Concider the possibillities...

there are the djs who really care about the dancers on the dance floor and are the good guys and down to earth and there are the djs who are prima donnas who think the dancers should be greatful for the opportunity to be entertained by these self styled Gods.... We see the up and coming djs who want to give their best shot for what-ever reason that motivates them ... And the djs who educate(?) the dancers to what the dj thinks the dancers should dance to... Now.. what if there were to be some kind of 'face off', some national contest to pitt the djs against each other and marked on points such as flow of music.. the number of dancers on the floor... originality of their spot... etc.. Who would host the contest? Would this influence the outcome? Should the djs be ranked? Would the prima donnas shit themselves when reality kicks in and the 'public' have their say? How many would have the balls to attend???? What other catagories could they be judged on (?) do you have any ideas yourself? Who would you suggest be on the panel of judges.. and would their 'position' be fair to warrent them to be awarded a position on the panel?

Wouldn't the competition be interesting on so many levels?

What do you think.. would the scene benefit?

Enjoy the thought provoking issue and feel free to comment if you feel this topic has any merit... what if....

Jesus christ you open a thread titled top dj or flop dj , you then gotta expect top names to be mentioned in the equation,see i don't hero worship or use the words prima -donna's or priveliged, before i wrote the reply i tried to think of other names to use as examples of top dj's -well whadya know i couldn't think of any who really match the criterea.you mention about having the big records -anyone worth there salt makes records big not buys big records,on a tangeant when i first played robert tanner 1 person danced ' arthur fenn' cos he'd heard it before,it took nearly 5 years to break that record,even the bolita woods c/up took a fair old time with a few of us playing it.

there's nothing priveliged about ownership of certain playbox's that's a insult to any dj and as for saying leftovers ..everyone has arms ,legs and eyes to go and look for records don't they ?

of course no one owns our scene agreed,you mention chosen few ,well aren't they chosen by the promoters to give the paying customer value for money instead of being short changed by sub standard dj's who can't dj ? all this said i do know where you are coming from in a way with your original idea and agree..

Although I agree with most of what you've said, it's worth bearing in mind that it's about a million times easier to eventually break a record If you're already a respected name. It's been proven time and time again. People assume unknown records are going to be good if it's a respected DJ playing it. They trust your judegement based on your reputation rather than based on them listening to each record you play and judge it on its own merit as they are more likely to do with someone who's lesser known / younger or just starting out DJ'ing.

Jayne.x

Although I agree with most of what you've said, it's worth bearing in mind that it's about a million times easier to eventually break a record If you're already a respected name. It's been proven time and time again. People assume unknown records are going to be good if it's a respected DJ playing it. They trust your judegement based on your reputation rather than based on them listening to each record you play and judge it on its own merit as they are more likely to do with someone who's lesser known / younger or just starting out DJ'ing.

Jayne.x

That's a good point Jayne...would be nigh impossible to 'Break' a record if you don't have the audience...at least an audience big enough to make an impact and get people talking...when you are a big DJ it must be far easier to throw new stuff out there AND be respected for it...the lesser DJs would struggle to command such listening time from punters and recognition for records they might have found for that matter.

Hell Joan if you haven't clapped your ears round Martha Jean Love - Old Time Lover, then I'd book your ticket to London for the next 100 Club niter now!!! And the flip is just as essential listening.

The problem a lot of other DJ's find with Butch is that he has records no-one will ever be able to own. Unissued acetates that aren't just rare (obviously), but exude distinct quality too. Same with Ady C. It's an enviable position to be in, but one they've fought tooth and nail to attain.

Yes have heard it Matt - but once again I'm sorry to say - it just doesn't do for me what the Parliaments did.

I guess that's the thing, personal taste. What some may consider essential listening others may not.

Why on earth would anyone have a problem with someone else having records that they will never be able to own? Jeez, do you really know people like that?

That's a good point Jayne...would be nigh impossible to 'Break' a record if you don't have the audience...at least an audience big enough to make an impact and get people talking...when you are a big DJ it must be far easier to throw new stuff out there AND be respected for it...the lesser DJs would struggle to command such listening time from punters and recognition for records they might have found for that matter.

