Amsterdam Russ

Got a copy in the post - thanks all!

Great flip side, but nope, that's not why I want it.

No one seems to have yet considered why it is that the 100 Club had such dramatic rent increases imposed upon it year after year (or even noticed as it was happening). The reason, of course, is profit aka return on investment. The venue has been squeezed out of existence, pound by pound, over a number of years. Its demise was heralded from the moment the ridiculous rents were set. The coffin was ordered well before it came to be aware of its impending death. No one, apart from those burdened with paying the bills, complained. No one raised their voice and cried "this Stonehenge of musical venues is under threat; we must save it before progress dooms it completely." No one seems to recall the recent thread started by Ady about how numbers were down at the 100 Club nighters, and how everyone subsequently promised to do good and avert a crisis already made by turning up to show their 'faithful' support. It's all a little too late... Having said that, what is it that needs saving? The building in which the venue is situated (I remember having appointments with the recruitment agencies in the floors above - if the building is doomed, should they be saved?), or the legend of some nearly dark secret held in the basement? Is it bricks and mortar that need to be saved, or a musical legacy that can exist in hearts and minds, cd's, video's, 45s and countless memories. Of course, it is the building that's of value to its owners, not some 50-year old dive that's never brought in the desired financial returns - and probably never could. If you only know the building as the space in the basement in which a music venue is sited, then you have missed the larger commercial picture, as sad as it is. They say that you are only live for as long as the last person to remember you. I remember the 100 Club as it existed s a dive in the basement of the building on Oxford Street. I never went to the Wigan Casino, the Torch or Catacombs - far too young for that - but I can nonetheless feel the impact and vibrancy of these venues, and the events that took place in them, through the experiences of those who share and keep their memories alive. Long live the 100 Club.

There was this mid-week article (22/09) on vinyl in the New York Times: Those Popular Vinyl Records

According to this thread: it's not possible today to give away copies of The Royal Esquires former Prix biggie 'Ain't gonna run no more'. If this is the case, and you're stuck with a nice clean copy that no one wants, let your heart and soul be free with the knowledge that I will be only too happy to take it from you. To help you lay the burden of this 45 down completely, I'll even pay for the postage. (Oh, if you should have run out of the particular copies that you can't give away, then the offer of a nice cheap one will probably be just as helpful to you in the long run. )

I'm always sorry to hear of the records that never arrive. Don't know what's worse - it being lost in the post, or never having been sent! eBay listings used to be indexed on Google for some time after auctions ended, and that prompted me to have a look for your seller. No luck, but I did find an odd reference to "singer Ray Merrell" in a Daily Mirror news item about the burning down of the Grand Pier at Weston Super Mare in 2008... Grand Pier Destroyed >

LOL - I've just been playing it at +10-15% through the computer and think it sounds much better. If ever there was a case of a track having been released with pitch and tempo of the vocals laid down on top of a backing track that's also had it's pitch and tempo altered, then this is it.

Well, looks like two 'best offers' have already been made for it, so better get in there quick people...

I know it doesn't directly relate to the original track mentioned, but thought this scan might be of interest.

It came from Memphis - Robert Gordon Boogaloo - Arthur Kempton Making tracks - Charlie Gillett Burn, Baby! Burn! - Magnificent Montague

Yup, and that applies to everyone here!

It's on the latter...

As the Wikipedia text points out, there are countless duplicates in this archive...

According to Wikipedia, this is the current state of play: Source: https://en.wikipedia.org/wiki/Record-Rama

Leslie Grantham aka 'Dirty Den' from Eastenders is/was a soul collector, so I was told a long time ago.

The THING can be found on YouTube...

Alton Joseph & The Jokers - Where's the place - Loma Timi Yuro - Something bad on my mind - Dutch Liberty LP with a US printed cover (!) The Dells - Sing Dionne Warwicke's Greatest Hits - Cadet LP Cody Black - Going, going, gone - Ram-Brock Danelle Darris - Don't love me and leave me - Commerce

Are there scans of the acetate?

Wow, now it gets messy - a menage a trois!

There is an 'answer' record to this song - "You don't want me no more" by Queen Esther on Guest records. It starts off in the same way, with the telephone ringing, but we hear the conversation from woman's side... "You don't want me no more?" asks Queen Esther. "Listen, used-to-be poppa..." It's a cracking R&B number with an equally good flip! Aha - just found the flip "Take it easy baby" on Refosoul (although the artist's name is spelt incorrectly) Queen Ester - Take it easy baby -

Found this photo online late last night of The Enchanting Enchanters aka The Enchanters on Atco (but for the life of me can't remember this morning where I found it!) Obviously not the same group, so the mystery continues...

All male band, are they not?

How'd you get a scan of my photo? That is indeed the very same one I have in my collection! On the back it says "The Enchanters" [plural] - and gives the date of 6/65. Ah, yes - I take it you must have pulled the scan from eBay when it was up there recently.

According to scribble on the front and back of this publicity photo from 1966, the group is The Enchanters. However, I have doubts that this is the group that supported Garnett Mimms and later recorded on Loma. The original line-up consisted of Zola Pearnell, Charles Boyer & Sam Bell, but the photo shows a quartet with two female members. Do you know who this group is or who any of the members are?

The quality of the acetate itself, which is single-sided, is very good indeed. The sound reproduction is even better - it's loud, crisp and clear, so I doubt that it's been dubbed off another 45. Having had a look now, I've seen a few images on the web of a similar LTS label design. These though seem to be for contemporary and legitimate 1970s releases. Might this have been mooted for a 're-release', exactly as so many other 60s soul 45s were during the commercial height of the Northern scene in the 70s?