Ady Croasdell

I used to in 1980 when it was the best black rock and roll disco I'd ever heard. It's still fun, too much reggae and a live band for me but I think he still plays some of the rockin' stuff. An interesting little soho dive with a tiny dancefloor

Bloody hell, utterly brilliant and next time I see Tommy I'm gonna prostrate myself at his feet. Very Nicholas Brothers. Yeah the Northants and harboro nighters I went to in 1969 had the blokes dancing in circles and taking their turn in the centre, you could also dance on your own and do your own thing. I loved that as otherwise you had to dance and try and chat up a girl which ruined the musical moment.

I was just referring to what you had stated there Robb

Thanks Robb, That is most helpful in building the picture of Detroit's recording scene. I'll look at the SDF feature too. You mentioned Atlantic in an earlier post, whiuch was that? Ady

Fantastic reading Robb, thanks so much. One point is Luther Ingram Oh Baby was recorded in Nov 1964 in NYC. Also is there a list of the Correc Tone sides on other labels anywhere? Ady

That's a great sound and hopefully the way things are going to go on the Northern scene for a while; southern Northern is probably less of a conundrum than funky Northern. It's very Bobby Bland sounding, not surprising coming from Texas and similar in some ways to the Melvin Parker I'm playing.

As it appens, the 100 Club sported 5 DJs who all stayed until the end on Saturday; nice one. And it's a shit 'ole.

UK Kent 45 only, first issued in 2002, a future monsta! The TCB is a joke mock up label or has somebody booted it? Ady

Who is famous for basing his vocal style on............................Sam Cooke

Not at all, i was just volunteering a name; unless there are Detroit connections on t'other release.

There's a Thomas Sisters on Dave Hamilton's TCB label late 70s/early 80s

There will be some singles out at the end of March and an LP is eventually planned but maybe not until the second volume early next year

But of course, and I'm sure she will share aher thoughts with us once it's arrived on her doorstep. As Chalky says there will be a volume 2 too. Thanks for the encouraging comments.

Even better, I'd love to hear it or part of it if anyone has the sound.

I could give you many instances where Ace have paid sizeable sums to artists, producers, writers etc and even more where the amount is small but they really appreciate having their work released legitimately with every sale accounted for. Even if it is a small amount they like the recognition and correctness of it; in many cases it is the first cheque they have had for that work. To have their work handled by professionals who issue it in the best possible audio with the most information and history means a hell of a lot to the creative people, as soon as they hear that their work has been booted they feel sick and think the Northern Soul scene must be run by disrespectful money grabbers. If we can still salvage something out of the deal and treat the music how it should be treated, it improves their view no end.

Sorry, I can't help but what a fascinating subsidiary label. Over 40 possible releases and I've never seen one before. Though I may have thought it a reissue series and ignored them. Is it a modern 70s soul sound?

Blimey, I remember that story about the bath too, it could have been me if I hadn't heard and learned.

I think Jumbo and a few from Harboro were there, thanks for sorting that. Ady

It was a generalisation, I'm sure some were dubs

That's one for Tony, President/Joe Boy certainly had a huge cache of tapes and many would be from masters though it was probably a bit random then as sound quality wasn't as paramount or well understood as it is now.

Hi Mike, I'm told by a good friend that it was actually somebody that was called Phil Holt's birthday party that got raided, though I thought it was a club in the Wakefield area, certainly not Leeds. Ady

Tony Rounce told me that most Stateside releases were dubbed from disc, whereas most London were from tape. Ace have accessed many of those London tapes which often the label owners don't have. I met a UK mastering engineer who was present when the UK head of CBS brought in a well played copy of Scott McKenzie 'If You're Going To San Francisco' and said it was going to be a smash and he should get it pressed up. When asked when the master would arrive he was told to do it from disc and that was when cleaning up disc technology was not available. Subsequent CD releases often used that crap dub.

As Bob pointed out what full time post-production studio engineers with state of the art technology, can do with a dub is a long way above anything possible on a home PC set-up.

Ace/Kent has a very good reputation for using masters wherever possible and spending a lot of time and money through our own studios to make it as good as possible. There are inevitably the odd dub on a CD, but a Kent dub would sound hugely different to some other companies dubs because of the work put into it so it is probably best to work out your own preferences for whichever labels you purchase.

When it comes to CDs, I would guess Ace/Kent would be 95% tape since we started.