Chalky

There's another press of the JE Morgan on M.G.S. where his name is spelt JE Morsan.

The delta numbering sytem was used by several companies. If it is a monarch press it would have MR in a circle. Then come the delta number, the triangle followed by the number. ALCO also used the same sytsem , ALC inside a cirlce followed by tne triangle then the number. X denotes the b side.

Counterfeiting is something replicated to look the same as the original and to deceive or if you like defraud. That includes the art work and the medium that carries it. What you are talking about is plain old bootlegging. Something that has been about long before the beatles, any rock group and northern soul. Bootlegging is the distribution of unlicensed material, be it music, film, money, booze or cigs.

Between June and July 1976 that delta number.

Andy Dyson has the Eddie Parker Ady.

Yes mate Adrian's would be great. I'll wait till In have a n hour to call though lol

Ey up mate Look forward to the PM Can you get me a 300 DPI scan of the flyer or loan me the flyer? Bernie been in touch as well

Cheers Martin. I remember going to Turnup's (or was it Rebels) later in the 80's, 86 or 87. I also remember a do at Josephines I think let 80's, night club near Mucky Duck in Sheffield. PS You don't have a contact number for Crofty do you?

Much appreciated they were as well mate

Hi Robin Some sounds would be great pal. With each club/venue I'd like to list a selection of records associated with it. I do have an echoes with advert(s) for the Manchester SAS events, October I think 1981. I think it is there where Dave Withers unleashed all the unissued Motown. Flyers and/or a ticket would be fantastic Derek....if you can locate them

There is only one of us who doesn't seem to grasp the matter in question. A bootleg is illegal, end of. Buying a bootleg is illegal in the US I think although not 100%, it should be here too. Whether resources would be used to chase those who buy them is a different matter. There is no grey area regarding previously unreleased material, it is still subject to copyright law and permission is required before it is copied or distributed. As for an acetate you don't own the rights and don't have permission to press copies of it and distribute. You need to seek the permission of the rights holder. The selling of intellectual property that’s protected by copyright law is a crime regardless of any demand.

Bootlegging is copyright theft. Whilst they may not have stolen your money, you actually gave it freely, you are or were buying illegal copies of music, no copyright was paid, no royalties to anyone due them etc etc. As said earlier bootlegging isn't just unreleased or live music, it is the distribution of anything unlicensed. I think that is what others are intimating. I agree entirely it isn't the same as what is happening here and elsewhere, counterfeits, done to look the same and to defraud or deceive people.

Whilst a bootleg was at one time generally concert music but not always the case, a bootleg is actually any music (or other product, booze, cigarettes) published illegally. 2. To produce, distribute, or sell without permission or illegally: A counterfeit is one that is done to look like the real thing with the aim to deceive. 1. To make an imitation or copy of (something), usually with the intent to defraud:

Richard and Bernie Golding, what do any of you remember, Wigan Tiffs and any other venues, one in Manchester where all the unreleased Motown were first played apparently. Looking for dates, flyers etc. @Louis you have a few tales mate

Some great nights at Bretby allnighters, and the Soul Nights that preceded it. Rarely ventured from the 60's room the times I went.

That's right, it would be more cost effective to get 300 rather than 50. https://www.discmanufacturingservices.com/vinyl-prices.htm just the basic black and white label as well.

I may have misread Smudge, Paul doesn't mention when it changed to Phoenix but it was certainly the Phoenix by the 2nd birthday all-nighter in Feb 1976. I m,just try and find that article although Paul has given me some facts. I don't need an in-depth piece on the 70's, just enough to set the scene in Peterborough as the book will be basically Post Wigan.

That flyer is for the third night under Paul Donnelley. Need to check but it could be the last under the EASC before Ken Cox registered the name and Paul D changed to the Phoenix SC.

If many of todays promoters read the above mate, they realise where they are going wrong.......on every point

I think that is called the real world Steve. Go to any club with the top djs on that particular scene you probably pay that and more for the night. The Djs would be paid the going rate too. They are also top Djs because they ars different from the rest, they do things, play things that make them stand out. The so called top djs on this scene are no different to Joe Bloggs playing to 50 people in the back room of the local pub. I don't hear or see anything from any of the top djs on our scene (the mainstream one that is) that make them stand out. They don't set any trends......they are afraid to incase they lose a booking. reading this topic and the amount of venues that charge 3, 4 or 5 quid on the door...it was that much 15 years ago! I understand some do it simply for the love of it, christ I've lost count the times I've done something on this scene for the love of it but somewhere down the line we have to come into the real world. The venues up north are not cheap either. Most charge 250/300 for a decent sized venue. Equipment hire is usually 200 or so, get it done professionally and it will cost you more. Security is a must, door staff, promotion. You are looking at the best part of 100 people in to cover the overheads before you begin to pay the djs. And the prices promoters are willing to pay there is no wonder many I know are simply not interested in Djing anymore.

I'd sooner listen to the banana splits and scooby doo than some of the music masquerading as rare/northern soul. Far too much is so far removed from what we are used to. Far too much played for rarities sake. Quality control seems to have taken a break. most of these records are enjoyed by a tiny vocal minority.

Carl Spencer too.

Obviously I don't want names (PM those if you want ? )

So....just to get this straight.... who was causing the trouble, when and where and if possible why.