Ged Parker

The Michelles (Dee Dee Barnes) was suprisingly a Russ c/u . I didn't find out who it was until I started collecting Arctic and by then couldn't remember the c/u artists name just recall badgering Russ at the time (early '78ish?) to find me a copy or give me a clue who it was every time he played it.

Court Davis - Try To Think (What You Are Doing) c/u as The Lover Who Loves You Not was there the night he played this first time and it just blew me away never comes up for sale when I have the cash though

Too many to choose from but Shotgun Jnr Walker will always be special as the first 45 I can remember being bought for me as a kid. Though Smokey's lyrics are always special too. Bob Dylan called him America's greatest living poet and you can't say fairer than that.

I can remember the times when a cover-up was presented as the 'genuine' article with a straight face by the majority of DJ's it now appears that DJ's actually list records as cover ups in their play lists. Keb didn't say the Cairos was the Precisions cover-up he just said it was the Precisions sending us all off on a fruitless wild goose chase Well hardly fruitless actually as I'm sure some of use bought some good precisions tracks on that back of that one When did this open cover-up start and why do DJ's do it? Is there some kudos in having a record covered up? Do they think the record stands a better chance of taking off if people know its a cover up? If you want to reduced the chances of people finding copies surely you should maintain the illussion that it is a record by the fictitious artist under the fictitious title. Or am I missing something?

For me there a couple of tunes put me in mind of Gaz - Ree Flores "Look Into My Heart" and Baby Washington "That's How Heartaches are Made" . The Ree Flores was on a tape he did me and the Baby Washington was a tune he rated that I actually had

Not a hard and fast rule this but EMIDISC supplied acetates both already labled and with labels seperate on a roll. The ones with blank labels already applied were generally supplied to small buyers and as these already had labels they had to be written on. The labels on a roll could be typed on and were generally in use by users who bought in greater quantity such as legitimate record labels. Having said that it is only an indication as examples of both types come from both legitimate sources and less so. In the states it is common to have an Audiodisc label covered up by a label from the studio which could be typed on. As said it is impossible to be sure either way you just have to get as much provenance as possible. Even if this was a rock solid original acetate it's way over the odds price wise IMHO

11th July is the first one. Same dates as Middleton, Same music policy, Same DJ's, just the Back beat and Willingham room will alternate as there's only two rooms at Maximes. It will be membership only I think so expect some news on that soon from Andy

It is a myth the Sax thing is anyway. Started by none other than Stuart Marconi in his NME days. No idea who the Eli Fox is that has a connection with soul music though

Didn't Greg Tormo have one up for £750 at Prestatyn a couple of years ago? I have a copy but don't really rate it highly enough to play out anywhere. Suprised it passed as the DC Magnatones as a cover-up 'cos I love "Does She Love Me" mind you they are from a similar area I suppose.

Beeks your taste in Footy teams is good but your a very bad judge of people based on this post. Opinions like this won't win you any respect or friends I'm affraid

Cheers Richard, That scan is the first copy with the "My Dear Beloved" title I can remember seeing without the DH now that is a rare piece IMO. The IL - JT threads are were not confussing rather they were predictable, tiresome and added nothing to the value of this site but only added to profile of the protagonists, which I think was the idea.

