Scallybob

https://cgi.ebay.com/Gene-Woodbury-Ever-Aga...1QQcmdZViewItem I'm selling a few tunes over the next few weeks, this links to one of them.

You have to realise here that I don't know what I'm doing. If I download from Filetopia I can copy it onto a CD that I burn on my PC. Help please!

Cheers Davie, I've got those. And thanks Chalkie but this looks simpler!

that I can burn onto a CD. I'm too stupid to understand how to record from vinyl onto CD. Any help appreciated, cheers.

Percy Wiggins "That's Loving You" never really got that big-the second issue probably came out too soon-but what a tune.

I can't sort the image or link but there's pictures of him on the Soulful Detroit website

I might be Mike Terry's biggest fan. He was awesome with Motown Maxine Brown, Garland Green and all the Giant stuff with Jo Armstead and of course all his moonlighting in and around Detroit and Chicago. Even the Johnny Robinson and Sandra Phillips on Okeh were tunes. His name is on everything from the Capitols to Soul Twins to Darrell Banks and a million and one other Northern records. But why is he never ever acknowledged? His name is on the credits of Standing In the Shadows but when the Funk Brothers played Manchester they mentioned previous Funk Brothers who were dead or just couldn't be there (and Mike's a bit Denis Bergkamp about flying) holding up photos of each one. But no mention of Andrew "Mike"Terry! Did he upset someone spectacularly? Did he bone someone he shouldn't have? Does anyone know why he is systematically ignored?

Keith Minshull doesn't look like Fred Elliott, he is him. Steve Connor-Homer Simpson Steve Garner-Nosferatu from the Fast Show Richard Searling-Graeme Souness

Jackie Wilson was very ill the night he played Wigan. I was surprised at how frail he looked. I have spoken to several people who met him back stage and all said he wasn't well. Shortly after that he went into a coma and never recovered. Incidentally they played a benefit gig for him in Chicago (to help with hospital bills) and the main act was the Clash who did it for free. Apparently their appearance made the place sell out. It was rumoured that several soul acts "couldn't find the time" to appear.

From Head Office on a hard drive maybe?

Human Beinz-Nobody But Me. Always always absolutely hated it.

If a DJ is asked for a record but "it's not what he's about" I think he/she should politely tell the person requesting it that he will write it down and ask one of the following jocks to play it. But promoters are guilty at times. I was booked for a Christmas do at a venue that's 100% oldies, stompers and handbag. A big name DJ was also booked so I told the promoter that this DJ wasn't right for that evening. I suggested he ring the DJ and tell him what kind of night it would be and offer another night in the New Year. This was three months before the gig. Anyway the promoter ignored me, reckoned this name would pull them in. Reality is, it would have been full if Smashie and Nicie were on. My first set had them all at it. Nothing clever but what they wanted. I had a stack of requests, mostly written down. The name DJ then comes on and starts with two unreleased Motown tracks then goes off into obscure beat ballad and R&B land. The night was dying on it's arse until after about 40 minutes the penny dropped and he played some standard tune and it began to pick up. He looked bored and afterwards complained to me that the people were all idiots stuck in a time warp. I thought the records he played were dreadful and he still took his fee but that's another matter. The promoter should have told the DJ. The DJ knows the score at that venue. And people asking for Landslide or She Blew A Good Thing were getting sneered at by a DJ enamoured with his own ego and ignoring the demands of a substantial paying crowd. As I said he wasn't artistically offended enough to refuse his fee. There are venues where the crowd is progressive and you can mix all sorts in one room. There are venues where you can't. A DJ's job is to entertain the crowd and if that crowd's idea of entertainment is Right Track and Out on the Floor the DJ should recognise that. Similarly playing those sort of tunes at the 100 or wherever just wouldn't be appropriate. Your sixty minutes of fame won't switch a few nostalgia chasers into up front Butch fans. Those seeking that experience seek out those venues.

Sounds good to me!

