bladensburg Road NE where he had been performing regularly. He operated it as Jimmy McPhail's Gold Room, featuring many of the best-known names in blues. After the 1968 riots closed some longtime District nightspots, the Gold Room was one of the few places left with a 'comfortable, intimate environment'. Etta Jones would play gigs in conjunction with tenor saxophonist Houston Person for many years (right up until her death in fact). The pair were first booked together in 1968 at Jimmy's Gold Room.

Following on from the example set them by the Beatles & Stones, just about every UK beat group built their live acts around covers of soul tracks. This was included on the group's 1st LP in 68. As "Bend Me, Shape Me" exploded onto the chart Decca / Deram wanted an album instantly, so the group shot into the studio and performed what was in effect their current live stage act. Songs on the LP include Our Love Is (In The Pocket), Something You've Got, Expressway (To Your Heart), Let The Good Times Roll / Feel So Good, I Don't Want To Discuss It And Amen. Seem to recall that the Move's biggie on live shows was "Open The Door To Your Heart"

Not as good quality when compared to the similar ads I have put up on the Spyder Turner UK gig thread ..... .... but the only copy I have for this DC show was taken from an old newspaper ....

The young pianist in this jazz trio that had secured a regular engagement at a DC club would go on to greater things ....

Another popular DC soul act on this presentation .........

I've got loads more like these (many that have club gigs by local artists), but for now this is the best I can come up with ... .......... Ruby Johnson & the Carltons were DC artists ............

In the early 60's most UK clubs were blues (or for different crowds; jazz & folk) clubs. Mod (soul) clubs kicked off in London & the south initially followed by the rest of the country. So, the Brazenose St / Whitworth St musical change was far from unique. The Mojo in Sheffield replaced a blues club that was the place to go in 62/63-ish.

You can buy tickets for the show now .... $55 & upwards ....... https://www.ticketmaster.com/event/0300491B1750D2A6?artistid=1776746&majorcatid=10002&minorcatid=207

Was known (& got some plays) from the day Bobby's 45 was released in the UK.

Info on the Hal Hardy 45 ......... Seems that he may have been from Nashville .......

There was an various artists Xmas LP ('Happy Christmas, Baby' - LP 501) put out on Hollywood Records at the end of 65. I have no idea what artists / tracks it contained though.

1963 and the Treniers were in town .......... .... this group were in quite a few films in the 50's ........... Don't Knock the Rock (1956) The Girl Can't Help It (1957) Calypso Heat Wave (1957) Juke Box Rhythm (1959) They wanted a R&R President ... don't think Barack qualifies though I'm sure the guys would have approved of him ....

The guys that were Edwin Starr's backing band from 1965 to around 68 (the Soul Agents) became (after the 2 brass players went home to Cleveland) Black Merda. Their stuff (under the Black Merda name) was heavily influenced by the Hendrix' sound. It's not actually my 'cup of tea' .... ...... but it just shows how easy it was back then to go from performing as Impact (behind Gene Chandler, Billy Butler, the Artistics & the Spinners) to backing Edwin on "Back Street", "Stop Her On Sight", "You're My Mellow" & "25 Miles" to cutting "Foxy Lady" & "Reality". ............

Don't know that one.

But was the problem with the quality of the master tape recording or just what it sounded like when converted into vinyl format ?? Maybe there's a pucker original master tape that sounds just great (but where that would be found now is anyone's guess).

I'm not dissing that particular 45 .... but are there ANY other Barron Knight's Columbia records (or Epic even) that go for more than a couple of quid. Their stuff was popular as 'radio plays' back in the 60's so I guess quite a few Emidiscs of their stuff was sent out .... but the uda tracks haven't stood up well to the test of time (corny comedy & mimicry type cuts).

Heck, I didn't realise just how many different Guinness label albums were put out.

This tale has been told many times in the past ... BUT ... heyho ..... In the late 60's / 70's when London based indie record labels (the type that put out soul / ska / reggae 45's) wanted to dump stock ..... ... many times, a van filled with said 45's would head north up the M1 and the entire contents would be dropped off at St Albans tip (which I'm told was right next to where the M25 now is -- just east of the M1 / M25 junct). By all accounts, it was quite a well known happening & guys who worked on the tip knew to rescue as many as they could & wait for a dealer to call them & arrange to buy what they had. The son has lived in St Albans for about 12 years now but the practise was terminated many years ago (I believe).