Thing is the 'big name DJs' actually went out and earned their big names. Simple as that. All this talk of 'personality", DJ skills, mic technique, creating a flowing set, etc etc is a red herring. The best DJs on this scene are the ones that play the best records. Sure, there are people who get away with playing average 45s due to their personalities and brash mic technique but the real top people are the ones with the right records. Everything else is a red herring, usually brought into the equation by people who WANT to be a DJ but ain't got the right tackle. Sure, you've got to be able to have the nouse to put the records on the turntable correctly, and be able to put them in some sort of order, but it ain't rocket science is it. It's the records that are the meat of the main course, all the rest is just the vegetables.

It is of course easier to break a new record if you've already got an audience that trust your judgement. But that doesn't come overnight does it? It takes time and effort to source the 45s in the first place. Too many 'DJs' and not enough 'sourcers of 45s' . To really be at the top, you need to be both. Otherwise you're simply playing records found by other people. Which is what most do. At least that's how I see it.

Why on earth would anyone have a problem with someone else having records that they will never be able to own? Jeez, do you really know people like that?

Agreed...I think it is completely pointless being jealous of anothers records...there are plenty of fantastic records out there that are well within most peoples reach

Thing is the 'big name DJs' actually went out and earned their big names. Simple as that.

You're absolutely spot on there Dave...but do you think that the same opportunities exist now for the new DJs coming through to break into the 'Big' circle?

This is a genuine question as i'm not sure of the background of the likes of Butch...but I assume he has been reasonably big for a reasonably long time?

Just saying Mr D lets put it to the public in a light-hearted fashion and in a manner where everyone who wants to dj gets a chance to 'showcase' themselves.. aiming for the 'top' is healthy.... I don't want to see torch carrying lynch mobs baying for the blood of so-called big djs... no.. but lesser named(?) djs could one day reach that height possibly and lets face it, one day we're gonna need them when 'big names' hang up their record box padlocks and dust rags.... who's gonna play to the crowd then? I'm not attacking you Mr D, you put some valid points across, I just wanted to see if anybody else thought this addition to a weekender, possibly, was worth thinking about like the dj dance offs Adey puts on at Cleethorpes...brill idea and people get entertainment too. This goes one step further where all djs who partisipate have some fun too AND the 'lower' ranks get 'shocased' which could result in bookings so everyones' happy......

Yes have heard it Matt - but once again I'm sorry to say - it just doesn't do for me what the Parliaments did.

I guess that's the thing, personal taste. What some may consider essential listening others may not.

Why on earth would anyone have a problem with someone else having records that they will never be able to own? Jeez, do you really know people like that?

Indeed. Horses for courses. That's why no-one will ever be happy with such an idea.

Of course I do. I know two off the top of my head. Both two of the biggest DJ's on the scene. You likely know them too. Perhaps it's a male ego thing?

Agreed...I think it is completely pointless being jealous of anothers records...there are plenty of fantastic records out there that are well within most peoples reach

Hi Beeks. I feel you're slightly off the mark here. The 'big name' DJ's (even collectors) we're talking about here already own most, if not all, of the 'fantastic records'. The most elusive ones are the ones to be most envious about. And in all credit to the DJ's themselves they've done their best to ensure that they aren't within most people's reach. To own anyway.

Edited September 30, 200816 yr by mattbolton

Indeed. Horses for courses. That's why no-one will ever be happy with such an idea.

Of course I do. I know two off the top of my head. Both two of the biggest DJ's on the scene. You likely know them too. Perhaps it's a male ego thing?

I'd say it's most definitely a male ego thing. Record collecting is run on testosterone!

Thank God for girls that's what I say, otherwise the dancefloor would be all but empty!

How many D.J.'s or "budding" D.J.'s even on the "cutting edge" are attempting to break any new tunes. The only "fix" I get, for listening to something fresh and exciting, is listening to the likes of Butch, Andy Dyson, or very rarely, digging through boxes of odd 45's in the U.S. I'm sure that in a set of 25 records there is room for 1 tune that is GENUINELY different!!

Des Parker

Des

One man's new tune is another man's oldie. Played Willie Feaster at Hitchin Friday - it cleared the floor. I remember hearing Butch play it last year at Lifeline and it packed the floor.

