Agentsmith

was i right or not dear friend? now then, if someone wants to sort out a copy of "tick-tock" for richard, he might let you into his garage

sure old clothears had a turbo copy

hi ted, this is already up here, on another post but i was told a few years back that it was worth at least £100,...funny, i got my copy off richard searling and he told me he had a whole stash of them in his world famous "garage":wicked: bearing in mind how rare the original release is, and how long ago the p-vine re-issue came out, perhaps the price suggested is not far off the mark ( if its a shrinkwrapped copy )

just as a footnote to that andy, the p-vine re-issue had the side two running order incorrect, but they realised their mistake and on the innersleeve you can see they printed it again underneath before they distributed the lp...obviously not wanting to go to the expense of producing another inner!. would have liked this on turbo,...but never mind,...i'll just have to learn japanese

i would tend to agree with this sentiment, no problem re-building but the rubble has resonated to past glories and you would wonder if a littlemagic will be lost...imagine if that had happened to 2648 in its heyday?, saving grace, as everyone here has said, is no loss of life...no-one can legislate for acts of god... lets just hope the big fella puts something back when malaco gets back on its feet. whilst i cant offer any degree of knowledge on the southern soul sound, unlike a good many of my betters here, i do recognise malaco's contribution to the continuation of real soul music production, justified even more in this day and age.

thats sad, only just noticed this post, pete townsend's mate richard barnes published a book in 78/79 called "mods"...actually i think at the time it may have been a re-print...in it, he referred to kieth as: "the token, boring fart presenter" next to cathy mcgowan and kenny lynch, nevertheless thats no worse than totp with david "hello there" jacobs or pete murray...in the event, kieth fordyce was in the mix from the beginning and he deserves gratitude and respect for his service to the industry.

daz, have you had a look to see if the publication "OFF THE RECORD " is still in print?, its by richard j. bartlette with subtitle : motown by master number 1959 - 1989. it covers all the companies subsidiaries and other detroit labels of note ( when i say note, i mean the one's everybody recoginizes ) rob

i remember stuart macconie doing "all singing, all dancing , all night".....AT PRESTWICH...LIVE! on radio 2

the sentiments are reciprocated dear friend,.....you see terry bought that about as well. i had never set foot in the northern territory til then and didnt know ANYONE from adam but terry and lynne put that straight from day one with their warmth and friendliness and by the time the dust had settled ( ten years later ) we've been left with so many friends who we now see regularly when we're out and about...and we bump into thee on occasion but not as frequently as we'd like it has to be said. i were thinking back a few years further and have to add that i actually first saw him djing at the queens in basford for kieth minshull....around 98' and i think this was about the time when his star and credibility was on the rise. i certainly dont think he's forgotten in respect of the contribution he made, there's that many people who attended prestwich who'll readily testify to that and he and lynne were well liked by everybody. yes, a lot of big tunes were broken at tsop or really took off there on account of the venue being so popular and with many punters travelling a great distance for the privilage of saying "i was there" and "i heard it first there":yes: yes, as you reminded me....i got lumbered with "BIRMINGHAM BOB" as when i explained i actually came from telford, the reply was..."WHERE'S THAT?":lol: KEEP SPINNING THEM TUNES OL' GRAVEL VOICE!

pete mate, youre absolutely spot on about this man....a very shrewd mover who spotted the potential for making an absolute killing in a market that, in the last 10 years has spiralled. unfortunately the northern soul scene lost a treasure in the process, but how many can make a professional living out of djing?. like yourself, we saw his craftsmanship as well and he is very skilled. as regards djing he was a top bloke and brought TSOP to the attention of the northwest and, eventually, the rest of the country...AGAIN terry spotted an opportunity and capitalised on it and with his top lady, LYNNE, he made queuing a concept not witnessed for a long time, so good was this venue and the tunes spun there. terry made sure he had ginger and richard at the helm with him.....JUST HOW CLEVER WAS THAT? and with his "open-house" policy of giving as many djs as possible, a chance to take the stage, he won many friends and directly challenged the "white-collar" attitude. for the first time in a good many years, the media were distracted enough to broadcast an all-nighter live from the venue with bbc radio 2's, stuart macconie hosting the show...i witnessed that night and it was absolutely rammed. terry was also, as pete said, a staunch spurs fan,....doubtless that swung it with richard when it came to organising the resident line-up and although terry didnt dj in the modern room, he had without doubt one of the best line-ups anywhere in the country with mike stevens, barry maleedy and bob hinsley bolstering the regular guests. terry woiuld always put his head in to see how it was going but how anyone managed to SQUEEZE through the doors was beyond me because it HEAVED!. DEAR LYNNE,.....how she coped with running the door was a mystery but she never missed a beat, even though she always worried about the attendance, the fact is many other venues would have killed for half as many. TERRY himself was a tremendous dj with the personality to match, he knew how to read the dancefloor and always paid detail to requests....a complete all-rounder then, and he certainly had the records to deliver satisfaction as well, having been djing and collecting for many years before. if it hadnt been for terry's prompting, i probably would never had made the trip to prestwich...that was back in 2001...i never regretted it and never missed a gig after that committment...my other half started coming with me a year later and eventually began to help lynne on the door.....when eventually terry & lynne decided to call it a day, and leave the venue in barry's hands, they graciously recommened he ask us to run the door for him such was their trust...but thats just how they were with most everyone who they got to know. they did have a long guestlist......but believe me, they still made this venue pay, even when the smoking ban came into place. pete knows he got many breaks to dj via tsop and mate big respect to you because youve done a bloody good job and i even got the chance on a number of occasions to take to the stage there...thats just how fair terry was. so hats off to one of lancashire's and the north-west's finest and have no doubt whatsoever, TERRY'S making a success of whatever he's doing!.

