Chalky

Whereas exclusivity used to be the driving force behind records years ago when we were younger and people travelled it is a factor that possibly holds a record back today. As said it takes years for one DJ to break a record. With the scen becoming more and more regionalised it might be a case of getting the disc to DJ's at popular venues and to maybe step up the publicity machine.

I didn't take it as personal Phil, sorry if it appeared that way, I was merely saying that no one complained about the lack of mic use and therefore it doesn't really bother the majority of people who are at a venue, we had at least two hours with no mic as well. I also stated it was possibly a generation thing, and yes there probably is a swing to mic less DJing with the younger generation, maybe it is a confidence thing?

I got a lot more for a copy recently.

I've heard it but yet to buy but it is on the list, fantastic but I didn't expect anything less from the man, up there with the best I've seen live the first time I saw him.

I've no wish to compare today's scene with the scene of the 70's or compare Matt's list with your list. Today's scene should be about the best of it all, mixing it up and taking the best of each era rather than going out and hearing the same records week in week out. They say familiarity breeds contempt and it is true of this scene, not just the oldies scene but the so called upfront scene as well. It is all becoming rather boring, it is like listening to the top 40 for 30 odd years in many cases.

Back on topic, Kev Roberts mentioned the top 500 being a derogatory term and said that it is more like 200. I personally doubt it is 200 at most regular soul nights, all nighters maybe. Regardless whether 200 or 500 it is a sad reflection of the lack of imagination that prevails this scene right now when you consider the vast amount of record discovered and played in over 40 years. We should be having it better than we ever have but I'm afraid it is far from the case. Dj's all chasing and playing what each other are playing, second rate biggies that only get played because a DJ has paid a fortune for it when if it was a tenner it wouldn't even get a first look never mind a second. What happened to flair, imagination, individuality, not just from the DJ's but the promoters as well.

I doubt it is 200 at most regular soul nights Kev. Nighters maybe, but 200 or 500, it is a sad reflection IMO of the lack of imagination on this scene at this time especially with the vast amount of records that have been played on this scene for over 40 plus years.

I think the mic usage is a generation thing. The younger set and Europeans are a bit different to us that have been around many years who have grown up with DJ's and the microphone. I think the use of the mic can give the dancers a breather as well.

Even when you tell them people still don't hear for the other noise going on around them. People don't always understand accents as well. I bet most DJ's don't even know what they sound like out "there" on the floor?

James Pogson, well I hadn't heard him before Saturday night. Fair to say we were still a little unsure how he would fair at an all-nighter as it isn't his usual kinda gig but he was simply brilliant. So what if he didn't use the mic all the time, he used it at the beginning and the end, the records spoke for him, he had the floor full, great set of across the board rare soul music. I didn't hear one complaint from any of 250 plus people who were there that he didn't use the mic between all the records. Some DJ's need to learn to shut up IMO.

I played three Kent 45's last night. George Soule - Midnight Affair, Allan Toussant - Laugh Till I Cry (bloody fantastic) and a request for Melba Moore, happy to oblige, tell a lie had a request for Spencer Wiggins Talk It Over which I was happy to play as well, so that was four. Quality "newies" are hard to come by and the scene has to make the most of releases of previously unissued material. I stop at reissues that already have an original issue though. There are some quality releases out there not just from Kent, Numerro with tracks like "That Girl" from The Notations, the recent Valdons release, the Gene Washington and the Ironsiders currently causing a stir, quality cheap dance music fit for any venue. The scene has to embrace them, it is stale enough at times and if it means playing a CD then so be it. It is a dance scene no longer ruled by the music, the music actually comes second to many people out there. I don't for a minute advocate laptops, hard drives but it is about time DJ's with character, individuality and a bit of thought rose to the top rather than the sheep mentality driven scene we currently have. Surely it would be a stronger scene for it? The scene at times needs to take its head from up it arse before it disappears up it totally. Dj's have always, always played cuts of unissued and even ultra rarities that a collector wouldn't part with but was happy to supply a cut, Jackie Day - Naughty Boy for example. I know it isn't everyones way of doing things but it was either that or deprive the scene of some great dance music.

There are definitely many rare records if only a tenner would be ignored. There is also a snob factor with common records as well. Probably an ego or dick waving thing at work where every record they play has to be in demand rarities. We was talking about price last night and my mate said he had someone say to him I don't buy unless £100+. There loss as they are missing out on some great records.

That Judy Clay needs putting out on Kent Town/Select, fantastic record.

I don't know how long Mick Smith had the Eddie Holman but Clarky had it also in the early 80's and was given plenty of airplay.

Been hard for years, some records Butch was playing in the 90's took a second or third copy 15 years later to break the record big, Tommy & Derby's, Johnny Praye etc. Goes back to a previous debate on here IMO or for another debate another time.

I don't understand the rest of your comment though, wasted on today's nighter scene?. Unissued, good or bad, I love to hear them all. It is the same with issued material, the wheat gets sorted from the chaff and if it is good enough the demand will be there. Regardless I'd like to own them all in some format or other so even if demand doesn't dictate a release I would still like to see them issued via CD, at least you can see the progress or lack of any particular artist made inn their careers.

You need to get out more Gareth, it has been massive for Andy Dyson on the all-nighter scene for some years. Rare as hens teeth too.

I get just as big a buzz from hearing something I don't know today as I did when a youngster starting out on the scene. The buzz is even bigger if it is good I still like to listen to new stuff even if it isn't to my taste.