As Andy has said very hard to break new tunes these days, especially at soul nights, but we should all keep persevering.

Hi Beeks. I feel you're slightly off the mark here. The 'big name' DJ's (even collectors) we're talking about here already own most, if not all, of the 'fantastic records'. The most elusive ones are the ones to be most envious about. And in all credit to the DJ's themselves they've done their best to ensure that they aren't within most people's reach. To own anyway.

I know what you're saying...but these DJs were not always famous...they must have gone out and hunted vinyl with the rest of us mere mortals...surely not EVERY record out there has been discovered...just takes a little crate digging and effort...i'll never be envious of anyone...never have been...i've found some belting records within my budget...and the ones that I love that are astronomically priced(And there are a few) I'll just listen to them on my MP3...not particularly fussed if I never get to play them out...and who knows...maybe the records you own will appreciate in value in a few years time...you might be able to purchase those big tunes you covet

Maybe you are right about that Many play/played Joe Jama, the first two though were Tim Brown and Butch. I believe Butch was a tad faster LOL . Again it was indeed Mark who put the countries (your country) top DJ`s on Ellipsis. Even Keb started playing it only just after Butch.

Marc

Ellipsis played first by Keb early to mid eighties then onto Butch.

Thing is the 'big name DJs' actually went out and earned their big names. Simple as that. All this talk of 'personality", DJ skills, mic technique, creating a flowing set, etc etc is a red herring. The best DJs on this scene are the ones that play the best records. Sure, there are people who get away with playing average 45s due to their personalities and brash mic technique but the real top people are the ones with the right records. Everything else is a red herring, usually brought into the equation by people who WANT to be a DJ but ain't got the right tackle. Sure, you've got to be able to have the nouse to put the records on the turntable correctly, and be able to put them in some sort of order, but it ain't rocket science is it. It's the records that are the meat of the main course, all the rest is just the vegetables.

It is of course easier to break a new record if you've already got an audience that trust your judgement. But that doesn't come overnight does it? It takes time and effort to source the 45s in the first place. Too many 'DJs' and not enough 'sourcers of 45s' . To really be at the top, you need to be both. Otherwise you're simply playing records found by other people. Which is what most do. At least that's how I see it.

Yeh, I guess so.. I dont believe today's 'big name DJ's' were born 'big name's'.. good point, it is easy to forget that the guys who are looked upto today were once starting out too. Is the answer to just keep plugging away and when you get THE right tune, it'll happen for you?.. if it doesn't, well you might be committed but you're just not that good?..

bugger - you've made me question my opinion here Dave ...well, that'll give me something to debate with friends in the wee hours at Winsford alniter.. lol

I shall give this some thought... (better than doing month end stuff this afternoon anyway)

Jayne.x

Indeed. Horses for courses. That's why no-one will ever be happy with such an idea.

Of course I do. I know two off the top of my head. Both two of the biggest DJ's on the scene. You likely know them too. Perhaps it's a male ego thing?

think you've hit the nail on the head there m'love,

(btw - heard the Mark Lamarr interview & loved the tracks. Took me about 10 mins to realise it was you and Anna.

(Even stayied sat in the car at some rediculous hour to hear it all!!)

Jayne.x.

Des

One man's new tune is another man's oldie. Played Willie Feaster at Hitchin Friday - it cleared the floor. I remember hearing Butch play it last year at Lifeline and it packed the floor.

As Andy has said very hard to break new tunes these days, especially at soul nights, but we should all keep persevering.

Good point this Steve.

Sad thing is, for a lot of people it isn't about the record, it's about who's playing it.

A DJ such as yourself could be playing a record for years without people taking much notice, but as soon as someone like Butch starts playing it... WHOO HOO!

WTF's that all about?

Thank God for girls that's what I say, otherwise the dancefloor would be all but empty!

