Surprised this hasn't been mentioned here...

Surprised this hasn't been mentioned here...

Think this might be the CD retail outlet attached to Anglo American

Lenny

Isnt this company owned by K roberts..

Edited March 3, 200916 yr by biggray1

Surprised this hasn't been mentioned here...

anglo american(manchester) and (one stop) are still trading though

Isnt this company owned by K roberts..

no koppel and brown are listed as directors

Think this might be the CD retail outlet attached to Anglo American

Lenny

As far as I know, Goldmine Soul Supply is a separate company to the mail-order company Anglo American (One Stop) and the shop Anglo American (Manchester).

Isnt this company owned by K roberts..

No, I think Kev Roberts had resigned as a director a couple of years ago.

Think this might be the CD retail outlet attached to Anglo American

Lenny

It was pretty common knowlege that the cds had gone tits up, but as far as I know the rest of the business is ok?

P.S. I didn't read other posts before posting

Edited March 3, 200916 yr by davetay

No, I think Kev Roberts had resigned as a director a couple of years ago.

kev roberts wasnt listed as a director someone called John atkinson was

kev roberts wasnt listed as a director someone called John atkinson was

John Atkinson was appointed after Kev Roberts resigned.

John Atkinson was appointed after Kev Roberts resigned.

Other directors are Timothy Brown and Martin Koppell.

Kev Roberts had resigned five years ago according to Companies House. I didn't realise it was so long ago.

John Atkinson was appointed after Kev Roberts resigned.

It's about two years since John left the fold.

Isnt this company owned by K roberts..

Hello Ray,

I just realised you might be thinking of Goldsoul Limited, that's Kev's company, not to be confused with Goldmine Soul Supply Limited.

Paul

No, I think Kev Roberts had resigned as a director a couple of years ago.

I left in 2003. Sorry to see the company go down, it raised the awareness of the scene no end.

I left in 2003. Sorry to see the company go down, it raised the awareness of the scene no end.

And I've got nothing but good memories of working for Goldmine on the designs, it was work I really enjoyed doing during a very good period for all concerned. Even though it's a long time ago, it's still sad to see it go.

Roger

And for someone who doesn't have a great deal of Northern and less-obvious Soul - certainly not in the way of vinyl rarities, Goldmine Soul Supply turned out some top CDs.

Though I still get some of my best listening pleasure on this label from the first release ("Essential Northern Soul Story, The")

And for someone who doesn't have a great deal of Northern and less-obvious Soul - certainly not in the way of vinyl rarities, Goldmine Soul Supply turned out some top CDs.

Though I still get some of my best listening pleasure on this label from the first release ("Essential Northern Soul Story, The")

They did some great comps back in the 90s. Norhtern Soul Fever 1 and 2, The Essential series (Northern, Modern, Crossover, Mellow Groove) all come to mind and lots of essential label anthologies like verve, mgm etc.

Along with Kent albums they introduced me to many great tracks as a teenage Soulie in the west of Ireland (werent too many of us).

Does this mean that they won't be paying any back royalty payments on the publishing or are they still liable?

I also enjoyed their CD's and I am sad for Tim and John, but hey this is all part of current economic climate we find our selves in and they had to operate in a very small market place, I am sure they would of tried to restructure over the years by releasing fewer titles, getting rid of deadwood, tightening up on production costs, but by the looks of it, unsuccessfully. I am sure there are 100's of artists who are thankful they released so many LP's and CD's over the years, for the exposure and of course the royalties

I also enjoyed their CD's and I am sad for Tim and John, but hey this is all part of current economic climate we find our selves in and they had to operate in a very small market place, I am sure they would of tried to restructure over the years by releasing fewer titles, getting rid of deadwood, tightening up on production costs, but by the looks of it, unsuccessfully. I am sure there are 100's of artists who are thankful they released so many LP's and CD's over the years, for the exposure and of course the royalties

Some people would question a number of those points.

Does this mean that they won't be paying any back royalty payments on the publishing or are they still liable?

Hello,

Payment of royalties is very unlikely because Goldmine's liquidators were actually appointed by creditors MCPS Ltd. who are already owed £34,167.85 for statutory mechanical royalties.

The way I see it, they are allowing the company to be liquidated to avoid payment of royalties already due.

Best regards,

Paul

Interesting. I never rated these releases as it's always arguable as to what could be considered to 'sum up' venues like Wigan Casino, The Torch, The Mecca etc; If you add the dire disc dubbing that took place, it makes for a naff product, in general terms. Can't say it breaks my heart. The KENT-ACE compilations were always better value for money and continue to be so.

