It's a question I'm curious about.

I think the general concensus on here, is that generally the most-rated DJ's on the Northern Soul scene are the guys that play authentic original copies of highly rare records, both known and unknown. This applies to both current rare and popular oldies DJ's - in other words, right across the spectrum of the whole scene.

So, accepting the philosophy that in order to become a top Northern Soul DJ these days in pretty much all areas of the scene, one needs to have a large box full of rare originals worth tens of thousands of pounds, then doesn't that suggest that the scene is pre-disposed to those with a huge amount of disposable income?

I'm long, long gone from the cutting edge of rare record collecting these days but I keep an eye on things and occasionally get lucky every so often, so obviously I keep an eye on current prices and generally end up weeping LOL.

If I were to re-create the same 200 count box that cost me less than £300 in 1975, it would cost me a minimum of £30K now and probably nearer £50K. If I , included my overall collection at the time into the equation, then we'd be talking circa £200K at todays prices (mainly 'cos I had all the 70's stuff that's now off the scale).

So obviously I've thought about this and figured out that there's a massive amount of difference between the passionate Northern Soul DJ's of the 1970's and the passionate Northern Soul DJ's of today.

Without a doubt, I personally 100% rode the route of enjoying and playing super-rare records that no one else had, and naturally, a certain amount of ego was involved. But records were relatively cheap back then and most aspiring DJ's were beavering away getting their own choices together well within most people's disposable income levels. So the path towards becoming a popular Northern Soul DJ back then somehow seemed a bit more organic in that virtually anyone could get within reach of the top guys providing they had the right taste and made smart buying choices. It didn't really start becoming a money-lead thing until '75/'76 in my view. In fact, when it started going that route, I got the hell out of dodge and started looking for records at the source. The economics made a bit more sense.

So I guess the question is: do you need a £50K collection of originals to even get into the top-strata these days?

And, as a result, has Northern Soul become a rich man's sport?

Ian D

i am aware there is an elitist click on the scene who must have high paid jobs to buy all this expensive vinyl? You obviously look down ur noses at the likes of me? and think i am below you lol... us poor low paid uneducated punters who turn out every week to hear the music we love meet friends from all over and have a good dance... i joined the scene mid 70,s for the love of the music and dancing,i couldnt give a donald duck about buying ultra rare expensive vinyl? in reality you aint above me even if you might think you are? am sure one or two of you are actualy decents folks... if you want the truth pal whilst you were out buying ur ultra rare records i was probably banged up in prison listening to me northern in me cell and still keping the faith...but heh ho thats life ...

I didn't get the impression anyone was being elitist or looking down on anyone because they couldn't afford records. I don't think the choice about whether to play boots and originals is about money at the end of the day. I haven't bought a record over £100 for years, and I buy something most months. Most of my playbox is around £50 or less (some boots and reissues are more expensive than most of the originals I have). In my opinion people resort to boots because they want to play the big popular stuff to fill the dancefloor at oldies nights instead of trying to find their own way with something about different. I said earlier it's possible to play an oldies set of cheap originals, why resort to boots and carvers? I'm not a millionaire or even have massively a well paid job, i've a got a mortgage, expensive wife, kids, etc... but I still don't buy boots, I buy stuff I can afford as cheap as I can but only on original vinyl.

I admit that the green eyed monster sits on my shoulder when I listen to others peoples spots.

Also he is firmly on my shoulder when I hear that a tune has just been bought by someone and I think thats on my wish list.

However I ,as like most people who buy OVO the list gets bigger and bigger. Should I come into a large amount of money, a good portion of it would invariably be syphoned off towards tunes. providing the boss was in agreement. I buy my tunes as and when I can or sell to buy. I do believe that you just have to be confident in your purchases, otherwise why would you buy them. Also be confident enough in your collection, however small to do a start, middle or end spot. Admittedly if you do a late spot 2am onwards a good portion of your box will have been played already ( biggest hate is doubling tunes). But I dont think its a pre requsite to own a very pricey, rare or expensive well known tunes collection to guarentee anyone a place on the DJ rosta. Admittedly you do have to have a good portion of your collection being tunes that the crowd know, can familiarise themselves with and are happy to dance to, however should you just have a safe set expensive box a massive amount of bloody good lesser known tunes are and do get overlooked, and thats a certain shame.

