Chalky
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Everything posted by Chalky
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Have you tried clearing your cache, pressing f5 several times? updating browser? Don't understand why you can't edit like everyone else? -
Pete why do you have to challenge everything said? Already said (which I'm sure you've read but thought you'd post anyway) the discussion of tax isn't off topic however some of the posts are little or nothing to do with Richards q or the payment of tax on imported records. In reply to your query how on earth do the officers at customs and excise know what is in the package? They can only go on what the sender has declared. And if you can't buy and sell for a profit after paying your dues then you shouldn't really be making the purchase in the first place. If import duty is say £15 and that is your profit then it is bad business buying in the first place is it not?
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it isn't, I wasn't referring to those posts. Some of the posts directed at Jules are nothing to do with the paying of tax on imported goods or whether Richard should pay the tax.
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Stick to the topic please, which is should Richard pay the fees. Really no need for some of the posts just because you don't agree with what someone said, something that is, whether you like it or not technically/legally correct.
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Brilliant, look forward to them both already.
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It wasn't that long ago that there was one venue in Dewsbury, Sheridans and it had three or four promoters who each promoted their night after each other. You had a different music policy every week and the place was rocking, oldies, newies, R&B, modern right across the spectrum of Northern Soul. Great venue and a great time was had by most who went there. It was a bit of a dump but it had atmosphere.
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What time are the BOS on stage?
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The Dore' Story: Postcards From Los Angeles 1958-1964 Ace's September Newsletter just landed in my inbox and this release (available September 6th) charts the rise of the legendary LA Dore' label. This is the first release charting the story of the label and with subsequent releases should give a fascinating and comprehensive guide to the releases on the label. No Black Music (R&B/Soul/Northern etc) to speak of in the first release but I guess they have to start somewhere when telling the story of a record label. As usual the comprehensive liner notes, some 18,000 words, for you to read whilst listening to the CD a couple of times. Ace newsletter notes.... A one-man operation run at street level for more than two decades, Hollywood's Dore label launched the careers of Phil Spector and Jan & Dean in the late 1950s and built upon these early triumphs with an extensive catalogue of pop, rock and soul 45s during the 60s before branching successfully into comedy in the early 1970s. ¨ ¨The story of DorÃÆ’© records is inextricably linked with that of its owner, Lew Bedell, who entered the music business in 1955 having worked as a minor professional entertainer in the preceding years. Pop music was different back then and never more so than in California, where Hollywood's dominance of the entertainment scene meant that Los Angeles was scarcely aware of its music industry until hotshot producers such as Phil Spector, Brian Wilson, Snuff Garrett and Lou Adler finally put the town on the recording map in the mid-1960s. ¨ ¨Individualists such as Bedell were usually referred to as "characters" or as being "larger than life", suggesting they were caricatures of some sort, but Bedell, for all his eccentricities, was somehow too pragmatic a man to fit that description. ¨ ¨DorÃÆ’© began as a subsidiary of Era, a Hollywood label best known for mainstream pop hits such as 'Chanson D'Amour' and 'The Wayward Wind'. Bedell had founded Era with his cousin Herb Newman before breaking away to run DorÃÆ’© alone. In 1958, it got off to a flying start with 'To Know Him Is To Love Him' by the Teddy Bears, a worldwide hit, followed a few months later by Jan & Dean's 'Baby Talk'. By Rob Finnis courtesy Roger Armstrong The major labels had lost touch with the street and it was largely left to LA's scattering of independents to set teenagers' turntables spinning on the West Coast. ¨ ¨It was the age of the walk-in deal on LA's so-called record row, an area of Hollywood populated by small labels wheeling and dealing from storefronts or backrooms. Some went in the blink of an eye but Dore stayed, moving seamlessly from rock and pop into soul music in the mid-60s. In this climate of spontaneous deal-making and low recording costs, Bedell was regularly approached by