come on ian, i know its not a-list perhaps but it IS a great tune nonetheless, and uncle ted is very shrewd with what he homes in on so,...its his intention to turn this into a top tune, and bearing in mind his reputation amongst the clergy, its hard not to see him succeeding.....and the same can be said of the ike & tina turner disc he's spinning...been around for donkeys maybe? and nobody's been paying attention??....well its certainly causing a stir now....and there's more intrigue added to the melting pot with the fact there are two versions of said recording, as one exists on an lp. ....but thats another story, so lets just say that the vivian jones record is well worth the discussion as much as it is playing it.......which, you lucky few, i cant as i couldnt afford it without a bank loan and why should i do those greedy baskets any favours!!

what?.....uncle ted? now there's a smart mover, another ace tune to illuminate his already mesmerising sets! remember jm auctioning this last year, sounded like a less than perfect copy but definite quality.

good call mark and probably a long time overdue....its just something you dont regularly hear of now...you could take them for granted just like normal record fairs but the last time i went to a proper black music fair was when the late chris savory used to run them ( wolverhampton in the cavendish suite was my local ) so yeah, go for it mate its a good socializing event as well.......AND OF COURSE, YOU GET TO HERE SOME DOGS B*****KS TUNES AS WELL!!

appologies for not being there to hear em. bro but what a tremendous bunch of bangers!!....bet they knocked the wind out of a few peoples sails eh?

FRANK BEVERLEY - IF THATS WHAT YOU WANTED BILLY BUTLER - THE RIGHT TRACK HOMER BANKS - A LOT OF LOVE SAXIE RUSSELL - PSYCHEDELIC SOUL R.DEAN TAYLOR - LETS GO SOMEWHERE ( ALTERNATE VERSION ) JACK MONTGOMERY - DO YOU BELIEVE IT VICKY BAINES - COUNTRY GIRL SPIEDELS - DREAMGIRL CONNIE STEVENS - TICK-TOCK IKE & TINA TURNER - STRANGE ( LP VERSION ) short & sweet, hope everyone else chips in because ive got a wants list as long as my arm after last night

WOW!....thats just awesome!!, so clean and fresh just like it was recorded yesterday and DETROIT to boot

BEST MIX IVE EVER HEARD HAD NOTHING TO DO WITH TWO ARTISTS.........THE DRIVELER DID A GREAT LUTHER INGRAM " EXUS TREK" ABOUT 10 YEARS AGO....WOULD DEFINITELY LOVE A COPY OF THAT!!

:thumbsup: and they tried to mix frank with chris......DO I LOVE IT? :thumbsup:

flying the flag again lad, well done!! see ya behind on the decks monday!!

thats interesting geoff, you would have thought straight off, it was the other way around, bearing in mind how blatantly it was done in the 60's. of course that dosnt mean that recording artists then, didnt appreciate what black americans were creating, infact i would imagine a good many considered it a privilage but the necessity to find the next hit by companies resulted in a lot of people being taken advantage of, namely the black american music market. by the 70's and having broke through in their own right, black artists were having the hits and whites less so with covers. actually, in this case then, the song may have been handed to connie first with a "suck it and see" policy in mind. it didnt work but a year later ( i havent checked the stylistics discography ) 1972 and with the philly sound establishing itself, it was just right for them. the phraseology of the title though is perplexing....betcha couldnt have sounded right for ms. stevens but "keep growing strong" isnt saying anything either!