=====================================================================

Them bloody handbags i,m sick of trippin over them

This whole topic is a bit of a red herring. I think the original poster was making a point about their own preferences with regards to 'oldies' on the one hand and 'rare newies' on the other. Simple fact is that the best deejays can play to any crowd in any kind of venue and still entertain, but crucially, can do it on their own terms. If they wanted to I'm sure any of the pre-eminent nighter deejays could play the very best set of Northern Oldies that anyone at (insert the name of your local workie) had ever heard. These guys tend to have collections that embrace all of Northern Soul history and would have all the classics of the past as a matter of course.

Making the transition the other way round, from local soul evening oldies deejay to upfront 'nighter jock is not such an easy journey.

Good point this Steve.

Sad thing is, for a lot of people it isn't about the record, it's about who's playing it.

A DJ such as yourself could be playing a record for years without people taking much notice, but as soon as someone like Butch starts playing it... WHOO HOO!

WTF's that all about?

Im sure Steve bought that Willie Feaster just in front of me a few months ago

Im sure Steve bought that Willie Feaster just in front of me a few months ago

Yes that is true, but it is also not the point Simon.

The point was it is v hard to break new stuff at soul nights these days.

think you've hit the nail on the head there m'love,

(btw - heard the Mark Lamarr interview & loved the tracks. Took me about 10 mins to realise it was you and Anna.

(Even stayied sat in the car at some rediculous hour to hear it all!!)

Jayne.x.

Bless ya. Cheers love! I did the same. Shame he slotted lots of country in between. We were well happy with the harp! x

These guys tend to have collections that embrace all of Northern Soul history and would have all the classics of the past as a matter of course.

That brings up another interesting point...DJ's that are much younger and have no history of attending the Wigans/etc...they have a completely fresh ear to all the sounds and therefore cannot be swayed by trends? Surely they will be more inclined to base their purchases solely on the quality of the record and not it's past plays.

Im sure Steve bought that Willie Feaster just in front of me a few months ago

What Willie Feaster ?

Yes that is true, but it is also not the point Simon.

The point was it is v hard to break new stuff at soul nights these days.

Oh yeah I totally agree Steve ! and some of the posts from Joan kinda prove that!

What Willie Feaster ?

"Voices" I presume

I'd say it's most definitely a male ego thing. Record collecting is run on testosterone!

Thank God for girls that's what I say, otherwise the dancefloor would be all but empty!

Correct Joan...plenty testosterone involved, almost ape-like at times.

Them bloody handbags i,m sick of trippin over them

I know Ian, its a bugger when you have to walk past the dance floor to get to the business end

I know what you're saying...but these DJs were not always famous...they must have gone out and hunted vinyl with the rest of us mere mortals...surely not EVERY record out there has been discovered...just takes a little crate digging and effort...i'll never be envious of anyone...never have been...i've found some belting records within my budget...and the ones that I love that are astronomically priced(And there are a few) I'll just listen to them on my MP3...not particularly fussed if I never get to play them out...and who knows...maybe the records you own will appreciate in value in a few years time...you might be able to purchase those big tunes you covet

Though you might have found some great 'records within your budget', I presume, like myself, that you're not in possession of a multitude of big hitting records like Mr Soul or Cody Bryant? The difference is that you're not competing in the higher echelons of DJing/collecting. You can't really mention your own acceptance of owning the tracks on MP3 and being 'not particularly fussed' as a case against a big money, competitive and genuinely rare collecting ethos where settling for an MP3 is just not an option.

That brings up another interesting point...DJ's that are much younger and have no history of attending the Wigans/etc...they have a completely fresh ear to all the sounds and therefore cannot be swayed by trends? Surely they will be more inclined to base their purchases solely on the quality of the record and not it's past plays.

That is a potentially interesting point. The best weapon the scene will always have at its disposal in gathering new devotees will be the quality of the music, from whatever era. Simple fact is that I don't think anyone is playing sets comprised of completely brand new discoveries any more. Many currently big records are revivals of underplayed sides from the past, or records that might have gained a degree of notoriety on other scenes. A depth and a breadth of knowledge is vital in keeping ahead of the pack. That knowledge is hard earned and could never be bought with money.

I envy anyone joining the scene now. Imagine having forty years of incredible music to discover as a listener. Wanting to collect some of it would be a joy. Wanting to deejay with it after just joining the scene is fraught with pitfalls, if you ask me: should anyone be spending huge swathes of cash on current newies until they've got their hands on a Mel Britt, an Eddie Parker, a Salvadors or a Mikki Farrow? It is this factor which means that it's going to be increasingly difficult for younger deejays to break into the whole thing.

