Sweeney

The famous old VJ Records based in Chicago closed in 1966. The revamped label COT appears on (Vee Jay International) was based in California and run by a couple of former employees that bought the Vee Jay name and rights to back catalogue. Quite why they decided to release/re-release 'Come On Train' is anyone's guess. I don't think I've seen any other contemporary/new release Vee Jay International recordings of the period (1975). The 1001 catalogue number would indicate the first release on the revamped label. I've always thought the NuVJ was the original and that the blue Vee Jay International was a later reissue. Both definitely seem to be from California.

I'm afraid I agree too. That line-up would be fine on Sunday Night at The London Palladium or Seaside Special, but credible artists getting spins at a Rare Soul do? I should cocoa! (All in my very humble opinion etc etc.)

Lads: Lee Jones J Blackfoot Marvin Junior Sam Dees Bobby Bland Lasses: Linda Jones Tammi Terrell Big Maybelle Etta James Brenda Holloway

Flip side "Peepin' Thru The Window' also very good.

I bought two of these at the same time and they are different, but similarly bonkers. I think it's just rubbish quality recycled vinyl IMHO - certainly not a picture disc. I've seen others that are purely single-coloured vinyl.

THIS is coloured vinyl.

The other side - "Waiting For Joey" is also very good - a fine example of Vietnam Soul.

A problem of the modern age. People don't want to pay their dues and get ideas above their station. Why is it that every one wants to be a DJ? And why are promoters letting such a thing happen? There are too many (sub standard) DJs and too many soul nights. Too much cronyism and reciprocity - a lot of the same DJs playing at each other's soul nights with no regard to quality or suitability. Quality suffers. It has to. I've been to too many nights where the DJs just don't have the knowledge or the records or the basic skills needed (in track selection, judging the crowd's mood etc.) to deliver the goods. And that's not just about money - there have been many occasions where I've sat through a set of trophy records/one-off rarities/alternative acetate cuts and been left bored and cold. Alternatively I've been to do's where the skill and knowledge of the DJ has meant that bargain box cheapies and obscurities have been transformed into sparkling gems which send the crowd wild. It's up to us as punters to vote with our wallets and refuse to go to places that don't deliver the goods.

I Need You Baby - Arthur Alexander (Monument) It's An Uphill Climb To The Bottom - Walter Jackson (Okeh) The Drifter - Ray Pollard (United Artists)

Nope, it claims to be "the 40 most influential DJs on the British black music scene from the last 40 years" no mention of London as a criteria for inclusion and I would imagine that many of the names mentioned haven't limited their DJing to particular geographical areas. Let's be fair - the Northern or Rare Soul Scene obviously matters deeply to us on here, but is only a relatively small part of Black Music scene in the UK. This arguably subjective list reflects this fact and is fair enough - it has the names you'd expect to see. Certainly nothing to get excited about.

I think that's doing him a disservice. Marc Feld was a Mod long before it became a mainstream thing. There's an article written in 1962 (he would be about 15) published in "Town" magazine where he and a couple of fellow modernists are interviewed about sartorial matters. He expresses concern that the movement was beginning to reach the high street and that people that had previously ridiculed his look were beginning to dress like him. By 63-64 he'd long stopped being a Mod and was pursuing a musical career.

Shane even did the cloakroom at the 100 Club when I first started going (81-82). He used to work in Rocks Off Records in Hanway Street pre-Pogues and put me onto quite a bit of decent Rare Soul, so I think he was probably there for the music as well as the drink.

Rare Soul enthusiasts and DJs "Ripping Off" artists by not filling in a PRS Form? a bit melodramatic and even offensive. Given the way the collection mechanisms work, the length of time since the music was recorded and numerous other factors (artist stil being alive / still a member of a Performing Rights Body etc.) It would be extremely unlikely that individual artists would ever see a red cent as a result of their record being played on the Rare Soul Scene. To give an example: say I play Connie Laverne "Can't Live Without You" (GSF) at a small Rare Soul do at a bar in London. I take the time to request and fill out a PRS form (assuming anyone at the bar has ever seen such a thing) and duly note it down as one of my selections. What are the chances of anyone involved in the writing, performance or any other aspect of this record ever seeing remuneration from PRS / ASCAP / or any other agency involved with the collection of such royalties? With my cynic's hat on I'd say very little chance indeed. Even if they were fully paid up members of a Trade Body that collects such royalties. If I thought that artists would see a benefit, then I'd be more than happy to oblige. I applaud your sentiments, but it's an ultimately futile endeavour.

As much Dean Courtney information as one needs to know. Link below Dean Courtney Website

Donny Wells - You've Got My Love (Scepter) Sounds like they set up the recording apparatus outside a club he was appearing in and recorded it with the back door closed. I'm not sure the record would be any better if recorded properly, however.

It's a pleasant enough piece of music. She's undoubtedly talented. But why this obsession with white pop acts who include black-influenced musical styles as part of their 'shtick'? In the past year or two on this site there's been threads praising (among others) Amy Winehouse, Joss Stone and even (unbelievably) Christina Aguilera - let's not even mention Frank Popp. Where are the threads praising genuinely talented and original black artists such as Betty Wright, Bettye Lavette, Linda Jones and myriad others? Still, if nothing else it shows the A&R /PR monkeys at record companies are getting more savvy, I suppose.

I think he's had to sell his bike to pay for the Chuck Jackson!

Bridge on the River Kwai?

The finest Rare Soul DJ I've had the pleasure of hearing. Always inventive and always willing to be daring with his selections which were picked for their quality rather than their pricetag. Thanks, Mr Clark.

I'm positive that the Compass 45 is a legitimate first US issue.

Point of order! The first rule of Northern Fight Club is that you don't talk about Northern Fight Club!

Typical of the Classic Steam dinosaurs to lump Diesel and Electric together. Locomotives WERE still being made after August 11th 1968 you know!

Nothing to do with the scorching deep soul flip is it Mr Hampsey?

Eh? As I'm unsure if this was ever "officially" uncovered so to speak I don't want to be found guilty of upsetting the Northern Orthodoxy that says that cover ups and the like are "good things". I would imagine if someone has/is playing this covered up (which given the fact that it's complete rubbish I seriously doubt) they wouldn't be particularly happy if I was to reveal names. If anyone is foolish enough to want to buy this dogerrel off me and relieve the guilty burden I've been carrying all these years they can then do what they want with the disc - my suggestion would be to burn it.

Aha... That would be telling I wouldn't want the cover up police to arrest me!