Interesting. I never rated these releases as it's always arguable as to what could be considered to 'sum up' venues like Wigan Casino, The Torch, The Mecca etc; If you add the dire disc dubbing that took place, it makes for a naff product, in general terms. Can't say it breaks my heart. The KENT-ACE compilations were always better value for money and continue to be so.

Agreed. It was thanks to the crappy quality of a lot of the Goldmine CDs that I decided to keep on buying vinyl years ago. Some of my 45s sounded 10 times better than the ones they used to dub from, so I suppose I've got that to thank them for.

Ace / Kent / BGP and so on have always been fantastic quality however .

Interesting. I never rated these releases as it's always arguable as to what could be considered to 'sum up' venues like Wigan Casino, The Torch, The Mecca etc; If you add the dire disc dubbing that took place, it makes for a naff product, in general terms. Can't say it breaks my heart. The KENT-ACE compilations were always better value for money and continue to be so.

Well I thought a lot of the compilations were absolutely first class and they introduced me to loads of new sounds. The three Wigan casino Story cd's are exceptional, as are The Wheel ones, the Mecca one is brilliant too. What did let them down is the packaging by which I mean compare a Goldmine sleevenote with a Kent one, no contest. I did the sleeve notes to British Soul 2 and they managed to ADD about 20 mistakes not in my original text!

You pull me any Kent compilation and I'll find you a Goldmine one that matches it for musical content. But not for sleeve notes.

Some people would question a number of those points.

Hi Paul

which points?

Chris W

That's an interesting challenge Pete.

But I reckon if you're gonna dub sounds from discs, it makes it a whole lot easier to put a compilation together for a start, right?

You can put virtually anything you like on it.

The more difficult, elusive titles will just come out of Tim Brown's record room, irrespective of

whether they're warped to buggery or suffering from acute snap, crackle & pop.

Perhaps I'm wrong, but I think it must be much more rewarding & credible to do the research, delve into record company vaults, listen to dusty old master tapes that haven't been gathering dust on shelves for years, finding unreleased gems, alternate takes etc, etc.

Hi Paul

which points?

Chris W

Hello Chris,

In this thread I've only posted basic information which is available to the public. I really don't want to add my own personal or business opinions or discuss things which aren't in the public domain.

All I will say is that some people (including myself and some of my clients) would question a number of the points you made.

Others may see things differently and I respect that.

Best regards,

Paul

That's an interesting challenge Pete.

But I reckon if you're gonna dub sounds from discs, it makes it a whole lot easier to put a compilation together for a start, right?

You can put virtually anything you like on it.

The more difficult, elusive titles will just come out of Tim Brown's record room, irrespective of

whether they're warped to buggery or suffering from acute snap, crackle & pop.

Perhaps I'm wrong, but I think it must be much more rewarding & credible to do the research, delve into record company vaults, listen to dusty old master tapes that haven't been gathering dust on shelves for years, finding unreleased gems, alternate takes etc, etc.

Rewarding for the compilers or the buyers? And what about when there are no mastertapes? And how many of these dubbed from disc cd's can you actually name?

Rewarding for the compilers or the buyers? And what about when there are no mastertapes? And how many of these dubbed from disc cd's can you actually name?

Rough estimate but I guess almost every track on any Goldmine CD was dubbed from a disc. Only exception might have been the Detroit stuff that came from Ron Murphy and some of the later Thelma/D-Town compilations and tracks from major labels that have been released on other label's CDs before.

The early Goldmine CDs were fantastic and like many others introduced me to some great new sounds. Later on the quality of the compilations decreased and many tracks appeared on more than one disc (very poor research IMO). When I was told that Goldmine is not that much into paying royalties or at least licencing a track I avoided to buy any more Goldmine releases.

To sum it up: I can't be arsed that Goldmine went bust.

Rough estimate but I guess almost every track on any Goldmine CD was dubbed from a disc. Only exception might have been the Detroit stuff that came from Ron Murphy and some of the later Thelma/D-Town compilations and tracks from major labels that have been released on other label's CDs before.

The early Goldmine CDs were fantastic and like many others introduced me to some great new sounds. Later on the quality of the compilations decreased and many tracks appeared on more than one disc (very poor research IMO). When I was told that Goldmine is not that much into paying royalties or at least licencing a track I avoided to buy any more Goldmine releases.

To sum it up: I can't be arsed that Goldmine went bust.

Finbar Int (the Folkstone company) have had a lot of Goldmine liquidation stock on their lists recently, usually priced around 4.99/CD.

I've not sent off for any though, as you say the quality of the recordings is very poor. Get them on a decent hi fi and it's "oh dear"!

I too read on another site (soul partrol) that they didn't pay out any royalties.

Rough estimate but I guess almost every track on any Goldmine CD was dubbed from a disc. Only exception might have been the Detroit stuff that came from Ron Murphy and some of the later Thelma/D-Town compilations and tracks from major labels that have been released on other label's CDs before.