It's not that there is a conspiracy against them or that it is a closed shop, it's just that to jump into the race after it's been running for forty years would be financially impossible. I think aspects of this scene are actually very welcoming to new blood. Ask Matt Bolton. If they come in with the right attitude there is definitely a place for younger people.

I reckon the best chance for the youngsters to become DJ's would be if your parent was / is a top collector or a DJ at the moment , you'd have it made wouldn't you ? Providing they'd lend you the records of course !! Wonder if this'll ever happen ? Best,Eddie

I reckon the best chance for the youngsters to become DJ's would be if your parent was / is a top collector or a DJ at the moment , you'd have it made wouldn't you ? Providing they'd lend you the records of course !! Wonder if this'll ever happen ? Best,Eddie

Giles Peterson inherited a Jazz/Latin collection and he did quite well

Yes that is true, but it is also not the point Simon.

The point was it is v hard to break new stuff at soul nights these days.

In some places you can't even get away with older stuff if the majority have never heard it out before let alone something that 'no one' as ever heard out before.

Giles Peterson inherited a Jazz/Latin collection and he did quite well

I didn't know that Simon , off his parents ? Best,Eddie

That brings up another interesting point...DJ's that are much younger and have no history of attending the Wigans/etc...they have a completely fresh ear to all the sounds and therefore cannot be swayed by trends? Surely they will be more inclined to base their purchases solely on the quality of the record and not it's past plays.

I agree with you to a fault here. Almost. I can play The Snake to 400 young people a week and go mental for it, though they don't have the same insight as we do. So even though it might be a corker of a record, we always have to look at things within a wider context, though of course this is no reason not to spin it!

It's a very exciting and fresh sense of naivity if i can express it that way? I remember feeling the same way about 'Better Use Your Head' at the old Blackburn KGH nights as a youngster. It blew my head off. In retrospect it was a very common record.

What's most exciting is playing a record that you know to be a great tune but have never heard out yourself.'Geni' did that for me.

Anyway, I'm getting slightly off topic.

x

I didn't know that Simon , off his parents ? Best,Eddie

Someone in his family yeah . I went to his first gig ( somewhere in Richmond early 80's) as some mates were at the Uni near there .

Edited September 30, 200816 yr by Simon M

not quite inherited, but later on he got/bought the DJ Paul Murphy's collection AFAIK

https://www.discogs.com/artist/Paul+Murphy

Edited September 30, 200816 yr by michael-j

Just saying Mr D lets put it to the public in a light-hearted fashion and in a manner where everyone who wants to dj gets a chance to 'showcase' themselves.. aiming for the 'top' is healthy.... I don't want to see torch carrying lynch mobs baying for the blood of so-called big djs... no.. but lesser named(?) djs could one day reach that height possibly and lets face it, one day we're gonna need them when 'big names' hang up their record box padlocks and dust rags.... who's gonna play to the crowd then? I'm not attacking you Mr D, you put some valid points across, I just wanted to see if anybody else thought this addition to a weekender, possibly, was worth thinking about like the dj dance offs Adey puts on at Cleethorpes...brill idea and people get entertainment too. This goes one step further where all djs who partisipate have some fun too AND the 'lower' ranks get 'shocased' which could result in bookings so everyones' happy......

I know your basic idea's are for the good of the scene ,probably best ways to get up and comers is at weekenders like cleethorpes etc.. in the small rooms and let em loose infact adey does just this and at lifeline we do in the daytime sessions, but it has to be took on board as a promoter there is a element of aprehension in giving someone with little experience a peak time set cos a hour is a long time up there if things start to go pear shaped the net result can be the ruining of a whole night (folk seem to remember the bad rather than the positives !

All that said really dj'ing is a thankless task with very little if any rewards,infact as many of these threads prove you put yourself right in the firing line whatever decisions you make .let's not forget though the true characters have a hard shell and have the experience and balls to shake it off and stand proud.. and also have the foresight to realise that if they're not cutting the mustard step down.

