Agentsmith

aren't we going a bit off piste here folks, thought the thread was about the records that fell through, to quote, wigan's cracks?, not boots and cover-ups...well, anyway, wasnt earl wright's "thumb a ride" a cover-up for a significant amount of years say, 4-5?, for levine?

but it was initially covered up as eddie kendricks ( because he wrote it )

well done andy, im curious...i wonder if chris farlowe is aware his back catalogue is being explored quite a lot lately?...."dont just look at me".....that'll be next

bri, i was talking to soul sam yesterday about tiffs, newcastle-under-lyme....mecca venue with palm trees...remember the bali hi down stairs?, sunday evenings. somebody was playing "night of the wolf" in arena1 @ prestatyn yesterday afternoon....i nudged him and said: "do you remember playing this in the bali, 1975?" hairs on the back of the neck stuff then....and still today...i know thats all irelevant to this thread, but its the mention of other gigs prior to the daddy and where your grounding was. a tired old red brick building elevated all of our status's, our expectation of the music, forever and a day we can wade through the mire of dogma associated with the casino, that includes the music policy but its our heritage and our history and we've aspired to drive forward...the pheonix that is the scene of today, rose from the ashes of our glorious predecessors demise...like it or not, an all pervading scene that refuses to go underground, such is its standing in the world of music now. we shall forever endear ourselves to the belief the casino, and its ilk gave northern soul a greater voice and us, a lifestyle that is as fresh, vibrant and exciting as the very day the term was coined.

privilage to start the ball rollin' here's my contribution ( 11.30-1pm )...yes, an early start! tina britt - look joe murphy - so blue showstoppers - heartbreaker jimmy lewis - let me know sunday - aint got no problems fabulettes - screamin' and shoutin' mighty marvellows - talkin' bout ya baby bob's band - locke's theme tempests - someday bobby valentin - use it before you lose it herbs - never, never will i fall in love nancy butts - i wanna hold your hand dicky wonder - nobody knows ronnie mcneir - isnt she a pretty girl claude huey - why would you blow it l allen - cant we talk it over terry & jerry - mama julie the other ones - the two of us check mates - hey mrs. jones august moon - you're together baby the attractions - burn up some road liz verdi - think it over connie stevens - tick-tock norma rudd - he's mine little jeanette - crazy, crazy barbara lewis - straighten up your heart tobi lark - sweep it out in the shed cheryl ann - i cant let him lela martin - you cant have your cake irene & the scotts - stuck on you baby dottie & millie - talkin' about my baby

i'll have a chat with him as well, at prestatyn, see how far he's got and the likelihood of a finishing date if that not too premature.

you'd need a blow torch to light this one though dekka

its not really an off thread quote bro, afterall, jethro was a character in his own right, back in the day a great dancer. i remember him from the catacombs but not so from wigan as i so seldom ventured there, only the stories about him and the other west midland crew who had an affect on the dancefloor, but if he did write anything, its only too reasonable to assume its going to personal recollections...same as richard really, except richard has the whole record collecting and djing scene to analyse which is going to add substance and colour to a book straight away.....thats of course, should he get round to doing it. the upshot is, a literary compendium of personal life and documented recollections of all aspects of djing & vinyl is not something any of us have had the chance to browse and tim's dosnt count because he stated from the outset that his book would focus purely on the music and in a chronolgical order. yes, a nice glossy hardback would be the order of the day!.

it may well be in the pipeline...he's done more or less everything else and apart from tim brown,s oracle, the life and times of one of the u.k.'s iconic djs would be a pretty fascinating read.......other than adey and his association with the beloved kent legacy.

if you're getting an attendance in the region of what you suggest then fine, there's no arguement about that,...the intention of my thread is exactly whats been echoed elsewhere on here...its who you are...who else djs for/with you?...whats the music policy?.....its about more substance. now, of course you can chose not to participate on ss...and you do have other media options, and if its a localised, homely feel that you're satisfied with, then o.k. but if sightseers/outoftownies want to chance their arm, they also want the impetus..its no good sticking yer money in the slot hoping for three cherries if you dont know how to play the machine....AND...even more helpful are playlists. people frequently read these, as much to see what the djs initiative is, as a broad, well round cross section of music, and preferably lots of stuff that they aint seen elsewhere.....im seeing this all the time, though i have noticed of late that the offerings in events are trickling. nobody is going to waste good cash turning up at a "soul night" to find one bloke behind a karaoke system playing cds....thats representative of the "any tom, dick & harry" game.

car boots, in their defence, were a reinvention of the junkshop...ebay is a junkshop, full of junk!

the playlists, like you rightly say, are a very good watermark, weather its worth attending...anything in particular, regardless of the venue. they seem to come in fits and starts on here as well though they give give food for thought so,...if the nonposting promotors/pundits dont also give an indication of the flavour and strength of the music, then they're doing theirselves no favours at all. this is where the leading venues corner the market....the calender's competitiveness that we talk about, is relatively inconspicuous if the truths known, yet the calender still frequently burgeons.i would have thought that 150 is a bloody good pull for someone anyway, given all the circumstances.