At some venues thats what's expected surely? If you play a set they knew you were going to play they could have programmed a CD player. On payment I have a split personality. I have refused payment and always left the payment of DJ's to others when co promoting knowing that they may rely on DJ's taking less money or none at all. Only recently I was told of an occassion where my fellow promotor had short paid a well known DJ by £20 on the first night of a new venture we were trying 3 or 4 years ago. I straight away dipped into my pocket and gave him the £20. He, much to his credit, bought the next round with it. There's lots of talk about too many DJ and too many venues if all DJ's demanded payment marginal venues would close sooner building attendances at the fewer more sucessful venues. But as Andy said as soon as one closes another two open each one often relying on the good nature of DJ's to help them off the ground and DJ's who want to get of the ground very willing to do it for nothing. How about a co-operative approach if you want a venue close to home? Budget for a venue, flyers, advertising, equipment, security, organisers time and DJ's and tell the punters you'll charge em on the way out pro-rata to attendance so if an event costs £1,000 to put on and there are 300 or so in everyone pays £3.50. I know this is impossible but would the punters want the risk? No they wouldn't why then expect the DJ to take the risk its for the promotor to take that risk. If a venue can't stand on it's own two feet paying it's way then it should not continue to run or the punters that want to keep it should be willing to pay more. £10 or £12 for an all nighter is rediculously cheep IMO and a creadible nights entertainment at £3 and £4 entry unheard of outside this scene.

While we're confusing one another with this subject has anyone ever seen a "Dearly Beloved" with a drill hole? or for that matter a "My Dear Beloved" without? Every copy I've seen of My Dear Beloved has been drilled even the one currently on John's Auction. I wonder if these were drilled before they even left the pressing plant once the error in the title was spotted or if this shows this was the second press so more of this version ended up as remaindered?

Oh! Fortune Loot

I give up

The anagram pressing plant pressed "out on the floor" not on Charger but on Forte Thou Loon which is very rare indeed

Well Don Mancha said its "Dearly Beloved" in the lyrics and I think he would know better than me or you.

No the word "Dearly" appears on the original demo and some original issues. Some original issues were labled with the wrong title "My Dear Beloved" and are rarer. Simples

Where's the confussion? The song is called "Dearly Beloved" and these are the first two words of the song. All copies of the record should have the song title ie "Dearly Beloved" yet a few were pressed with labels that say "My Dear Beloved" these are as John says mis-titled. Simple enough to me.

Jason - One in sales if you're quick

Oi there's a queue.

I recall in my early days on the scene often being asked if I prefered Newies or Oldies and that was back in 76 77. I didn't know the difference then and still am not sure I can define them adequately now. What I do know is that there is a commonly understood meaning for both and these meanings are really shorthand that most of us 'get'. Now; just as in 1976; if you play me a tune I don't know even if it was massive at some point in the past its a new tune to me and I'll judge it on its merits. Equally when some one asks me to play some 'Oldies' I know what they mean even though I may have been playing what to my mind are oldies anyway. To that degree the tags of Oldies and Newies are of some use though clearly they do not have any relationship to being either old or for that matter new in origin or in history on the scene. I don't think anyone is dismissive as James suggests by using the term 'Oldies' and I never think I know better than anyone else. I may have different taste but it's just that different better to me of course but that doesn't make anyone elses opinion more or less valid than mine. I can't agree that we are saying "You lot are crap and you bore us, we're cooler, we've got better taste, and we're better". Well at least I'm not. Not in the least. Neither am I calling these people Dinosuars or Sheep Chalky has hit on a very pertinent point about regionality of DJ's preventing even the best sounds breaking through. In the day when we all traveled to a big venue once a week / month we all picked up on sounds at similar time and all the 'big' DJ's managed the demand for sounds and ensured this demand was satisfied. Often this was done by using acetates which would be unacceptable to many now and even if it was acceptable the competition between DJ's and venues would stop this working anything like it back in the day. The scene is still as divided as it ever was just now along different lines. Some of us want to hear the comfortable familiar sounds we can play at home on a comp CD some of us want to hear the sounds we remember from way back but never hear out and about and others; me included; long to hear stuff that I've never heard before. I don't care if you call it a newie or an oldie as long as its good.

I have a couple of the blue/green banded copies somewhere. Never seen a maroon one. It doesn't show in the price guides as having been reissued or booted for that matter. We are talking about Call me And I'll Be Happy aren't we? Ged

Don't think this was booted. Plenty of them around.

They'd look nice with my complete run of grapevine demos. So much for the fuss about boots and carvers now forget I said that lets not go there