You really need to research this before making daft claims that it's all dubbed from vinyl - for instance, their Scepter Wand compilations came from the same source that Ace used - the UK soul compilations came from (mainly) EMI as did the Liberty / UA one, and many many more.

Well there were always rumours around royalties and whether they were actually paid on the releases.......but they were just that, rumours.....I don't know either way, but that rumour never went away.

You really need to research this before making daft claims that it's all dubbed from vinyl - for instance, their Scepter Wand compilations came from the same source that Ace used - the UK soul compilations came from (mainly) EMI as did the Liberty / UA one, and many many more.

Fair enough Pete, but some of the Northern Soul Fever sets were either dubbed from disc for the most part or were mastered by people who didn't have a clue. I compared like for like with some of my 45s at the time and the vinyl almost always sounded better. On some tracks you could hear actual pops or hiss, on some others I recall they faded a bit earlier than the single. Lots of them sounded really thin or muffled, too which also spoilt listening a bit.

However it's true that they were a great way of hearing stuff you hadn't before. I picked up The Collections and the Civics - I'll be there and Imperial Wonders - Just a Dream after hearing them on these comps, and they are firm favourites and permanent fixtures in my collection now.

Tim Brown did once tell me that he preferred dubbing from disc and didn't even bother with tape if he had the choice. It was actually not a bad idea as if you've got masters and don't spend any time or money working on them, they can often sound worse than a dub which after all was worked on at the time. I think that's clear with a lot of the tape sources that they used.

With the Scepter Wand Musicor stuff they used a lot of our research and tape work without so much as a nod of acknowledgment. When Neil Rushton or Russ Winstanley used any of our discoveries they would always give credit where it was due.

Rewarding for the compilers or the buyers? And what about when there are no mastertapes? And how many of these dubbed from disc cd's can you actually name?

Probably at least 50, anything licensed from Toller was extremely dubious to say the least. see my earlier remark about master tape.

You really need to research this before making daft claims that it's all dubbed from vinyl - for instance, their Scepter Wand compilations came from the same source that Ace used - the UK soul compilations came from (mainly) EMI as did the Liberty / UA one, and many many more.

[/quote

One of the worst quality Goldmine CD's I have is The Essential Modern Soul Selection which says it was digitally remastered from original tapes/45.

Got many Kent/Goldmine vinyl albums with the quality of Kent's generally better.

Just to clarify a few things...

Goldmine's creditors MCPS are due amounts for statutory mechanical royalties which are payable to publishers and songwriters. From what I know, the amount outstanding covers a relatively recent period - the last few years or so.

The ultimate creditors (and possible losers) are the various publishers and songwriters represented by MCPS in this action, including my company and our clients such as Lorraine Chandler, Bob Relf (deceased), Lou Baretto, Herb Campbell, Josie Armstead, Nolan Porter, Roscoe Robinson, Weldon McDougal and others.

This has nothing to do with any master licensing royalties which may or may not be owed to various parties by Goldmine.

If the directors allow Goldmine to be liquidated for this relatively small amount under the insolvency act, they may avoid their obligation to pay royalties due to publishers and songwriters now and in the furture. That seems to be their aim. It may be legal but I feel it's immoral unless the company and its directors are genuinely unable to pay.

It would be nice if they did the right thing and paid up. I would applaud them for that.

Best regards,

Paul

www.millbrand.com

I agree the ACE/KENT CDs were in many ways, no in most ways superior.

The Detroit stuff that came from Ron Murphy as mentioned earlier were fantastic. with unreleased gems galore, but Kent have always done this - keep it up Adey.

MCPS do allow anyone to dub from from disc when the owner of the recording is unknown so I dont think Tim, Kev or whoever where trying to subvert the process and they certainly did give the artists / music much needed exposure.

Anyway the demise of Goldmine is in general a loss to the general public awareness of obscure Soul music.

Many people where, through the availability in HMV etc, turned on to many obscure Soul sounds by the companies output.

I am sure, well hope, that Goldmine would acknowledge that Kent did and hopefully will continue to do it better, but Goldmine did in some ways act as a substitute for the tape swappers scene of the late seventies.

Anyway lets hope that more old Soul is given an airing in the future by anyone willing to put the time in.

Over to you Adey to keep up your wonderful work.

Keep On Keeping On.

If the directors allow Goldmine to be liquidated for this relatively small amount under the insolvency act, they may avoid their obligation to pay royalties due to publishers and songwriters now and in the furture. That seems to be their aim. It may be legal but I feel it's immoral unless the company and its directors are genuinely unable to pay.

It would be nice if they did the right thing and paid up. I would applaud them for that.

Very fair comment.

