Agentsmith

liar,liar...a bit of chantays/surfaris but with the added ingredient....words!

dave, dave, come and get yourself to stoke tonight and see your old mate adey in the side room, might relieve the pressure!

note a big space there ian,......was that a sharp intake of breath perchance? :lol: is that a pop-art film then? what was the yardbirds track in "blow-up"? have you heard the john barry instrumenal theme to "the beat girl" starring adam faith & shirley ann field?

no arguement there joan, like i said its just an acetate, not an original promotional one like des's, but unusual just the same. as for sandi golden the story is that this recording came direct from a studio tape of a show that richard was on ( not necessarily richard's show) amazingly it wasnt talked over so, its a perfect cut AND it was done before the genuine record got scuffed on the intro....or something like that. ive stuck to my guns from the point of view of not playing them, i bought them because they were there and like many, i like them both. the FOR & AGAINST lobby is omni-present on ss, no matter what the subject, but thats democracy for you, nothing wrong with freedom of speech. our breed has refined itself over the decades and things that werent paid attention to in the 70's are now held in disdain under the banner of political correctness so, everyone manjack who played acetates back in the day, wouldnt be given a minutes solace now...as bad as bootlegging you'd say. but, they're not bootlegs, on the sole point that they're individually manufactured, in most cases to people's personal preferences. if they're unissued cuts from cd's, i dont see anything wrong with that as i wouldnt be the only person doing that right now, otherwise HOW are the tracks going to get played and recognised. bootlegging constitutes not touching them with a bargepole and i wouldnt dream of playing bootlegs. there is a middle ground though, where a certain single can be so obscurely rare and heard so few times but nevertheless, appreciated by many who happen to be in earshot, that to get it heard in more places it should necessitate some acetates in the hands of more influential djs....thats something that happened years ago as well. on the back of that the much loved track would get, hopefully, an overdue release on legitimate vinyl through a major out let...such as kent. we rage against each other from time to time about exclusivity, its good and at the same time its bad. do we all go to our graves smuggly satisfied that we with-held a treasure to our dying breath or do we wring our hands and grieve that we never got to own a track?. have we overcooked the rule book? like they say about football....its only a game,...what about music?....what are we on this scene for, if not the music?. alright ive got these items....play them or not, i'll offend someone...in life offending is an everyday occurance...but we get over it. at this moment in time im not playing anything ANYWHERE.....bookings please anyone? guarenteed 100% records...no cds:lol:

brian, an original acetate is the one that was used by artists/publishing companies to sell the product to interested parties. having an acetate cut from an original vinyl record was probably more popular in the 70's when the appearance of emi-discs was common. djs who did not have the record at the time, but wanted the tune badly could, for a sum at the owners descretion, get an "emi" prior to any bootlegging. carver is a reference to vinyl carvers, as opposed to acetates, tunes are cut on thick, chunky vinyl and have infinitestimal wear, unlike acetates, a bit like bootlegging....but not!, its personal preference you see:rolleyes:

pet, used to play this at the mod/soul nights at the long acres during the early 80's along with "in the nighttime" by the strangeloves. its white, its west coast garage as we say and as a backdrop for films its a "hairs on the back of your neck" spine tingler....i think a responsible dj could get away with playing this at a northern soul night, when the crowd is jumping/up for it.......HONESTLY, its no different from the human beinz and HOW GOOD and from a refreshingly different angle, did that sound in KILL BILL?.

aye up lad, on the spot question....obviously, if i hadnt have mentioned this, i would never have been asked, funny thing is, when i played it at prestwich no-one batted an eyelid and i didnt get asked to sell it then. i think for now, i'll pass on your offer, but thanks anyway.....just to refresh the memory, hasnt it been posted up here before, exactly HOW MANY copies are in circulation?. there REALLY cant be that many as, it could concieveably have been booted by now...AND as its only in the hands of djs ( yes?), how many close friends have had "favours" done?, in other words, had an acetate cut for them ( and certainly not a carver). is it the case that des has a genuine acetate and i just have....an acetate but after that....nothing?.

hi dave, i would bet the sound quality is similar to des's copy, though NOT an original one as is suggested about des's, nevertheless it IS a proper acetate and i didnt ask where it came from. it has earnestine eady - lets think it over, on the other side. i'll be honest, i did play it a couple of times at prestwich but early doors ( 9-10pm). demo's are original vinyl records, in some cases, rarer than original issues and in others, not....either way the owner of the legitimate vinyl issue or demo is entitled to play to play it...but that goes without saying really. where acetates are concerned, there are genuine studio ones....and in a lot of cases they are the source of recorded material that has never been issued. then, as in the 70's and onwards, there are acetates that are cut due to demand because, a person simply couldnt afford the vinyl original because of its rareity. these items, whilst not really considered to be bootlegs, i suppose can be frowned on, in the main by the djs who have the genuine article, and you cant really blame them for that. to the punter, on the other hand, its neither here nor there so long as they hear and can dance to the tune. in as much, i suggest, its how your conscience wrestles with that fact...im djing at: brighouse fri 15th oct and after that at the tower, kings hall, and for neil at grt wyrley on new years eve....its in the box...i could play it, there's precisely no reason not to as you say, otherwise, why have it?....but would i or anyone else play it blatently in front of, lets say, mick.h?,does a person risk being labelled a cheapskate for the ambition of djing?. i also have, BUT ON A CARVER, AND AS FAR AS I KNOW, ITS THE ONLY ONE, a copy of sandi golden's - you are my everything, a truely great record. in reality its a vinyl rareity of rocking horse proportions. to my knowledge, only butch and richard have copies and as the story went, richard had an unfortunate accident with his copy. now, although this is NOT an acetate, it still presents a quandry to me...i ought to play it because it deserves to be played, it really is a brill tune, but at the same time i dont wont to offend or have a bad reputation tagged on me. you can, at your discretion, label this issue as being about elitism, something that has permeated the scene since stafford and the quest to hear different tunes, but even that has its limilations based on the simple fact that not enough vinyl and too many djs equates to having the next best thing....an acetate. anyway, GAWD BLESS YA, GUV!