Consequently it is inevitable that the guys with the big expensive collections will justifiably receive the addulation and respect they deserve for their individual boxes but I dont believe DJing is down to cost or value of the tunes that you can put across, its down to how the crowd feels once your spot has finished, no matter what time you are on.

Regards

Kev ( dont do modern) Such

Spot on Ged

shame ol shite, a dj that buys big money boots is only doing this to make themselves look good on the decks and for no other reason what so ever, they say its about the music, bolox its about them, ive said it on here and many others have too and everyone knows that there are 1,000s of popular and quality tunes that would give the punters what they want at what ever type of venue/event be it rare and underplayed or an oldies night, stop cheating and trying to make yourself look good its not big and its not clever and no one really gives a shit well i dont anyway if i had millions i would buy them all up if i could and i dont care if i got labelled a money dj but one thing is for sure it would be me wan*ing over them and nobody else would it make me a top dj no but defo a top wan*er

Funnily enough i'm more envious of people will great taste who have picked up a 45 they've sourced for only a few quid, because I know I could have found and bought it and wished i'd got there first. There are some DJs out there who surprise me every month with amazing tracks that when I ask about them they are only a few quid.

I'm affraid you just dont get it 'soul over easy' and probably never will.

That isn't your fault, its just the way it is.

I for one don't look down on guys that play boots (well not to the degree you're making out) but I have more respect for those that play CD's or MP3's off a laptop.

Why do you feel the need to own a bootleg 45 if its all about playing what the punters want?  If you truly believe that; ditch the boots and start playing CDs at least they're legitimate recordings.

It isn't elitist to be a passionate collector in any field be it records, stamps or fine art, but if you open a gallery full of prints of Botticellis and Titians you may get some visitors but don't expect the respect of the art establishment. It may be good in its own way but it different from an art gallery thats all.    

Anyhow back to the topic.

There are obviously some great DJ's with a broad spectrum of tracks that aren't millionaires. As many have said passion is more important.  However there are also examples of people buying their way into the top rosta by spending thousands and thousands over the last 5-10 years.  Do I think that makes them a good DJ? No not particularly they usually have something about them that means they are a good DJ anyway. Otherwise they'd still not make it.  We probably all knoe someone who has spent big and not made it into the top teir.

I personally don't keep a running total of the value of a DJ's set when I'm listening unless it just strikes me that everything is big money and then its a passing interest not a 'lets start adding this all up' job.  Not that I know the title of every record I hear out let alone the value.

Someone on here said that you should play to the floor and never empty it.  I'd say that to be a good DJ on the northern soul scene you have to be prepared to empty it on occassion otherwise you'll only ever play guaranteed winners that everyone knows and the scene atrophies.  You should try to judge the floor, feed in the new sound with one similar they're already on the floor to, even tell them its an 'new sound' in the right venue, but you must be prepared to get it wrong on occassion.

If we could agree what made a 'Top Northern Soul DJ' perhaps we could judge if we each had enough money.  I probably have more disposable income than some DJ's who I think are superb and much less than some I wouldn't cross the road to listen to.

Funnily enough i'm more envious of people will great taste who have picked up a 45 they've sourced for only a few quid, because I know I could have found and bought it and wished i'd got there first. There are some DJs out there who surprise me every month with amazing tracks that when I ask about them they are only a few quid.

same here Matt i fooking hate it when for example say Tim Smithers or Dave Abbott (south coast djs) buy a great tune before i do (jesting obviously) and when i think ive got a cracker and want to show it off tro them cos it only cost a tenner the same reply comes all the time, ive got that tossers the pair of them you must have the same problem with Adam the oldies dj