Though you might have found some great 'records within your budget', I presume, like myself, that you're not in possession of a multitude of big hitting records like Mr Soul or Cody Bryant? The difference is that you're not competing in the higher echelons of DJing/collecting. You can't really mention your own acceptance of owning the tracks on MP3 and being 'not particularly fussed' as a case against a big money, competitive and genuinely rare collecting ethos where settling for an MP3 is just not an option.

You are correct...I own nothing over £250 book price...but then it comes down to that old adage I find most confusing on this scene...the whole perspective that RARE=GOOD which in my opinion is well wide of the mark...dont get me wrong there are belters out there worth a fortune...some of my personal faves...Professionals/Four Apollos/Ruby etc are records id gladly part with serious money for if I had such a bank balance...but putting it into perspective...you get your say £50 records that are seriously underplayed which in my opinion are 'musically' just as fantastic...these records are not your Al Wilsons or your student fodder...but genuinely class records...and im sure that if you look hard enough you will find records largely ignored by the scene due to the fact they are not particualarly rare or the right DJs are not playing them...

As for the MP3 thing...thats purely for my own listening pleasure on the way to work...im not a collector...im a DJ and i'm realistic enough to know I will never get all the wants on my list...so for my own personal use im quite happy to have my biggies on any medium

Really good thread this keep it going folks,interesting point to note on a collectors driven scene is why arnt record collectors the ones that are respected and put on so called pedastal? Who would want to be a dj agree with that point cant think of anything good about it other than the joy of discovering a really good tune and getting regognition from like minded people!

oh just answered my own question collectors arnt respected because their are sad bastards with no money and visa bills the size of the reserve butter montain who were anoraks or in my case fake prada

BAZ A.

PS JUST FOUND OUT CONGRESS ARNT BACKING THE PLANS TO SHELL OUT WALL STREET THAT 40 BILLION WOULD BE HANDY PAYING MY VISA BILL!!!

im not a collector...im a DJ and i'm realistic enough to know I will never get all the wants on my list...so for my own personal use im quite happy to have my biggies on any medium

Beeks, see my comments above. I think the rare soul scene is a pretty tough place to pitch up and declare "I AM A DJ" without having years of hard experience in buying and collecting the tools of the trade, because here the music matters. I'm not talking about the local, nostalgia-based event, but the standard-setting coal face where it's always mattered; the upfront allnighter.

It's a meritocracy: if you're good enough you'll get bookings and if you do the business you'll keep getting booked. You seem to want to present a picture of some 'star-chamber' of ancient, balding men whose agenda is to preserve their power at any cost and exclude younger people from having a place at the top table.

i keep getting confused as to which thread im reading !....top/flop dj underated dj ??....

basically top/flop is always only ever gonna be down to personal opinion....someone who fills the floor or someone who plays underplayed/new discoveries ?...cos im my experience as a punter (sorry)there is still a BIG majority of dancers who walk on and off the floor depending on if they know the tune or not ,not even giving an unknown a chance....and that is whoever is playing the tune....im not gonna name venues or djs but i have found myself one of only a handful of people on the floor at various soul nites only to suddenly have no room when a top 500 tune comes on...and none of us are gonna name anyone we think is a flop anymore than name bootleg venues in past threads are we...were all far too nice ....

i think on the whole soulsourcers WHO POST are more in the new discovery group BUT although there are many members we are a very small part of the scene as a whole...

most unknown djs only get the chance to play at local dos who have the same faces in the crowd...dont get me wrong these are great nites and personally i'll never turn down the chance of playing anywhere im asked ...but it would be nice to see some unknown names alongside the big djs on the flyers of the nites who are gaurenteed big crowds from ALL over the country...IMO the only way they could 'break into the scene'...

the whole perspective that RARE=GOOD which in my opinion is well wide of the mark

I think this is one of those soul scene myths - that anyone exists that actually believes that rare = good. It does add to the 'mystique' surrounding a good tune though if it's hard to find, it means that you have to put in some work if you want to find it for yourself, or travel to see a particular DJ if you want to hear it out.

