I started a bit of a bitching seesion when I commented on this in another thread ..... and got told off for changing the topic :o

so I thought maybe it would be better here.

I was commenting on the over use of the microphone by DJ's. Often the DJ is shouting through the mic so you can't really hear what they're saying or what comes out is that muffled .... you still can't hear.

I personally prefer DJ's to let the music talk and concentrate on decent cuing in and selecting decent tracks ......... which is what we try to do down here in the deep south

I wondered exactly how much you need to hear about each record and how often you needed to hear it. It was suggested that the mic was a bit old hat too .......... I certainly find that younger crowds are a little shocked when confronted with a DJ on a mic these days ...... reminds them of a wedding reception perhaps.

I say .... keep the mic for announcing the meat raffle .... what say you???

My fave is on a tape I made at Stafford.

Keb says  ' Here's the Delcos' plays the opening bars and says

'And thats the title'

Total quality.

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You could understand what Keb was saying??

Took me 20 years, but I'm sure thats what he said...well kinda sure....well, Oh I dunno, perhaps thats what i hope he said

You could understand what Keb was saying??

link

I;ve never seen Keb in a hat before, when was the picture you use as your avatar taken?

I;ve never seen Keb in a hat before, when was the picture you use as your avatar taken?

link

In his dreams Keb wishes he looked like Andy especially when he was in the Magnificent 7 - did you know they sang keep on climbing???

John

Shall we dance tra la la laaa......................

I used the mic when I was on at Prestwich (I can sing too if it helps?)

My opinion is: if you've got a decent voice and something worthwhile to say every now and then about a lesser-known record, go for it. The collectors want to know and the punters need a little bringing along as well. Information about values, etc. is something the hardcore collectors can ask the DJ themselves. The truly hardcore collectors most likely will know anyway. At the LA Weekender, I only came up to the stage twice the whole weekend to see what record was being played.

Too much talking can ruin it, though. I have a recording of an allnighter in Peterborough from 1981 that my friend Nigel recorded. The DJ was a guy named Sean Burke who was a geezer even back then. His introductions were so terrible that we like to quote a few of them every so often just for laughs. ("eer's one frum li'il dionnnn!" that's my personal fave)

I will say this: at the weekender in LA, Sean Chapman was excellent. He added so much energy to the room and had the balls to play "The Love I Lost" by Harold Melvin & the Blue Notes and introduce it in such a way to hold everyone's interest and get them on the floor. When you can take such a piss-easy record like that and play it successfully in the context of a northern do, that's gotta take talent. I was also glad to see that I wasn't the only one that danced during my sets. I have been doing that for years in Baltimore and that was the first time I saw someone else doing the same. Terry Davies was also good at keeping things upbeat. I haven't seen or heard too many northern DJs, but I stand my ground that Richard Searling is tops in my book as truly being a class act and being an all-around great DJ and personality. Ady Croasdell dropping a needle on "Baby I Need Your Lovin'" by the Four Tops a great example of timing, taste, and building up an amazing repore with the audience to give that record more dimension. Classy indeed.

I have a decent amount of radio and DJing experience, and a lot of people have told me that I have a great voice, but I have to admit that I'd feel weird introducing northern records and talking them up in the same style, just by virtue of sounding American. Even though I am from the US, hearing an American voice introducing records at a northern do would be like fingernails across a chalk board. I'm also 32 and a non-smoker, so I don't have that classic gruff, you know? Plus, in the states, we don't talk between the records and more mixing is going on. My policy: the Brits made the scene so let 'em do their job. I'm a northern soul fan/expert of 13 years, I am a DJ of 20 years and a record collector of 26 years, but I prefer to come to the do strictly as a punter and a dancer. And I'm there to dance and hear music. But a little talk in between is cool with me once and a while.

SIDE NOTE: Maybe another topic (Mike?)

One thing I would like to know though...how do Brits feel on the whole about a really well-put together seamless mix of northern soul? I have a history of doing northern mixes for years and when I select records to play or when I comp up a CD, tempo is extremely important to me. How important is it to the average northern soul fan from the UK? Are you just going song-by-song or looking at the progression of a set as a whole? There is an art to building a nice set (and doing a nice comp) in my opinion. What do you all think?

KTF

Jason

My policy: the Brits made the scene

Jason

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I think a large number of American Musicians & Singers, played a part in it as well!

SIDE NOTE: Maybe another topic (Mike?)

One thing I would like to know though...how do Brits feel on the whole about a really well-put together seamless mix of northern soul? I have a history of doing northern mixes for years and when I select records to play or when I comp up a CD, tempo is extremely important to me. How important is it to the average northern soul fan from the UK? Are you just going song-by-song or looking at the progression of a set as a whole? There is an art to building a nice set (and doing a nice comp) in my opinion. What do you all think?

KTF

Jason

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Some good points there Jason and you have picked out two of the best as far as mic technique go (IMO i hasten to add) not sure about the Ady reference though i presume you meant at another venue/event? Although Ady is another master when it comes to slipping in a seemingly obvious but underplayed classic at just the perfect moment.

Your other point about a mix of sounds on a tape or CD, do you actually mean a mix in the true sense of the word as in beat mixing the tracks so as to leave so dead space of the tape? If so then i expect you would find that most Soul fans would recoil in horror at the mere thought myself included but if you mean a well thought out selection that presents the tunes in the best possible way then that is different.

John

I will say this: at the weekender in LA, Sean Chapman was excellent. He added so much energy to the room and had the balls to play "The Love I Lost" by Harold Melvin & the Blue Notes and introduce it in such a way to hold everyone's interest and get them on the floor. When you can take such a piss-easy record like that and play it successfully in the context of a northern do, that's gotta take talent. I was also glad to see that I wasn't the only one that danced during my sets. I have been doing that for years in Baltimore and that was the first time I saw someone else doing the same. KTF

Jason

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Jason

If you get the chance, go and see Derek Allen DJ. There is a guy who absolutely loves the records he is playing. I could watch him for hours. Not onlydoes he dance to most of the songs he plays he sings along at the top of his voice, plays 99% of the drum beats, and smiles like a Cheshire cat.

My tip to anyone trying to introduce anyone to the NS scene, take them to their first do where Derek is playing. If that enthusiasm doesnt rub off, they are a lost cause anyway.

Edited October 13, 200420 yr by in town Mikey

"i wonder though , would a room full of dancers want to know ? or is it the collectors who want to know ..."

last orders for a start, a warning that an Al Jolson tune was on the way

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next time i'm dj'ing anywhere you are frank i'll play it ...intro and all , you'll love it mate crackin tune .

anyone who agrees please back me up barbara banks "sonny boy"

Davie