[i actualy dont want to get it]if spending tons of money on ultra rare vinyl is youre thing? carry on. But if you are asked to dj and refuse to play a certain song as you dont own an original,then you are depriving the paying public of a song they may wish to hear?and you are not doing the job youve been paid to do correctly.I am not a dj i am actualy a dancer have been since day one entering the scene ok? but if i was asked to dj? if ive got the original its getting spun if its a reissue or boot its getting spun as i feel it is my duty to please those who have paid to come and have a good time.Im not on hear to make friends i am stating my opinion and i know for a fact that most folks paying through the doors dont give a damn on what label you are spinning a song on, so long as they appreciate the song thats what matters...

i am aware there is an elitist click on the scene who must have high paid jobs to buy all this expensive vinyl? You obviously look down ur noses at the likes of me? and think i am below you lol... us poor low paid uneducated punters who turn out every week to hear the music we love meet friends from all over and have a good dance... i joined the scene mid 70,s for the love of the music and dancing,i couldnt give a donald duck about buying ultra rare expensive vinyl? in reality you aint above me even if you might think you are? am sure one or two of you are actualy decents folks... if you want the truth pal whilst you were out buying ur ultra rare records i was probably banged up in prison listening to me northern in me cell and still keping the faith...but heh ho thats life ...

You should have robbed a bank mate . BTW I dont think I'm better than anyone. I know you may think people are being a bit hard on you, its not personal though, its just that people have very strong feelings about these things.......

Russ

[i actualy dont want to get it]if spending tons of money on ultra rare vinyl is youre thing? carry on. But if you are asked to dj and refuse to play a certain song as you dont own an original,then you are depriving the paying public of a song they may wish to hear?and you are not doing the job youve been paid to do correctly.I am not a dj i am actualy a dancer have been since day one entering the scene ok? but if i was asked to dj? if ive got the original its getting spun if its a reissue or boot its getting spun as i feel it is my duty to please those who have paid to come and have a good time.Im not on hear to make friends i am stating my opinion and i know for a fact that most folks paying through the doors dont give a damn on what label you are spinning a song on, so long as they appreciate the song thats what matters...

So if you're asked to DJ and I come up and ask for The Mello Souls what would you do?

Ian it's not really a preserve of the rich mate , it's down to mental conception and slanted comparasons for instance I bought a collection this week from a guy who stopped collecting in the seventy's a lot of the records were the usuall mix of pressings and originals ect .Al Foster night of the wolf on roulette issue was probably pick of the litter in terms or rarety He said that he paid three or four quid for it when he was taking home about twenty quid a week .So really in comparason nothing's changed .One of the big differance's between then and now is most people who collect records now have to spend money on living bill's that they didn't have when they lived at "home" .However at the time he told me that a British demo of Back to bok went for about eighty quid for him amonth's wage's an impossible price on a prized piece of music .point being he built a nice little collection up over a couple of years spending a couple of quid a week.If you were to begin a virgin colllection from scratch and omitting any boot's and a like on a budgit of 20 to 30 quid a week you should be able to buy plenty of great records all originals and all floor movers I'm thinking about records like Spyder Turner can't make it .....(£10.),Lee Charles Wrong number (£10.),Ramsey Lewis in crowd (£10), Jimmy Robbins Just can't please you (£10) the list is endless if you bought one a week you'd have fifty or so in your collection in no time and I must say that our biggest sellers are around the eight quid mark .Obviously you're gonna be hard pushed to find a George Pep or a little John for a couple of quid but that's just the way it is and I know that if I had to start collecting again from scratch my first ten quid original would be Edwin Starr's Back street and records like Jackie Wilsons Nothing but blue skies ect and I'd be happy as Larry mate. Regards Simon.

Give me £100K to spend and I'd be the best dj you' ve ever heard in your life. Or you could cut out the middle man and give me Butch's play box. Let's face it - he's not playing no cheapies, is he?

I admit that the green eyed monster sits on my shoulder when I listen to others peoples spots.

Also he is firmly on my shoulder when I hear that a tune has just been bought by someone and I think thats on my wish list.

