Barry

Would the forum members care to give me their top tens....that is 'played' top tens. As I am not as caring an afficianado as I once was, I would like to see what the percentage of classic Oldies (Modern), Y2K (ouch), Soulful House and ex Jazz-Funk drops get played these days. What is Modern Soul (at all nighters)? Today.

In answer to your initial question: "Cos it was Ace!"

Just to give me something to do< I'll tell you about it. When I first got to the dancefloor, the sound was pretty ropey (and I was 'tatered), there was a single flashing green light blurting occassionally - I thought 'Mmmmm, is this it?". Half hour later, a red light started to flash on the other side of the d/f - and the sound seemed alittle more crisp. 20 Minutes after that, the neons kicked in - Timmy appeared to be dropping mixes in as he felt - evrything seeming to be a beat behind as he found the groove. The sound, again, appeared to be improving - was it the gear? To cut a long story short - by 6am, Regisford had it taped - the sound was bang on, the lighting/mood was at it and his mixing (not that I was arsed) would be deemed acceptable (even by a UK anorak that never had), to most. After a conversation with a Shelter resident it turne out that Timmy Regisford spends 4/5 hours playing it on the downside, hour by hour tweaking the lights and the system, until by 6am - IT IS FIRING!! Also you will discover the friendliest clubbers on the planet there too. No edge. If you manage to stay there 'til the church-goers eneter you have done well. (Memories of me & Tall Paul 2005)

Please do yourself a favour and start your trip by visiting the revolving restaurant on the 48th floor of The Marriot Hotel on Broadway - on Times Square - I asked the advice of a French NYC patriot in my shuttle last time over, as to where would be a cool place to meet my compatriots...trust me, you won't be disappointed. If you can cope with Soulful House, a trip to The Shelter should be taken, Timmy R will blow your mind.

Nice to see someone posting these players.

What is the use in you trying?

Too many cooks spoil the broth....etc. Will there be any soup at all in 7 years time, outside the local under attended (in 'number counters' minds that is - like numbers really mean anything!) regional venue. Are my posts that hard to follow?

Scene one: John Leslie walks from behind a pre-fab garage to the strains of 'We Will Rock You' by Queen. Sitting next to a 'bonnie', topped with a smouldering tyre is Lulu, drawing heavily on a ciggie: "Ay Johnnie, ye need to ditch that leather jacket son and git yersel' some o' these trendy bowling shirts on sonny! Freddies dead, don't you know?" ....and on!!!

Would this site even be here without his well documented/critiqued input? WIF!! I love the fact that he has been unable to bite his well-bitten lip any longer. Back to my own views - some of the sh*te that has been posted on this thread is laughable - truly laughable but all the same...funny. I'd like to be childish and say that some of the replies on here 'have been an eye opener', or some other sh*tty response....but they haven't...some of the responses have just been, simply, perfect...for my mind anyhow. You're never bigger than The Street, remember that! Anyway, who gives a f*ck what the s/track is - or who is in in the background....or whatever. Just revel in it.

Why? Where did he go? Off the NS radar maybe?

Would I be correct in saying that it seems that prices for standards have been affected by the popularity of 'new' sounds on the scene? I have seen so many items (oldies) on lists for what I would see as cheap of late.

An £8-er bitd, still don't understand the NS collectors predeliction with 7"s - the only known statement of fact in the known universe, whereby smaller is better. I'll take £400 for mine, all day - any takers? It's clean as.

A pointless statement, but what a killer cut!? Just urgent as f*ck and still sounds bang on today.

How you can have a pop at that lad I don't know....really. I feckin' love where he is at right now....and I think you do, secretly, too - it's just coming out in a bitter, Alf Garnett way, which is shame. In the UK maybe - but attend The Shelter in NYC (as I do on occassion; cos I'm dead hard and more dedicated than most) and you will see the majority of the young blood's dance moves are based around this style - it is just a vent for their youth - and these young lads' dance moves, outside their acrobatics, are not too dissimilar to Northern moves. Don't decry youth Clive. You were young once. (Weren't you?)

Apologies if this has already been posted but I was reading about Joe Pesci's career the other day and it turns out that after returning to New York from an initial failed (acting) LA trip, and before he opened his NY restaurant, he played lead guitar for Joey Dee & The Starlighters.

But back to my initial question. Could the scene be as strong without the life long beacons at the helm?

...al that aside mate, when I re-read my posts following a response such as yours, I can totally see what you're on about.

F*ck me - concern!! I'll have to take a look at the positioning of my posts in future, I can't be seen to be garnering 'concern'. That aside, thanks - I'm touched. For once a response that makes me feel wanted.

Nice version and doesn't it sound like it was recorded in a big hall - it has a certain atmosphere to it.

I'm aware of that having spent 20 years behind a record shop counter dealing with, amongst others, hip hop kids. I believe that anyone attracted to hip hop and it's culture will never attain the level of understanding of it's obvious roots, simply by feeling the need to further their knowledge of hip hop by seeking out the samples that their fave artist utilised. It's a feather in the cap thing for when they speak to other hip hop kids (and why not? I'm not having a go at it), but they aren't going to dig out a Michael Wycoff album cos 'Looking Up To You was sampled on a track they know and sit in with it. I must say that lads that were into hip hop in the early 90's especially, before it became a bling thing, had a tremendous amount of passion for their music and I am in no way deriding the music or their love of it.

...therefore I am not stating my beliefs as fact. But.... ....I've been listening to a lot of stuff that is either currently in demand, or carrying high prices - stuff that I would deem to be doo-wop to stuff that I would deem to be cross over (as the scene has become more adult in it's appreciation of soul music, it has obviously opened a deal of doors that did not get the attention bitd). And I must say that I feel a fair amount of the current movers are, to me, fairly weak productions. Not all may I add, but some of the new (to me anyhow) stuff I have seen fetching serious dough are at best second rate and at worst poor. I know dancefloors need new material but I weigh up certain new sounds, and their subsequent price tag, up against more well known plays and there is no contest - again, for me anyhow. Your views on this subject would be appreciated.

Explain to me what will happen after the big guns pop their clogs, surely not far off now ay? Will the security disappear? What will happen when the much appraised thick-skinned, stage positioned targets aren't there? And who are the torch carriers (The Olympics, topical)? Or has it already happened, have I missed it with my lack of attention. So much music, so many people to appease, so little time.

About £400, I'd say. The only record at Wigan that you could pick out as a 'stereo' track on the speakers.

Christ! How to make a negative out of a positive, good old SS.