Ady Croasdell

Hang on

The Wheatsheaf was a great pub but much more across the board than the Bird's Nest, West Hampstead, which was the first out and out Northern club in London. The DJs were Mick Smith, Dave Rivers and Phil LA (who I can't remember) Dave Burton guested and they had some very big sounds between them, made several major discoveries and supplied several of the Northern DJs. Not wide boys but definitely a bit lairy! After that there was a series of mid week club and pub gigs all great fun but 30-60 people until OBJ's in Hammersmith took off, leading to the 6TS in Covent Garden in Aug 79. That period is documented in the Kent CD booklet for "6TS In The Beginning"; a jolly good read. Whoops, I've off-topiced again.

Did you go to the occasional Tuesday night out and out Northern sessions down there in the mid 70s? Myself, Ian Clarke, Bill & Mandy, Paul Corcoran and others went and there were about thirty to fifty of us, no problem with the dancing and bouncers but the black kids into new soul weren't very friendly and it nearly kicked off one night. The same would happen at most of the occassional London pub gigs through the 70s and early 80s with local white gangs too.

Dead right Bob, i just posted a brief one, it's probably not worth spending too much time on it, they'll be on to their next project by now.

Really really poor. Far too much reggae and Elms. At the show's launch they only screened the first episode which i enjoyed but this was all that's bad about the media and their shoddy research. They should have run it by someone who knows what the scene was like before screening and had a collosal edit.

Spot on as ever Sebastian, it's one of his best.

Rob, I the Joe Hunter that died was the Joe Hunter from the Funk Brothers and Pied Piper productions, not Ivy joe Hunter who I think wrote and sang for Motown. Ady

And if so who wrote it? Ta Ady

Well there you go, some of them seem to be out via legitimate operators, so we're all happy.

It wasn't sarcy, I meant it. You must assume I'm having a go when I'm not.

That's right, i must have misread your reply, soz.

Not if it's a dealer whose job it is to sell rare records. I've under priced hundreds of singles but that's me being slow, I wouldn't expect anyone to give me more than I asked for, though if they really got a bargain I might not rush to do business with them again.

If no-one paid you for it and no one's complained, it looks like you've done something noble and worthy; congratulations.

The bit that gets me is when a UK dealer tracks down an artist, writer or producer and gets some great records off them but only gives them as little as possible. Personally I think they should give at least 50% of the current value. it's different if it's a dealer or collector, they're in the same game and it's up to them to judge the price, but to tell an artist they think they're great and take them for a ride at the same time is a bit thick.

How many times: the artists got (or should have) their royalties first time around on the first pressing and should get them each time they are subsequently reproduced for sale.

I didn't miss the point at all, you asked what would people's reactions be and I gave you mine. I focused on three things and the fact you got hold of the tapes is one other thing. I've got recordings of the Family from Colour Me Pop and hundreds of acetates no-one else has but I wouldn't release them for profit until I'd sorted the right people out. I don't particularly want it any way I was responding to your invitation to comment. I think I stated a preference that a lot people on here would prefer.

As you so rightly say Pete it would be a bootleg, assuming you don't own or have leased the rights to the film, recordings and songs. If you did it for costs i doubt if many people would be upset, if you sold for profit what you don't have rights to, they may be more upset. However I believe you have done it in the past so why run it by us now? You're not developing a social conscience are you?

But that's only for the publishing of the song for the songwriters, you'd still need to get the label owners permission for the music and artists and do a deal or you'd still be technically bootlegging!

Mark, the first thing you'd need to do is talk a record company into letting you do it by explaining why it's worth their while to give you something for nothing. In Kent's case it's for publicity for tracks from current or future CDs. In many cases we own the recordings but sometimes other label owners let us do it as the anniversary singles are so prestigous nowadays that they are happy to be associated with them. Itll be hard for you to convince a company that your single will mprove their sales. Some companies may do it for a flat royalty fee that theyll share out with artists etc but that would cost a fair bit. good luck.

It's on a relatively easy to find US Kent single but wait until you hear the new version we've just found called 'Queen Of Fools' I'm playing it for the first time at the Rocket on Saturday.

Have a quick and full recovery and when you're better watch the Richard Prior sketch on heart attacks, you'll never eat pork again!

No but watch them singing Doo Wop on Soul Brittanica on Friday night BBC 2, brilliant

I started playing it at the 100 Club on an acetate Kent had done for me and I got one for Keb at the same time which he played at Stafford and Leicester and around the country. The anniversary single would have been 1986 and the Horaces release 1988. There were two or three presses on Horaces (later ones have bar codes) and eventually it came out on Kent I think in the nineties. It's still available on a Kent single with Dean's 'Bricks' on the flip.

I care desperately! I just wanted to get more details for you. I'll reply soon. Ady

We're bitches (do i win anything?)