However I ,as like most people who buy OVO the list gets bigger and bigger. Should I come into a large amount of money, a good portion of it would invariably be syphoned off towards tunes. providing the boss was in agreement. I buy my tunes as and when I can or sell to buy. I do believe that you just have to be confident in your purchases, otherwise why would you buy them. Also be confident enough in your collection, however small to do a start, middle or end spot. Admittedly if you do a late spot 2am onwards a good portion of your box will have been played already ( biggest hate is doubling tunes). But I dont think its a pre requsite to own a very pricey, rare or expensive well known tunes collection to guarentee anyone a place on the DJ rosta. Admittedly you do have to have a good portion of your collection being tunes that the crowd know, can familiarise themselves with and are happy to dance to, however should you just have a safe set expensive box a massive amount of bloody good lesser known tunes are and do get overlooked, and thats a certain shame.

Consequently it is inevitable that the guys with the big expensive collections will justifiably receive the addulation and respect they deserve for their individual boxes but I dont believe DJing is down to cost or value of the tunes that you can put across, its down to how the crowd feels once your spot has finished, no matter what time you are on.

Regards

Kev ( dont do modern) Such

kev..........re " a good portion of your box will have been played already "......must be small boxes or limited ambitions ??????..............if you dj with people who have the same records as yourself in thier playboxes . ......................get on first . .................................just have a dance.instead .. ..........or buy something differant to your mates .............. .ez

Edited July 8, 201113 yr by ezzie brown

So if you're asked to DJ and I come up and ask for The Mello Souls what would you do?

[i actualy dont want to get it]if spending tons of money on ultra rare vinyl is youre thing? carry on. But if you are asked to dj and refuse to play a certain song as you dont own an original,then you are depriving the paying public of a song they may wish to hear?and you are not doing the job youve been paid to do correctly.I am not a dj i am actualy a dancer have been since day one entering the scene ok? but if i was asked to dj? if ive got the original its getting spun if its a reissue or boot its getting spun as i feel it is my duty to please those who have paid to come and have a good time.Im not on hear to make friends i am stating my opinion and i know for a fact that most folks paying through the doors dont give a damn on what label you are spinning a song on, so long as they appreciate the song thats what matters...

just out of curiosity whats your most expensive original ??

Give me £100K to spend and I'd be the best dj you' ve ever heard in your life. Or you could cut out the middle man and give me Butch's play box. Let's face it - he's not playing no cheapies, is he?

couldnt be any worse than you are now Warren

ged its a brill oldie mate,i dont have a boot of it ok? but if you tell me then you have it with you id swap places with you on the decks and id go and have a bloody good dance to it and shake youre hand...ktf pal.

just out of curiosity whats your most expensive original ??

If a punter as requested a song and you have it but not an original, its youre job to spin it for there enjoyment and everybody else to hear or dance.

Two discussions (at least going on here). The first one is the old chestnut of what makes a good DJ - in my very humble opinion, it's having an ear for the music and an eye for the dancefloor. Good taste has to be near the top of the list.

The second one is about whether you need to spend a fortune to be a DJ. This was Ian's original question - Answer no, unless of course you are trying to re-create the NS Top 500 and need to own "Del Larks", Eddie Parker, Mel Britt etc.

There is an endless suply of good records, no one knows or has them all - despite what some people think - we can be grateful for the fact that vinyl was cheap to produce in the 60s and 70s (up til the oil crisis) and the overproduction has left us with a wealth of quality music that will last us our lifetimes.

As for a DJ "refusing to play something because they don't have it on an original" - that's missing the point. No self respecting DJ I know of walks round with bootlegs in their playbox. They probably don't even own any, except maybe some left overs in the garage from their early days on the scene as a teenager, along with the Javells etc . So the suggestion that DJs are refusing to play things they don't have "on original" is completely unrealistic.

same here Matt i fooking hate it when for example say Tim Smithers or Dave Abbott (south coast djs) buy a great tune before i do (jesting obviously) and when i think ive got a cracker and want to show it off tro them cos it only cost a tenner the same reply comes all the time, ive got that tossers the pair of them you must have the same problem with Adam the oldies dj

Next time you see Dave Abbott tell him you've got a copy of Barnes & Barnes - Fish heads.......

