Godzilla

Close ya yap an' take the air, punk. Ya want the peepers all over us?

So is Funk accepted at a Northern night, thats where im getting a bit confused now as i thought the 100 Club was about soul and most things soulful, its not about if i dont like someones set cos you cant like them all, if Funk is going to be more predominant in the Northern scene then like Ken i wont want to go to them places that want to play it as there is a choice, but nplease why do people who play out and out funk insist on putting it on the northern crowd

im sorry thats just my ignorent take on funk at a northern venue

Here's another one that'll have you running for the door pretty soon then I should think

** Link ** Coming soon to a Northern Room near you - New KGF 45! **

sorry but dont you mean quality bootlegs by all accounts,imo of course,

Not sure if I get you here. Are you talking about all acetates/carvers done to order or are you saying that Timmion Records are bootlegging stuff.

If it's the former, well, that's been debated endlessly on here and I thought the consensus was that a one off for own use is more or less ok, especially if it's unreleased stuff. In that case why not post your reply under Chalky's request for somewhere doing Carvers? If it's the latter and your suggesting that Timmion are anything other than a legit record company, I think you should be providing some evidence to back your statement up.

I guess you mean the latter judging by your "By all accounts" phrase, so it would be interesting to know what proof you have.

Is it starting to get plays? Struggled to get £20 each for a couple of copies early last year.

Dunno how quick turn around will be but may be worth a shout? Quality acetates by all accounts.

Another one! Well sort of

This is Jamaican for a start, and although it doesn't mention London distribution it's the blue version of the promo labels they used. Unless they sold some of the blanks - or an enterprising Jamaican got his hands on some

cheers mate, i suppose i could hasve googled it!! know anything about flamen king?

by the way has anyone tracked/tried to track vontastics down?

If you Google Flame 'n King you'll find something. There was a piece in the Observer last year that mentioned he still had a version of the band on the go in Harlem.

Vontastics

"No Love For Me" b/w "Peace Of Mind," issued in October of 1965 began an encouraging time on St. Lawrence Records. While it didn't light up the charts, the follow-up "I Need You" b/w "Keep Rollin' On" (March 1966) were two equally good sides that received dual play in some cities. The next release "Day Tripper" (September 1966) is curious because the songwriter credits say Bobby Newsome, though it's the same song that John Lennon & Paul McCartney wrote. The jam became their biggest record; St. Lawrence followed with "You Can Work It Out" b/w "Never Let Our Love Grow Cold," February 1967; the A-side strutted like "Day Tripper," the B-side groove was similar but the lyrics more meaningful. Subsequent one off releases on Moonshot, Chess, and Ernest Leaner's Toddlin' Town Records didn't do much of anything and the guys left the music business. ~ Andrew Hamilton, All Music Guide

Don't know how accurate that is, but it looks like they're not around anymore.

There are 2 different Loyd Price mixes as well......GSF and LPG

What's the LPG mix like? Clip anyone?

Ta

Godz

Prefer Sergio Mendes myself - memories of buying the LP with it on from our newsagents for 99p and selling it the same night at Wigan for £3 - big profit back then!

Same here! Mine was from Asda of all places though

Prefer Lloyd Price these days though.

My thread has now been moved to the "All About Your Box" section.

Ginger played Burning Bush, first bought it off me at St Ives and it cleared the floor but he stuck with it. Great record; what's not to like.

The nearest to punk apart from Pushin Too hard by the Seeds was when Martyn Ellis started DJing punk and played the Jewels Togetherness for them to pogo to.

I also remember people tipping Lene Lovich's version of "I think We're alone now." it was on the flip of the original version of Lucky Number on Stiff which sank with out trace. Lucky Number was subsequently reissued with a different flip and charted. Clearly recall something in a soul mag (maybe one of Dave McCadden's) warning to stay away from the Rezillos version as it was crap!

MIDNIGHT BREW ALSO CAME OUT AGAIN AS A B SIDE BY GLASS TEAR BAND ON TRIP 15.i RECENTLY BOUGHT A COPY BUT NO ONE SEEMS TO KNOW MUCH ABOUT IT????

I think Rob Lythall turned up the first copy of Glass Tears. Certainly remember him having one in the late 70s when the other known were The Still life, Melvin Carter and The Six Pak.

I'm sorry but this particular thread has been turned into a lynch mob, and has quite sickened me to the core. Certain parties have siezed upon one innocent record to get at me, as I kept my cool throughout the other thread, and now they got their wish and that thread's been moved.