Fair point. I've been asked to play that very record and told people it wouldn't go that night. It was a Christmas event with 500 people in all wanting bog-standard oldies and Motown stuff. (Yeah I know it sounds like Marvin Gaye but not as much as I'll Be Doggone!) Consequently I didn't play it but I always ask the person if there's anything else I could play for them. Usually there's something: occasionally there's a sentimental reason for wanting to hear a record but mainly people just want one of their favourites. I've also been asked to play things like Jimmy Radcliffe at 11pm. Well I don't own it because I don't like it but I wouldn't play it if I did have it until towards the end of the night. I do own Timi Yuro and wouldn't play that at that sort of time either. When I DJ I try to respect the paying public in the way I would hope they respect me. If I try to explain why a certain record can't go round and offer an alternative then I think I'm being reasonable and usually the requestee takes it in the right spirit. As a DJ I have to consider not just one person who wants me to play a certain record but all the others in the room and the promoter. It's rare I won't play something I'm requested to play but usually it's because the timing isn't right. Or I ain't got it!

As I said earlier, when I say amateur it's because I can't think of a better descriptive word-most promoters and DJ's are probably amateurs strictly speaking because they don't make a living from it but I mean people who clearly don't know what they are doing. I avoid promoters who lack the ability to run a venue properly or DJ's who can't DJ. There are DJ's who don't necessarily play what I like but at least they can DJ. Who you avoid is your choice.

I don't like it but I have a copy. If you asked me, I'd play it. Mind you I don't always carry it with me!! I was asked for The Snake recently and people mocked me for playing it: but somebody had made their choice to pay their way in and maybe, just maybe at other venues they just got ignored (or worse, ridiculed) for requesting their favourite record. I might have won a future customer for the venue!

I prefer something written down. That's because I'm getting old and I'll forget otherwise! Seriously though if it's written down I will try and play it when it will fit smoothly into my spot. For example if I was playing a bit of seventies and the floor was full I wouldn't immediatley play 'Cause You're Mine if asked but I'd try top play it when the floor is stomping a bit. Also if it's written down I can pass it on to the next DJ if necessary. I often get asked to play something just as I'm finishing my spot or something I don't have. You've paid to come in and if you want a record playing I'll do my best to play it myself or get one of the other DJ's to spin it.

It's not aimed at anyone in particular but you get people who start up a night a few miles from another venue and just get their mates to DJ for free. Partly because they can't attract or aren't prepared to take the financial risk of paying established spinners. The "DJ's" don't know how to play a floor and generally turn up with either all the latest boots or a load of records that they happen to like. I know it's the old argument but I believe that if DJ's on the rare soul scene were required by promoters to play rare records-not boots and CD's-we would get rid of a load of poorly run and poorly attended venues and the decent ones would benefit. But everyone seems to want to be a DJ or promoter these days. Consequently the other venue loses a few for a night or two. When I say amateur it's because I can't think of a better descrptive word-most promoters and DJ's are probably amateurs strictly speaking because they don't make a living from it but I mean people who clearly don't know what they are doing.

Yes that's true but there are alleged DJ's who think that they are going to "educate" people all night long. I like to hear something different but I get hacked off when someplays some old garbage just because it's rare when it's glaringly obvious that the punters aren't interested. For example R&B isn't my preference but if a DJ slips a few in afir enough, lots of people like it. But if he plays a full hour of R&B I get bored. Others will feel the same about other genres. If you send the people away happy the promoter will be happier than if you play obscurities all night and the regulars are all moaning to the promoter on the way out. I know DJ's who have taken bookings knowing what the venue is like and set out with the absolute intention of playing an hour that it's obvious won't be appreciated by the people at the do. A good DJ should have a mix of records in his box and a good promoter should know which DJ's will keep his venue happy. Of course there are too many amateurs who think they are DJ's and/or promoters.

For some obscure reason I've been asked to play "Shattered Glass" a few times. I still haven't worked it out! DJ's should take a few nailed-on records like Right Track. I'd never leave home without it. And DJ's should remember that it's the people who exercise their choice by paying to come into venues who are the important ones. I've seen so-called DJ's turn up at venues where it's clearly oldies all the way, play an hour of obscure R&B or whatever to please themselves then moan about how the crowd is a bunch of idiots. That's not DJing.

I wouldn't pay 20p for a copy on any label even if Barbara Mills delivered it personally. A truly dreadful pop record. It should be rarer than it is.

Guitar Ray

I always thought Dusty sounded like Lorraine Chandler. Some great sides form her and in my opinion the best white soul singer there's been.

Very nice tune that, and agree about the label. Nice to hear something that's probably knocked about for ages and been ignored. Deserves to get recognised this one.