...MCPS do allow anyone to dub from from disc when the owner of the recording is unknown so I dont think Tim, Kev or whoever where trying to subvert the process and they certainly did give the artists / music much needed exposure....

Hello Revilot,

1. MCPS have nothing to do with the master licensing process. They license reproduction of songs for publishers and writers.

2. Nobody is allowed to issued masters without a license, regardless of whether the owner is known or not.

3. See my earlier post which explains why liquidators were appointed.

4. Kev had left Goldmine before this situation arose. It covers a more recent period.

Best regards,

Paul

Hello Revilot,

1. MCPS have nothing to do with the master licensing process. They license reproduction of songs for publishers and writers.

2. Nobody is allowed to issued masters without a license, regardless of whether the owner is known or not.

3. See my earlier post which explains why liquidators were appointed.

4. Kev had left Goldmine before this situation arose. It covers a more recent period.

Best regards,

Paul

Hello Paul

Happy to be educated

I thought MCPS having nothing to do with master licensing did allow reproduction if the master owner was unknown.

2 The dubbing from disc implies obvious not owning of masters

3 / 4 well ok

[quote name

MCPS do allow anyone to dub from from disc when the owner of the recording is unknown so I dont think Tim, Kev or whoever where trying to subvert the process and they certainly did give the artists / music much needed exposure.

quote]

How exactly does a non-working/recording artist benefit from this "exposure", unless they actually recieve royalties for their recorded work as sold on these compilations.

Edited March 4, 200916 yr by Tony Smith

I would think most of us cant really comment on whether they pay or don't pay Royalties, you will never know for sure; you can only hope they did as a buyer...

I for one think its a very sad day, they did double up on allot of tracks and as Pete mentioned allot of the earlier sleeve notes were crap, I spent years looking for some records on the wrong labels, and who ever printed Blue lettering on a red background did indeed need shooting...!!

But that aside, Soulful Kinda Music, For Collectors only, Under the street Lamp, The 2 Volumes on the Northern Soul of LA, were outstanding, those comps are where allot of people my age heard these records for the first time...

Kent's 'Soul Class of 66' was an essential mother of a Northern comp, but you had to have 'Soulful Kinda Music' and 'For Collectors only' for the sheer obscurity factor!!

its a shame...

Mal.C

It was a business, end of - lose the personal comments.

It was a business, end of - lose the personal comments.

I don't think there are any personal comments, just business comments. Like I now have to tell fellow site member Ray Dahrouge and his writing partner Billy Terrell, along with many others that they won't be getting any royalties from some of the songs they wrote, which were later compiled on to Goldmine CDs and sold to soul collectors for profit, because the company has gone broke.

When these came out it was well before the big bang happed and I for one enjoyed the CDs.

I took them to Bosnia when I was serving in Banja Luka in the Republika Srpska and did a weekly radio spot on a local Serb Radio station called "BIG RADIO", Mike can you remember it? They used a Moooooooooooo cow noise to cover the first or last few seconds of each track for copy right?

Goldmine (soul Supply) Ltd was an important slice of our soul pie.

One of the worst quality Goldmine CD's I have is The Essential Modern Soul Selection which says it was digitally remastered from original tapes/45.

Got many Kent/Goldmine vinyl albums with the quality of Kent's generally better.

The thing is, back when cd's first started to get popular, being 'digitally remastered' often meant simply being put onto cd from vinyl

It was a business, end of - lose the personal comments.

I can't agree, Barry.

Businesses have legal and moral obligations, just as people do.

And there's nothing personal about this. It's business.

Paul

I don't think there are any personal comments, just business comments. Like I now have to tell fellow site member Ray Dahrouge and his writing partner Billy Terrell, along with many others that they won't be getting any royalties from some of the songs they wrote, which were later compiled on to Goldmine CDs and sold to soul collectors for profit, because the company has gone broke.

Would they have recieved royalties if Goldmine hadn't gone broke ?

Heard bad things about Goldmine in the States for a number of years from different people connected to the biz.

Cheers Paul

Would they have recieved royalties if Goldmine hadn't gone broke ?

Heard bad things about Goldmine in the States for a number of years from different people connected to the biz.

Cheers Paul

Yes publishing companies can get back royalties from several years ago and our publishing arm was frequently claiming these as we signed up new publishing firms, just like we're doing with Ray Dahrouge now. Presumably he won't get that money now they're bankrupt, which could be a reason for somebody going bankrupt.

Yes publishing companies can get back royalties from several years ago and our publishing arm was frequently claiming these as we signed up new publishing firms, just like we're doing with Ray Dahrouge now. Presumably he won't get that money now they're bankrupt, which could be a reason for somebody going bankrupt.

Got it thanks Ady

Cheers Paul