When I read "is this(Pete Lamarr) a soul record to preserve the "ethos" or is it a Pop record to make money?", I could have cried.

This forum is becoming like the Russian Revolution pre 1917.

Them and us.

Kev Roberts was so damn right - it's all so easy to stand on a soapbox and criticise anyone else who ACTUALLY gets off their arse and does something. I think Carl Dixon is starting to find this out too.

I weep with despair. Tears of bitter blood.

I wish you all the same pride in your work that you've all denied me.

Maybe my comments on the Mary Fox show weren't so far off base after all, after reading all this. Any excuse to get the boot in for Levine, led by a couple of terrorists who deserve far worse than they've gotten so far.

I refuse to be like Bicknell and crawl under a rock every time someone hurts my feelings. But some of you should be deeply ashamed of yourselves, and you know damn well who you are.

Maybe if you didn't get quite so hysterical about things people wouldn't respond so strongly. So a few people have said they don't like a record. Hardly the end of the world is it. You've made it clear you don't like the KGF 45 but I bet they're not crying "tears of bloody bitter" or whatever. As for attacking Mark Bicknell in this thread and in members feedback - well ok you had a spat. Clearly you that's trying to keep the feud going by dropping it in to unrelated topics. And now you're again referring to something you said that more or less condemned all the members of this forum. Do you honestly have no idea what gets peoples' back up?

I didn't have much of an opinion on these threads either way, apart from starting get a bit fed up about how they are dominating the board (bugger - I'm contributing to it now!). Rapidly forming an opinion though...

Peace

Godz

Actually, I've listened to it a few times now, so with my definitely (honest) last ever post until Levine has moved on post, I'll add that the production is really starting to grate now. Not so much a grower, more of a grater. I stand by it being the 'best thing Levine has produced' though.

And it is a decent song, the man can write a tune, in a traditional northern soul for the midland's village hall scene kind of way, I'm sure it will get a some spins, somewhere. It would have been interesting to hear the song had it not been produced on a computer and keyboard and in an analog studio with real musicians like the kids at Timmion have perfected.

Sorry but I have to disagree here. Not a good tune - too poppy by half and a really hackneyed lyric. Not keen on the rather muddy sounding production either. Still don't suppose it's aimed at people like me.

Another white guy for sure, but Pete Wingfield has pretty good soul credentials as a singer, musician and writer.

Can anybody tell me who Martin Freeman is please, and what he's done ??? I'm most interested.

Have you honestly never heard of The Office? Reminds me of the old Rowan Atkinson sketch where he plays a judge out of touch with the modern world "A digital watch ???"

JAMAICAN 45S SUFFER FROM BAD MASTERING ETC NOT BECAUSE OF RECYCLYED VINYL

I think you'll find that from the 70s onwards they were using a considerable amount. Ask a Dancehall collector for example. As for mastering, I know they used worn stampers and ancient pressing equipment, but I actually like the sound of lots of Jamaican mastered records. Horses for courses though I suppose

The only way you could do what you describe above is if you had the original "mother stampers" that the original 45 was made from. If you have that AND you're able to press it at the factory where the originals were made AND they let you bring your own plastic mixture that you've made from old melted 45s... then you will get the exact same audio reproduction and run-out etchings. Perhaps that is what has happened with the King Tutt 45 you've got? I don't know, I just think it's fascinating and would like to know how to distinguish between an original and the counterfeit.

If you don't have the original "mother stampers" then you will not be able to make an exact counterfeit of a record. You might get the run-out groove etchings and run-in/run-out widths correct, but the the volume and wave form of the audio WILL differ between the original and the countereit no matter how much work you put into it. Properly mastering and cutting a lacquer/stamper for vinyl production is a dying art (and has been for about 25 years).

Hang about. Then you would be using recycled vinyl. I was always lead to believe that the sound quality was inferior. I understand that's why some original copies of records are noisy - because they used recycled vinyl in the first place. Same with loads of Jamaican stuff. KT is not a particularly noisy recording to my recollection

From AMG

Evelyn Thomas was discovered in her hometown of Chicago, IL, by Ian Levine in 1975. Levine had come to America to discover talent for his newly formed Voltafine Production Company. His goal was to record American soul singers and lease the masters to major recording companies. Thomas, an ex-gospel singer, sung in a plain, unemotional voice that masked her ethnicity; Thomas is a black singer who sounds white, by design or by chance. Impressed by her voice and willingness, Levine cut some tracks and secured a deal for her with 20th Century Records. During this period, Levine was a constant victim of rip-offs and threats, but persevered to realize his dream, often having to call up friends and relatives for loans via Western Union for payoffs and to complete sessions.