Edited July 8, 201113 yr by MrC

bearsy i wont lie to you pal ok? ive only been collecting prob three months at the most? and have had records given me off dj mates who give me there pressings as they replace them for originals.So im not going to disclose figures on here,but friends have been pretty good to me at the mo? you see im not bothered about originals in reality like some of you ? i see its a passion.But in my last collection 27 yrs ago i did pay that little bit more to own TONY MICHAELS / I LOVE THE LIFE I LIVE on golden world yellow issue.STERLING MAGEE /KEEP ON that kinda stuff? and i am only prepared to pay that little bit more for a record if ive got no other choice of owning it.At the moment i am after supertime on a stephanye pressing as im sure you know its actualy total eclipse called 6 ,o clock,no one plays it anymore? im after stuff ive grown up dancing to over the years mate and couldnt care less what its on? its for my own satisfaction...ktf

ged its a brill oldie mate,i dont have a boot of it ok? but if you tell me then you have it with you id swap places with you on the decks and id go and have a bloody good dance to it and shake youre hand...ktf pal.

But by your reconing your not doing your job as a DJ if I ask for something and you refuse to play it. You see that's where your stance falls down.

With a play box of say 300 singles you'll never be able to have everything with you. You should try and fill the box with sounds appropriate for the venue but you can't have them all.

If its fine to say "its a brill oldie mate,i dont have a boot of it ok" why is it not OK to say "Sorry mate I'd play it if I had it but I just don't have a copy"?

Your logic isn't making any sense to me at least.

Next time you see Dave Abbott tell him you've got a copy of Barnes & Barnes - Fish heads.......

Yum!

Surely every single venue is different; you could go to a venue armed with your 300 ultra-rarities, and nobody will dance...or you could go with a box of pressings and tamla motowns, and ram the floor all night. I think you have to go prepared for all events because if you've never done that venue before, you just don't know the crowd.

But by your reconing your not doing your job as a DJ if I ask for something and you refuse to play it.  You see that's where your stance falls down.

With a play box of say 300 singles you'll never be able to have everything with you. You should try and fill the box with sounds appropriate for the venue but you can't have them all.

If its fine to say "its a brill oldie mate,i dont have a boot of it ok"  why is it not OK to say "Sorry mate I'd play it if I had it but I just don't have a copy"?

Your logic isn't making any sense to me at least.

Whats happening to your posts, I just keep seeing BR, I think the quotes are going wrong maybe

I think I'm probably worse than the guys who would buy whatever they could, if they had unlimited resources, just to be a 'top DJ'.

I think I would only go for the stuff I want, including some rocking horse rare stuff. But I have no desire what so ever to be a DJ. I'd just want them for myself.

I can see that would annoy the heck out of DJs, who havent got the record tho.

ged trust me pal if i were behind the decks and anybody requested a song i would spin it for them.If i didnt have the song i would apologise and admit to not owning it? not like some dj,s ive asked, who,s fobbed me off on many occasion when ive requestd SWEET THREE / I WOULD IF I COULD not a rare record and amongst my favs. BARBARA AND BRENDA / NEVER LOVE A ROBIN pisses me right off that so many so called oldies dj,s do not have these in there boxes anymore.

Surely every single venue is different; you could go to a venue armed with your 300 ultra-rarities, and nobody will dance...or you could go with a box of pressings and tamla motowns, and ram the floor all night. I think you have to go prepared for all events because if you've never done that venue before, you just don't know the crowd.

Almost exactly right. And a 'Top Norther Soul DJ' in one venue is not in another.

I'd only disagree about being armed for all events, who the promoter is will give you most of what you need to know about the venue I'd suggest even if you've never been to it before. If not you need to do some homework before you go.

Surely every single venue is different; you could go to a venue armed with your 300 ultra-rarities, and nobody will dance...or you could go with a box of pressings and tamla motowns, and ram the floor all night. I think you have to go prepared for all events because if you've never done that venue before, you just don't know the crowd.

This hits the nail on the head Pete.

And maybe thats why most of the 'top DJs' are older?

Its because they have a history of the Northern Soul scene, and the myriad of different tastes, that has shown them that the solution to being a top DJ isnt just owning the current top sounds. It is bringing how ever many years of the changing face of Northern Soul to a function, and entertaining the crowd on their terms, but with the Djs own ..style, or flavour.