I think this is one of those soul scene myths - that anyone exists that actually believes that rare = good. It does add to the 'mystique' surrounding a good tune though if it's hard to find, it means that you have to put in some work if you want to find it for yourself, or travel to see a particular DJ if you want to hear it out.

yes !....just as it should be....i have a dilemma this weekend two good nights in my area....one may have more people but the other has a dj i know will play a couple of great tunes that i have not heard ANYWHERE else and are not even in manships guide or website so i cant even hear little bit !!

Beeks, see my comments above. I think the rare soul scene is a pretty tough place to pitch up and declare "I AM A DJ"

It's not a statement to impress Gareth...and if it came across like that I apologise...but I have been behind the turntables semi professionally for over half of my life so it's not just a flippant comment it's one I feel I am entitled to make...and going back to a previous post i've made it seems that around these parts anyone with 20 records or more thinks they can get behind the decks...ok granted...My DJ experience has not been on this scene...but iv've been playing Soul music for a very long time in bars and clubs and I think eventually...and I concur it will take time and effort...i'd like to think I can get a dancefloor moving round these parts

not quite inherited, but later on he got/bought the DJ Paul Murphy's collection AFAIK

https://www.discogs.com/artist/Paul+Murphy

He did seem to have more pocket money too!!

That brings up another interesting point...DJ's that are much younger and have no history of attending the Wigans/etc...they have a completely fresh ear to all the sounds and therefore cannot be swayed by trends? Surely they will be more inclined to base their purchases solely on the quality of the record and not it's past plays.

Damn interesting point..... lots of credability in that one..

How many D.J.'s or "budding" D.J.'s even on the "cutting edge" are attempting to break any new tunes. The only "fix" I get, for listening to something fresh and exciting, is listening to the likes of Butch, Andy Dyson, or very rarely, digging through boxes of odd 45's in the U.S. I'm sure that in a set of 25 records there is room for 1 tune that is GENUINELY different!!

Des Parker

Des try Dudley club this friday

I reckon the best chance for the youngsters to become DJ's would be if your parent was / is a top collector or a DJ at the moment , you'd have it made wouldn't you ? Providing they'd lend you the records of course !! Wonder if this'll ever happen ? Best,Eddie

Sean Livesey springs to mind. .......Although he's been buying his own OVO since he was about 14. He didn't actually take his dad's records out as his own, He knew what he was buying as his dad was a collector / DJ (and he learned an awful lot from Neil Jones, Kev Murphy etc).

Jayne.

Edited September 30, 200816 yr by Miss BurySoul

It's not a statement to impress Gareth...and if it came across like that I apologise...but I have been behind the turntables semi professionally for over half of my life so it's not just a flippant comment it's one I feel I am entitled to make...and going back to a previous post i've made it seems that around these parts anyone with 20 records or more thinks they can get behind the decks...ok granted...My DJ experience has not been on this scene...but iv've been playing Soul music for a very long time in bars and clubs and I think eventually...and I concur it will take time and effort...i'd like to think I can get a dancefloor moving round these parts

Playing general soul music and northern soul are two different fields altogether. As Gareth says you can't just pitch up on this scene, say you are a dj in another life, it will not wash on this scene what you've done elsewhere, promoters and punters alike don't care for other scenes or what others have done in their lives. Your statement about anyone around your parts with 20 records etc can get behind the decks, well are you not in that group also? Some of those with 20 records or more have probably got more experience and knowledge than you have of this scene, been around longer and therefore maybe warrant a shot ahead of newcomers like yourself. As I said what you have done elsewhere counts for nothing on the rare/northern (whatever you want to call it) soul scene.

That brings up another interesting point...DJ's that are much younger and have no history of attending the Wigans/etc...they have a completely fresh ear to all the sounds and therefore cannot be swayed by trends? Surely they will be more inclined to base their purchases solely on the quality of the record and not it's past plays.

Up to a point I agree but experience and what's gone before counts for a lot. I don't know many young DJ's who have something fresh to offer, something that hasn't already gone before. I've heard some young DJ's, 17/18 years old or so and all they play are oldies, influenced by their parents and the venues their parents took them too. Granted not all young DJ's are like this but the majority that I've heard are and they bring nothing new tro the table I'm afraid in many cases.