Ian Levine and Danny Leake produced Thomas' first 45 single, "Weak Spot," which was arranged by Paul Wilson and soon entered the U.K.'s Top 50. The success of Thomas' record and others prompted Voltafine to fly their American artists to England to appear on Top of the Pops, in hopes of breaking the recordings on Britain's pop charts. Thomas came over with fellow Chicagoans and Voltafine artists Barbara Pennington and L.J. Johnson. The appearances went well but the records never crossed, nor did they do anything in the States. Still, "Weak Spot" sold 70,000 copies, pretty good for a debut.

After returning to Chicago, the threesome was soon flown back to England to tour the Northern soul clubs; this event was promoted by Terry King and was called the Chicago Soul Review. 20th Century welcomed Thomas with open arms and did all they could to help her while she was in England. Thomas went over well at the clubs, being blessed with a perpetual smile and a bluesy voice that Levine and Leake could transform to gutless pop/disco in a New York minute. Financially, the tour was a failure, drawing well in the northern areas but failing miserably in London proper. "Doomsday," Thomas' follow-up, didn't do as well as her debut, entering the chart and dropping out, only to re-enter again for a pit stop before disappearing completely; it sold less than half of what "Weak Spot" did. Back in the studios, Voltafine cut the Gloria Gaynor-influenced "Love Is Not Just an Illusion" and "My Head's in the Stars" for Thomas.

Then came problems with an ex-manager who informed Levine that he was Thomas' manager under contract, and demanded that Thomas' royalties and contracts go through him. Levine insisted he had a valid contract, that is, until he was taken on a scary car ride in a Mercedes with Thomas' ex-manager, who now wanted 2,000 dollars for compensation. After some scurrying around and many phone calls, the ex-manager was satisfied and Thomas was again Levine's artist. Over the years, Thomas proved to be one of Levine's most prolific artists. To date, five CDs have resulted from the chance union of this Brit and American: The Best of Evelyn Thomas, Have a Little Faith in Me, High Energy, I Wanna Make It on My Own, and Standing at the Crossroads. Thomas' sweet, innocent voice can also be heard on some Redemption tracks when the group was billed as Redemption Featuring Evelyn Thomas, and her singles are included on many compilation CDs. A pretty good run for an American singer who never had a hit or significant record in her own country. ~ Andrew Hamilton, All Music Guide

Godz are you saying that the Red Bird issue is a different take than the Blue Cat outing of IHOTOS?

Now I`m really confused

Sorry, should have made my self more clear. I meant "Other Side", the Blue Cat 45 was tougher than the Red Bird 45 "You'll Always be in Style". And that I thought "Other Side" was the better tune. Sorry for the confusion.

My old copy played lovely by the way

Sold mine about 4 years ago for around £350 if I remember rightly and I'd expect JM's copy to go for double that easily.

You see many, many times more of the Red Bird 45 than the Blue Cat one. Better record too IMO - but each to there own I suppose.

Godz

Ronco's Black Explosion was another formative one for me

A1 Love Unlimited Orchestra Love's Theme

A2 First Choice Armed And Extremely Dangerous

A3 Wilson Pickett Soft Soul Boogie Woogie

A4 Tony Clarke (2) Landslide

A5 Limmie & Family Cookin' A Walkin' Miracle

A6 Jimmy Helms Gonna Make You An Offer You Can't Refuse

A7 Delfonics, The Didn't Blow Your Mind This Time

A8 Gladys Knight And The Pips I've Got To Use My Imagination

A9 Whispers, The A Mother For My Children

A10 Dells, The Sing A Rainbow/Love Is Blue

A11 New York City I'm Doing Fine Now

A12 Sly & The Family Stone Dance To The Music

B1 Barry White Honey Please, Can't Ya See

B2 Jimmy Ruffin Tell Me What You Want

B3 O'Jays, The Love Train

B4 Isaac Hayes Theme From Shaft

B5 Stylistics I'm Stone In Love With You

B6 Johnny Nash There Are More Questions Than Answers

B7 OC Smith La La Peace Song

B8 Billy Paul Brown Baby

B9 Main Ingredient Everybody Plays The Fool

B10 Harold Melvin And The Blue Notes The Love I Lost

B11 Johnny Johnson And The Bandwagon (Blame It) On The Pony Express

B12 Aretha Franklin Soulville

Here you go:

LINK

It's ok, Godz, I got it, but many wont have a clue what it's about.

Was it a NME thing? Supposedly Danny Baker?

- not totally lost on here then!