One of the many reasons I used to love being at a venue where Richard Searling played, was because he wasnt stuck in one box. And he'd try to bring his whole experience of Soul and Norrthern Soul to the venue. And I think that may be why so many people agree that he is a great DJ to have on at any night.

If Richard was playing to a predominantly standard oldies crowd. I would wager he could still pull out a few surprises that would have them trying to remember the last time they heard that particular song played.

ged trust me pal if i were behind the decks and anybody requested a song i would spin it for them.If i didnt have the song i would apologise and admit to not owning it? not like some dj,s ive asked, who,s fobbed me off on many occasion when ive requestd SWEET THREE / I WOULD IF I COULD not a rare record and amongst my favs. BARBARA AND BRENDA / NEVER LOVE A ROBIN pisses me right off that so many so called oldies dj,s do not have these in there boxes anymore.

If I have a record with me (and the request hasn't come when I have my last record cued up) I'll play it for them. I think we're all like that aren't we?

I've never had a copy of Barbara and Brenda and I don't think the Sweet Three has ever been in my play box so I'be apologising on both counts but if I were to be coming back to the same venue I'd have the Sweet Three in my box next time.

You may feel you're being fobbed off but as I say even in a 300 box you can't have everything and many DJ's wont even take that many for a 1 hour set.

(Oh and just as an aside I don't even know your name so I'd rather you didn't refer to me as pal I find it a bit condescending. )

This hits the nail on the head Pete.

And maybe thats why most of the 'top DJs' are older?

Its because they have a history of the Northern Soul scene, and the myriad of different tastes, that has shown them that the solution to being a top DJ isnt just owning the current top sounds. It is bringing how ever many years of the changing face of Northern Soul to a function, and entertaining the crowd on their terms, but with the Djs own ..style, or flavour.

One of the many reasons I used to love being at a venue where Richard Searling played, was because he wasnt stuck in one box. And he'd try to bring his whole experience of Soul and Norrthern Soul to the venue. And I think that may be why so many people agree that he is a great DJ to have on at any night.

If Richard was playing to a predominantly standard oldies crowd. I would wager he could still pull out a few surprises that would have them trying to remember the last time they heard that particular song played.

It would be interesting for me to see how many DJ's are in the top tier of Northern Soul DJ's, the ones who command the biggest appearance fees, are we talking about a dozen people or maybe two dozen?

Would it be easier once we knew who they were to 'cost' a one hour set that they play to then work out what a 'top tier' set costs to put together? Then from those figures maybe a cost for a play box of 200 or 300 records.

To start from scratch today to build such a collection would take a serious amount of disposable income!

I'd love to have some of my favourite 'big money' records to play out but unfortunately I have very little money and even worse I have zero DJ skills, so I agree with the majority view that seems to be forming in this thread that it's the lack of DJ skills that sorts the 'best from the rest'

bearsy i wont lie to you pal ok? ive only been collecting prob three months at the most? and have had records given me off dj mates who give me there pressings as they replace them for originals.So im not going to disclose figures on here,but friends have been pretty good to me at the mo? you see im not bothered about originals in reality like some of you ? i see its a passion.But in my last collection 27 yrs ago i did pay that little bit more to own TONY MICHAELS / I LOVE THE LIFE I LIVE on golden world yellow issue.STERLING MAGEE /KEEP ON that kinda stuff? and i am only prepared to pay that little bit more for a record if ive got no other choice of owning it.At the moment i am after supertime on a stephanye pressing as im sure you know its actualy total eclipse called 6 ,o clock,no one plays it anymore? im after stuff ive grown up dancing to over the years mate and couldnt care less what its on? its for my own satisfaction...ktf

no worries, point im trying to make is that when (and you will) get even more addicted to buying you will buy some originals and may pay a few quid for them too and maybe not worth £1000s but maybe £100 and then jsut as your about to do your spot and look forward to playing your £100 tune someone in front of you plays it on a £5 boot, thats shit it really is and your hard earned dosh has been diminished into nothing, do what you want and buy what you want and i agree 90% of peeps at most venues dont give a crap about labels and originals etc but a hell of a lot still do and most promoters wont touch a boot playing dj, good luck in your quest for tunes and welcome back to the slippery slope

Surely every single venue is different; you could go to a venue armed with your 300 ultra-rarities, and nobody will dance...or you could go with a box of pressings and tamla motowns, and ram the floor all night. I think you have to go prepared for all events because if you've never done that venue before, you just don't know the crowd.