amazing vocal clarity this man posessed...a clutch of northern soul classics to his name, a true devotee to music who could be stood up and counted...just dovetailed emmaculately from group to group...and now another awesome voice is silent....god now has another soulful string to his bow...r.i.p. richard

fantasic appraisal of mr. croasdell dave, a more honest tribute could not suffice, indeed the man is a genius of our time because he took the next step on the primordial ladder in commiting to cds and the digital age to give us this splendiferous sound, preservation for all time long after the beat up vinyl is retired...on that subject, its most comforting that the contribution made by northern soul to the wider contemporary music scene, is already gracing our museums, noteably dundee, which i visited a couple of years ago and would recommend to anyone wanting to see a nostalgic display so proudly alloted its own unique space.

never seen that one kev, but id agree that good many of the early ones will now average £30 perhaps more...bearing in mind we're talking twenty years or over. think the earliest one i have now is, the northern soul of los angeles vol.1...some amazingly rare tunes on there as well, and some which have picked up plays in recent times as folk look for something original.

its almost like a flash in the pan paul, he hung around for such a short time in reality, whilst we're still treading the boards.....maybe he didnt want to be remembered as a grey haired veteran of the scene still trying to wear the same clothes, drive the same car like it was yesterday?....he did have some incredibly good tunes and, not by way of having to procure them from ian...as we all did...suppose that set him apart in a way...in that you could say "he's playing his own tunes,...didnt get them from the shop, wish i had that kinda money". i never went to totw, as ive said before...infact, wasnt really a part of the scene for 5 or 6 years there, distinctly remember the cavendish, yourself, jp, mick derry and one of your birthday bashes in that big room upstairs along a corridoor...dave thorley played that if memory serves. ( about 98 yours and pep's birthdays ) chris use to be pally and do a lot of things with steve porter though, who just so happened to have his own equipment....come to think of it, steve had a great collection himself though probably mostly british...remember his tony middleton of polydor!, he was also a mentor & steadying ship for chris. mentioning dawn there, honestly forgot his other half but immediately a picture sprung to mind....he'd certainly got the tunes, car ...and the girl......posh??,...god, almost french..ello monsieur! ( especially with the tash )

great tunes here as well,....got a taste of "the manor" about it!

shed loads there i dont know, but i bet the purists are drooling!

dave, i think everybody would say that its a duty berry gordy should fulfill regardless of who tells him...its in his best interest to look after the people who looked after him for the first 15 years of his reign. its hard to believe he would have such a scant regard for these musicians or maybe im wrong?

just checked out calla records, release 108 in 1965, entitled "heavenly love" and of course nate maccalla's label was coincidentally, new york based...pity we dont have a soundclip & label scan up so we can see who the songwriters/ producers are and see if there's a distinction in the vocals. the u.k. president release of behind locked doors credits the late kimberley briggs husband, freddie as the songs author. there just appears no connection at all between groups and berns is not responsible for writing any of the songs connected with witches & the warlock.

correct me if im wrong, but dosnt the john broven article sort of dispel the theory that these groups are one and the same? scanning that article, its clear that the montells consisted of mary and, laterally charlotte parsons who were sisters. both ended up singing on behind locked doors and i summise nowhere to run, though its clear from that article there was some form of personal dispute and that line-up almost immediately dispersed after the sew city session with their then, unbeknown relative, matt. i think sew city was matt parson's operation solely...and there's obviously no mention of the girls cutting anything under the name, the witches, though there is the connection with bert berns...the alternative theory, if there is one at all, is...they moonlighted for bern's bang label...its the only release by this name, in 1965 and it does have the sound, perhaps they were trying to mimic in 1963 when the crystals and ronnettes stole the charts and everyone else wanted to be spectorish in production....by 65 this type of production was considered old hat, time had moved on and even the soul music berns was producing for the drifters and ben e. king didnt have the clout to chart ( the unreleased "getting to me", championed by adey is a prime example of what was considered then, a dated sound...not to us of course! ). maybe the glenda & ray discussed here joined the band, witches & the warlock on the track they cut for calla?.

andy, will you let margaret know that people on here have been reading the story and enjoying it?

wanna eat so cheese, drink some wine, catch some rays?

once again andy, you deliver, chapter & verse...that had to be a fascinating conversation with a melancholy outcome...i can imagine she must have been overwhelmed, along with her family, hearing the recordings after long decades of being without a copy let alone remembering what the songs sounded like. i think she did a great job and her attributes should be respected...you have managed to dot the i's and cross the t's..as only you can do...and yes, it is a brilliant tune, typical of the underdog, making a pitch in the shadow of motown,..one seriously rare record that slipped through the cracks but as a result of its lease of life across the pond, has effected a heartwarming story.