CHEERS .......... ... but as its a film its not up on I-Player. I'll have to wait till the BBC screen it again.

Damn, missed it ............... & it's not due to be on again real soon .... ... https://www.tvguide.co.uk/searchfilm.asp?title=Cemetery%20Junction What channel was it on ?? Worked in Reading till 5 years ago (4gudol Thames Water), so know the place well. I'd watch this for the Reading related bits & for the soul content. Were bits of the film actually shot in the town ?? Chatted lots back then with a local 2nd hand record shop guy who had been into soul (NS) since the 70's .... he related tales of what the locals used to get up to back then (including the coach trips up to Wigan).

I have some similar TAPE 1 UK acetates of modern(-ish) soul stuff. Also have a few done by MASTER ROOM (Custom Cutting To the Record Industry) of Ridinghouse St, London ...... I have posted a scan of a label off one of these up on the TEST PRESSINGS thread. When the Record & Tape Exchange shop on Goldhawk Rd (just west of Goldhawk Rd Underground Stn in Shepherds Bush) was still there (about 20 years back), they would get such acetates in on a regular basis (as a couple of acetate cutting studios were local to it & they cleared their store rooms out every 18 months or so). If you dropped by that shop when such a clear out had just taken place, you could pick up acetates of UK soul (7" / 12" / LP) for a few pence a go (but with the info on each label being very sparse, you took a chance on getting some rubbish). Picked up a 12" acetate there of an unissued track by Frankie Kelly ("Ain't That The Truth" being his biggie that Virgin put out on 10). Virgin must have been considering releasing this unissued cut at one stage but passed on the idea after having some acetates cut..

Well we had a very similar thread about 3 weeks ago & the person who started it wouldn't accept that Emidiscs started life as official EMI acetates at the start of the 60's (or even a bit earlier). Of course you're right, you didn't contribute to the earlier thread (which was Unknown - You Turn Me On BTW). A piece posted up on Discogs .......... I was involved with the recording industry in the 1960's, so perhaps I can clarify the 'Emidisc' situation. Bands/Groups/Artistes would either hire private studios, or be given Record Company studio time, in order to make practice, experimental, or demonstration recordings. The finished recording would be on a 'recording industry standard tape'. This was far too wide for a domestic tape recorder and played at a different speed. The performer(s) would be given the options of purchasing copies of their work on Industry Standard Tape, Domestic Reel to Reel Tape, or Acetate Disc. To the best of my knowledge, the only blank acetates used in the UK were Emidiscs. The recording was not 'pressed' onto the acetate, but individually 'cut' by a machine. This resembled a record player that worked in reverse. Putting it simply, sound was transferred from the Master Tape to a diamond cutter that vibrated, and cut the grooves. This was old technology that dated back to Edison recordings at the beginning of the 20th Century. If six copies of a double sided single were required, you had to wait while the machine performed twelve times. This took time and these demo discs were not cheap! I cannot ever recall any of these acetates being given matrix or run-off numbers. The self-adhesive labels were provided separately so that any info could be typed on them. These were always blank except for the printed Emidisc blurb around the rim. Any catalogue numbers were typed on by the performer’s management and were nothing to do with Emidisc or EMI. What the guy on Discogs doesn't say (coz he obviously didn't actually work for EMI) was that EMI themselves used the discs to make their own acetates. You can get some genuine EMI Emidisc acetates quite cheaply (if you're into Barron Knight's records that is).

Emidisc's were EMI's offical acetates, thus Stateside, HMV, Columbia label stuff (& more) were put on Emidiscs. Of course, EMI made Emidisc's for outside parties -- other labels in the 60's ... but by the 70's these were also made for NS DJ's & dealers. But back in the 60's, an EMI acetate would be an Emidisc as it would appear with a Emidisc label on it (this all being beforeNS bootlegs). We have had this discussion before but you just don't want to accept the truth.

A big hit back in the early 70's ............. Johnny Taylor .......... https://www.youtube.com/watch?v=hF_m0v_S6B8