I really coudnt be arsed hauling round a 300 box, I have a 100 & a 50, but personally I would not agree to DJ at a venue that I didnt think I was suitable for, having said that I try to carry a mix of things in the 100 count box & would only use the 50 count box if I knew the venue & other DJ's on the rosta very well.

I dont think I know anyone that just carries a box of ultra rareities, but what frustrates me is why has the rareity of a record become a down

side ?.....many of the top 500 are huge rareities & that seems to be fine, I think what we are talking about here are records people might not know that they perceive to be rare maybe.

Russ

well said mike,if a dj came to an oldies venue be it any big name dj, and as been around for years so he knows his stuff? during his spot took us down memory lane with the likes of the IKETTES / TWO TIMIN DOUBLE DEALING... HAROLD ANDREWS / SINCE I TALK TO MY BABY...EDIE ROBIN / THERE MUST BE A LOVE SOMEWHERE, I for one would feel well satisfied and more than likely danced me guts out.

I really coudnt be arsed hauling round a 300 boxRuss

It was a figure of speech Russ

It was a figure of speech Russ

Sorry Pete, wasnt being rude, I remember hauling a 300 box round & it was murder .

Russ

Sorry Pete, wasnt being rude, I remember hauling a 300 box round & it was murder .

Russ

Me too, from Hastings to Torquay on the coach then train

well said mike,if a dj came to an oldies venue be it any big name dj, and as been around for years so he knows his stuff? during his spot took us down memory lane with the likes of the IKETTES / TWO TIMIN DOUBLE DEALING... HAROLD ANDREWS / SINCE I TALK TO MY BABY...EDIE ROBIN / THERE MUST BE A LOVE SOMEWHERE, I for one would feel well satisfied and more than likely danced me guts out.

Tommo,you are obsessed with you, and your opinions as to what makes a good night.You seem to think if the dj, wherever you are,plays your requests he's some kind of God,and you dont care if a boot ,pressing etc.But the dj may have principles,may enjoy the chase of building a collection or set that is different from the production line dj's.

Most of your posts are defending the playing of boots instead of orginals.You can build a collection yourself without breaking or robbing the bank - but if you did them you'd become exactly what i suspect you dont like.A dj with principles and integrity.

Edited July 8, 201113 yr by KevH

Who are the top Northern Soul DJ's these days ?

ps. Butch has retired

Who are the top Northern Soul DJ's these days ?

ps. Butch has retired

Not quite.

So I guess Ion Doobhirst wants to take his place ?

Next time you see Dave Abbott tell him you've got a copy of Barnes & Barnes - Fish heads.......

I've got one Paul

Sean gave me a picture disc for me birthday

BEEN DONE A FEW TIMES EH MATE, KNOW SEVERAL OF THE TOP JOCKS AT THE MO AND TEN YEARS AGO THEY WERE NOWHERE TO BE SEEN, IF YOU GOT THE CASH THEN RECORDS WILL COME TO YOU, YOU DON'T HAVE TO GO SEARCHIN FOR EM'

BRI PINCH (STRUGGLIN MID TABLE IN LEAGUE ONE)

ive got one or two mates who have been collecting since the mid 70,s and started off with pressings but have now built healthy all original vinyl collections with great knowledge.Yet again its gonna fall into what taste you have in northern... if you want to hear some dj,s who,s got rare expensive records then go to the venues who caters for this.If you want oldies then go to an oldies venue,as for a dj refusing to play a boot or reissues youre wrong pal! if a punter as requested a song and you have it but not an original, its youre job to spin it for there enjoyment and everybody else to hear or dance.You have been invited to dj at who ever hosts the venue to entertain the punters not youreself?,Thats why probably wanna be dj,s are trying to have a go themselves now, because they might be just that little fed up of dj,s with expensive collections dictating to them what should or shouldnt be spun... another thing the average punter couldnt care less what label the dj as a certain record on or what theyve paid for it? the punter is there to hear sounds they appreciate and have a good time.

it's nothing to do with taste - its to do with where you go...