i also have an acetate.....but it has a b-side and NO,.....its not a carver and although i COULD play it,i dont out of respect to the people who own the real thing. i really dont see how its played out as ONLY 3 PEOPLE of genuine standing on the northern scene, possess it and whilst it may have passed from 3OTHER PEOPLE'S HANDS, and YES, they did play it as well BUT it cant be heard in, for instance, 60+ venues up and down the uk on fridays and saturdays....ALL AT THE SAME TIME........CAN IT???. SO where's the logic in that then?. i remember the first time i heard it courtesy of shifty at the may day bank holiday "RAREST OF THE RARE" all-nighter at the manchester ritz, circa 2001....WOW!...STOMP OR WHAT?!! anyway, what the hell, im just airing my opinion.

stands to reason its 300.....because thats how many tickets adey issues for the anniversary, regardless of wether that many turn-up....NOT THAT THEY DONT!!

chris clark was there pretty early on, as for recording, not until mid-60's. foxed me a bit as id forgotten about debbie dean, yes, she did cut some stuff early doors so, thats probably the right order.....however, no doubt about ms. dee, great voice and deserving of the opportunity that came her way. dont forget susan schumaker as well!!. on the subject of groups, i would have thought mike and the modifiers would have qualified as first white group.

we live in an age, far removed from the 70's. the first time any creedance was given to saving things, animals, trees or people was when blue peter asked its viewers to save milk bottle tops and foil...the age of innocense...the first cog that turned the wheel. if we had had the foresight then to realise just how important certain things were to us in the bigger picture, perhaps a lot of what we call doom and gloom now i.e. climate change, would just merely be irrelevant words. so, we lost the casino and a whole generation of other clubs....historical venues, they may be to the northern soul scene, but...saving the 100 club is of vastly superior relevance.this is a landmark venue that has been and still is the comfortable bedfellow of many a musical genre. in no way can you compare a northern soul icon to the importance this club is, in helping to shape the musical culture of this country. its roots steeped in jazz, it spread its net broader to capture new and up and coming artists and bands in the 60's and 70's to enhance its more cosmopolitan appeal. through the last 3 decades it has been more of the same. its even shared its floor space with some northern soul addict by the name of adey, who, just wanted to spin a few tunes in an atmospheric venue.....and he's done remarkably well....for lets say....oh, ......31 years, did someone say?. its ironic isnt it, that only with age, have we refined our feelings towards things we greatly love...so much so, that we want to make the effort to save them, as we're afraid to lose them.one thing is certain in life....death, we either pass away before these places do, or after....we were too busy living our lives enjoying wigan and the likes too much to even contemplate the day they wouldnt be there....but then what do you expect to do when youre young?. no, its not really about saving the 100 club for the sake of northern soul, its about saving it for future generations to enjoy, whatever their musical bent...and because its one of london's greatest landmarks. granted, bottle tops aren't going to do the trick , only the filthy lucre crossing some greedy capitalists palm will appease, no matter how distasteful it sounds the doorway to the 100 club should remain a welcoming sign for all music lovers.

everyone to their own taste mate, heard this donkey's years ago, made for mods maybe but soulful?....sorry oh, and by the way, chalks forgot to mention which type of soap.....good old fashioned carbolhic!!

i presume hipo's trade embargo is still in place....if so i assume the normal channel for purchasing this product will be through soulbrother.co.uk if anyone knows any different it would helpfull to post here. as with all hipo product it will be limited edition

yep,.....absolute classic, one of the greatest singers never to achieve her full potential tragically, would probably have blown ms ross clean out of the water...with all respect, had she lived....why, oh why, has it taken so long to pay this tribute?....fitting then, that hipo have pulled out all the stops to re-dress the balance with another prize dbl-cd for the collection and as if to make the saliva drip uncontrolably, never-before released tracks from the vaults.....i would astutely hazard a guess, the painstaking efforts of eminent historian, harry weinger. a touching documentary then permeated by the sublime singing of the free spirited talent that was and always will be,....tammi terrell.