had an issue, sold it to nige grice about 3 years ago, i also have a date and radio station stamped copy which i got in a trade with gary holyman about 5 years ago. interesting that john has had at least 2 copies which auctioned for £250...of course richard has been doing his fruit about the tune since i did him a cd copy last year, he told me he'd been all over the states looking for a copy...dont know if he has finally secured one , in the event he played my copy at the tower in november and it got a good response....LOOK,.. its a white artist....SO WHAT?......like so many others played over the years, it has the right quality despite the somewhat twee voice and the involvment of thom bell?....cant argue with one of philly's giants in my opinion. its pretty straight forward, that an established film and tv star with a half decent voice should be looking for one last hurrah on the music front....she was quite successful there afterall, and if you care to notice, she cut the original version ( i presume ) of "SOMETHING BEAUTIFUL" which we all associate with the super rare PLANETARY recording by MARGARET MANDOLPH. TICK - TOCK of course, is the B-side...... the A-side is a version of "BETCHA BY GOLLY WOW" as originally recorded by THE STYLISTICS......funny that the powers that be decided to change the title to "KEEP GROWING STRONG"??????? more than likely the main reason why it flopped, perhaps they considerd the title...TOO BLACK?, NOT SUITABLE FOR A WHITE ARTIST?.... OR WAS IT JUST THE RACIST CARD BEING PLAYED?....guess we'll never know the answer to that one summing up then, you could say they picked the WRONG side to issue,...its obscurity has proved its saviour and the scene has benifited thus, had it been known 40 years ago, we may all have acknowledged it as a club classic!!. just for the record: its release date was 6/3/ 1971 so the record has just celebrated its 40th birthday. you'll note a devout defence of this record on my part, as i said i think its just got it and WOW!, what a fantastic orchestration from thom bell. i know the establishment will dig their heels in about "pop" records...thats nothing new.....its because the scene is so relevant today with multi-faceted playlists making the dance floor, a vibrant place to be and TICK-TOCK deserves its place in any djs set.....OH, AND BECAUSE MR. SEARLING LOVES IT!!

well, having scanned all these posts, i think you have virtually, unanimously, confirmed it amongst yourselves...that mr. rchard domar takes the crown and, i can tell you, i have been regaled of many tales by none other than tim brown, about all aspects of this "howard hughes" recluse!! . ive even been there to buy tunes as well and...ive never had a problem with him, despite his excentricities. ......HOWEVER, i have to relate to a dealer who was much worse...and here's the conundrum...i cant remember his name or what his shop was called but he was the embodiment of alex guiness's scrooge ...perhapes SWOZ, LITTLE SCOTTY or MICK HOLDSWORTH enlighten me and everyone else on just who this character was. all i know is the building was a wooden shack that stood on the cannock road, outside wolverhampton city centre. lps blocked out any view in the front window and the interior was very dimmly lit i actually remember going in there on a saturday afternoon with eddie and he had to bribe the guy with chocolate, ciggy's and all manner of enticements just to look at a box off the shelves, which were absolutely crammed full of single releases. i think when the guy passed away, the entire portfolio was auctioned but cant say for sure....maybe the express & star has something in their archives about that...the building was demolished some time later.

confirmation then, that the u.s. demo is in issue format.....so definitelty came along too late to be revered as a white demo....so did white demo's cease as a format after, say, 1966?. there dosnt appear to be a british demo in existance then?, unless tony or mick smith can provide an answer, but surprised and nice at the same time, to see a solid centre uk copy

an evergreen record that over the decades, has fluctuated in price but by no means, ever been classed as rare...yet in all this time ive never seen either demo format. from a british point of view its first incarnation would have missed out on the black/silver & black/gold livery...so its just a light/dark blue issue with white logo ( based on the original american format ) and with no solid centre. needless to say, the american issue is as standard, but for me the missing link is the demo. i know that some issues, stateside, were also presented as demo's so,...was that a change from the black & white one's we are all familiar with?. i cant remember weather the british issue suffered a horrible reissue in all vinyl format after the first one's had paper labels....so perhaps the bright sparks amongst us can clarify the questions i pose with definitive answers...please?

i believe you'll find both grapevine release and the first bootleg attract decent prices ( between £30-50 dependant on who youre buying off ) this probably reflects the view that there cant be that many originals around...perhaps there are less than the 500 originals of bari track for instance?