1) Niters or soul nites trying to attract more than a local crowd

2) local soul nites

If you go to 1 above then your arguement falls down - if the DJ is asked to spin a 45 that they don't have they will not have it weith therm on a boot or pressing!!

If you go to 2) above then boots and pressings are played and good luck to them as long as they keep it local and don't think it gives them the right to DJ anywhere else.

So I guess Ion Doobhirst wants to take his place ?

No chance. Don't have £300K spare unless I win Euromillions tonight........

Ian D

There is a philosophy out there that Northern Soul can come from anywhere, I truly believe in it. I look up and have the up most respect for all experienced DJs and am a very good listener. Some experienced DJ's recommend to filter in a couple of Newies in a set, and some DJ's recommend you play a couple of select Oldies in a set. Doesn't make any sense I know, my philosophy is now is play half select Oldies, half Newies and as many records in your possession that are not listed in any guides, and that you as a DJ like! This can work out cheaper than buying records that have just peeked on the dance floor and are on the way down and will de-value.

Edited July 8, 201113 yr by soulmaguk

No chance. Don't have £300K spare unless I win Euromillions tonight........

Ian D

Ah ok , I might do that tonight . Ive always wanted to be a Northern soul Dj but could never afford it .

I was going through my records last night ready for a set this Saturday at Subway Soul, Lower Marsh, Waterloo . I always have thought I have in comparison no records of substance when I think about my DJ heros - Clarkey, Guy, Keb come to mind in particular.

However I then realise I can fill several boxes a few times over with so called rare tracks, some of which I got from you Ian many moons ago when you lived in Croydon

To be honest I think there different types of DJs and if I may use Keb and Guy as examples (which I hope they won't mind and if they are on here please correct any shortcomings in my synopsis).

Keb at his Northern DJ heights, probably never had more than 50 records in his box, and probably didn't have a pile much bigger back in his flat. That said if you looked at those 50 - they would have all been covered up, some would be studio discs - peanut duck etc. Keb has often been considered the DJ's DJ with a focus on turning over, but never actually retaining the tracks he made big - he simply couldn't afford to do both that and keep fresh sounds moving on. And I suspect most people couldn't unless they had a very wealthy background.

But it was this real focus and reputation which meant sometimes dealers, collectors or even other DJs might just loan Keb a record so he could make it big. It was all about the dance floor (as it still is).

Guy on the other hand is the Collectors DJ (IMO). I wouldn't like to go into a debate on Guy's overall knowledge but it was/is vast backed up by owning the cream of rare Northern tracks that he had amassed in collection that use to make me tremble with excitement when I saw them . In many ways Guy had much more flexibility to change sets than Keb but unless you happened to have the chance to go back in time and visit US record stores (pre-record price lists) then you would find it very difficult to get the 300-400 rare box that is being talked about above at a buck a piece (as I was often lucky to ).

I was reading a copy of Blues and Soul last night and the David Godin column from 1971. He mentioned how he would get really angry letters from people, including a guy who was really upset with him because Bobby Hebb Love Love Love had just been re-released on polygram and devalued his Philips original . When you think now of the impact of published price lists, greater availability to hear rare soul through CD comps it is very difficult to understand what a Top Northern DJ should really be nowadays. But I think they would include:

- Passionate. Lives and breaths the scene.

- Someone recognised for having great taste - so it doens't matter if they play a £5 Motown record or £5000 rareity.

- A focus on the dancefloor

- GSOH and a personality

- Someone with good contacts across the scene - collectors, dealers, backroom boys, access to studio vaults (Holy Grails)

A lot of these things (in various proportions) take time and a bit of luck, but these in my mind make a Northern DJ who stands the test of time. So can you rock up with a wodge of cash and buy a spot - possibly, but will you get respect and a reputation from scratch. I doubt it.

Hope you are well Ian.