as ian pointed out in an earlier post, david obviously is on first name terms from a professional stand with these artists as, many of you may already be aware, he has called on them annually now for 8 years that i can remember and can testify to the extensive advertising of these events on smooth radio. these outrageously large line-ups promise a fabulous show, so much so, you are literally spoilt with so much soul on one block. i would hope that clarity reigns with regards anyone not making the bill and that david guest confirms this well in advanceas the cost of tickets at this time of year with so much else on in that month, really IS going to hit people's pockets hard and as they say....WHAT YOU SEE IS WHAT YOU GET and that is precisely what the punters will want for their hard earned cash. ultimately a great SOUL night out. if.....little anthony does appear,.. it begs the question we all would ask......WILL THEY "ROLL BACK THE CARPETS" FOR "BETTER USE YOUR HEAD"!!

malc, our local evening paper, the shropshire star carried a review of the program, prior to its broadcast and my eyes widened and jaw dropped at this revelation. considering i wouldnt believe for one minute, anyone of note works for the paper who has even a modicom of knowledge about soul music in general, let alone detroit, yes i would be just a tad scepticle...maybe they had some insider who briefed them on the "who's who" in the backing band, either way, they were aware of that fact and who the funk brothers are.the guy playing inbetween bob babbitt and eddie willis looked like joe messina but without the trademark specks, obviously not and as ray is a white guy, i'd plump for that being him.

dont know why really, but as you do, a name pops up as im listening to checkerboard squares for the trillionth time. remember when it was covered up as bob wilson - strings a-go go? thing is there's a real bob wilson.....AND NO, BEFORE ANYONE GETS CLEVER, ITS NOT THE ARSENAL AND SCOTLAND GOALIE!, but his name is on recordings on sound stage 7, volt and motown so.... is he one and the same? did he REALLY record for motown ( e.g. b-side of festival time uk release " all turned on ") and, as soussan bootlegged the checkerboard squares, why did he choose bob wilson as the cover name? AND NO,...HE'S NOT THE DOG FOOD PRODUCER EITHER!!

well, thats how it ought to read....but credit to collins for getting these guys on national tv, albeit bob babbitt and eddie willis...the real surprise according to the billing was the inclusion of raymond monet of micheal & raymond fame....that really IS a rareity in this day and age. i thought it was the primary responsibility of northern soul promotors to bring such distinguished luminaries to our attention, so saturday night prime time for a motown remembrance suggests the powers that be have had their memories jogged as to how good REAL music is, in the face of incessent reality tv. phil collins grew up in a generation that was a mod loving culture exposed to the ultra nouveau sound of detroit and the expression "soul" on the lips of the hip people and he, like many, frequented the clubs where british beat groups paid homage to their newly aqquired black heroes. whilst this show is produced in the normal slick, glitzy, sickly plastic manner that befits "an audience with" it has managed to relieve the stifling smog that is saturday night tv for an instant and recalls sobering memories of seeing the real deal ( the funk brothers) perform live in manchester amazingly now, 6 years ago and getting the chance to meet and speak with them. sadly here, no jack ashford or joe messina but, i guess their consciences still wrankle over money and fame even in their dotage....but thats another story. so yes, give phil collins his due, he's not only given his own popularity a boost, but he's graciously handed the spotlight to the very people who fueled his enthusiasm for the motown sound and performed the classics with them well:hatsoff2:

billy sha-rae......on account of it being played, heard it a few times now in the absense of eddie parker!

lad, i suppose youve touted morcambe on account, that its just across the bay from barrow in furness.....HOME OF.....SSSSSSH,.....YOU KNOW WHO?!!

i had a v.i.p. copy that was double-a sided not white but multi-coloured demo, in other words ghost on both sides. the one you have pete, i must say is a mystery to me....never seen that before. quote me if im wrong but im sure motown did the same with lets go somewhere, also on v.i.p., appearing as a double a-side on the demo format and no different b-side.

well mate, i'd say a good many have the 1992 dbl comp thats long since deleted on cd, virtually all his mercury stuff and these tracks aren't there so its a better than even bet these are veejay recordings and, if ben e. king's "gettin to me" is anything to go by, its a case of morphing a beat ballad into a mid 60's stormer that unfortunately for jerry, as with ben, came too late as the sound was considered dated then. what an awesome tune lying in wait if the boffins can unravel all the muffled distortion...bit like how they did with little anne?. i think that you must, by now, be thinking many people are saying the same thing...WOW!!! and deeply envious that you are the owner of something unique so, its got to be worth the time, money, effort and patience if not for the fact, its an unknown or missing masterpiece. GO FOR IT.... GET A MAGNIFICENT LOAN, BUT GET IT DONE!!!

the sounds superb lp was actually available in 1973, i was at school at the time and remember a mate bringing a copy back from blackpool mecca so, 1977 is a discrepancy. release date for ghost in my house: 30/3/1967 both demo's and issues were double a-sided

yes, i am fully aware of the two previous releases, factually however, this was his first chart for 4 years and, sadly his last. i would have to check the guiness book to confirm no.1 status for indiana though, im pretty sure it got to no.2 u.k.. prolific songwriter...one of his best,....7 rooms of gloom - fourtops and my world is empty without you - supremes. first white male to have a hit for motown here, in states, probably tommy good.