would-be's and wanna-be's, some of whom may have had something on the ball. Herb Alpert, Shel Talmy and Mike Curb were just a few who brought their first productions to DorÃÆ’© and there are some interesting connections: aside from Spector and Jan & Dean, the Walker Brothers and Vince Taylor all come into the story. ¨ ¨ 25 of the 28 tunes on this first volume of "The Dore Story" appear on legitimate CD for the first time, all taken from the original masters, including previously unissued rockabilly from cult figure Joel Scott Hill, two ultra-rare rock instrumentals by Bobby Fry, the guitarist Vince Taylor brought over with him from America in 1958. There's exquisite doo wop, some featuring that cherished East LA "Barrio" sound, early teen rock from John Maus of the Walker Brothers and a rare instro featuring Scott Walker himself. Dore is becoming a collected label. Many of the original Dore 45s are now beginning to fetch quite big money, helped by the aura of mystique that surrounds the label and its distinctive logo. The generously proportioned, specially designed package includes a 18,000-word newly researched profile of Dore and Lew Bedell, artist biographies and many never-before seen photographs and illustrations. "The Dore Story" is an engaging snapshot of that moment in time before lawyers and accounts took over the music biz and things were simpler and probably more fun. 01 LET'S SPLIT - Bobby Fry 02 MARATHON ROCK - Joel Hill & the Rebels 03 BABY TALK - Jan & Dean 04 LOOK FOR A STAR - Deane Hawley 05 RING-A-DING-DING - The Tides 06 TRUE DEEP LOVE - The Premiers 07 STOMPIN' SH-BOOM - The Dories 08 EVERY ONCE IN A WHILE - The Debonaires 09 X-2 - Bobby Fry 10 DOIN' TIME - Ronnie Cook & the Diamonds 11 SOMEDAY - Cam Morris with Don Coats' Crusaders 12 MY BABY DONE ME WRONG - Kid Guitar Thompson & the Scooters 13 BABY, BABY, ALL THE TIME - The Superbs 14 TOO FAR TO TURN AROUND - The Creators 15 LOVIN' DADDY - Chuck Miles & the Styles 16 SHAKE IT, SHAKE IT - Larry Harmon 17 HEY LADY - The Entertainers IV 18 HIDEOUT - John & Judy 19 RUMBLE AT NEWPORT BEACH - Mike Gordon & the Agates 20 BABY DOLL - Billy Saint 21 PERCOLATOR - Billy Joe & the Checkmates 22 A CASUAL LOOK - Chris Darlin 23 AFTER SCHOOL ROCK - The Baritones 24 LAST YEAR ABOUT THIS TIME - The Symbols 25 TO KNOW HIM IS TO LOVE HIM - The Darlings 26 THERE'S SOMETHING ON YOUR MIND - Little Ray 27 SHOWDOWN - Tony Casanova 28 I LOVE YOU, I DO - Freddie Willis -
I'm not a fan of the multi room venues but many large room venues are a bit stale and side rooms are catering for those that want something different and are proving popular. As I said earlier it needs the promoters to show some metal and put it all on in one room, encourage DJ's to stretch their imagination and ignore those who simply stick to the tried and trusted hot box, boring!!
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The scene has been fractured since the mid 70's by all accounts so why is today any different. Different genres of what is termed Northern Soul have always been played, in the same room. As long as they are dancers what is the problem what then re it comes under? The last Stafford reunion was a perfect example of this with a full floor all night to right across the board soul music, Lifeline another example showing that an across the board policy can work and keep dancers happy. The one phrase I've highlighted, what a load of tosh, the only people I hear using this is people like you on here in an attempt to further their argument. I never hear anyone at a venue coming out with this phrase. There is as much cheap sh*t played at venues as rare expensive records, as I said in another topic it is because they are rare that it is highlighted more. And if an 18 year old comes and asks "I thought you were going to play some Northern Soul tonight" when James Carr is being played, well i think that says more about the venue than anything else. Please don't turn this into another oldies vs. newies topic, the vast majority of venues are oldies so newies clearly aren't the problem and you usually find that the more upfront venues playing "newies" are frequented by like minded soulies not your average oldies fan.
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This looks like it is getting personal so might be better for all to take some time out and calm down otherwise you will be going back and forth all afternoon. To me it seems Ady picked a free date for his event and Chrissie changed her date after Ady had advertised Stewartby? If that is right I can't see why Chrissie can't just accept this and move on to her other question which is do you carry on with the calendar?
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How many promoters used your calendar and what was the numbers who received this calendar or read it? Surely if the numbers are there and you are willing then sensible to keep it going. Quite clear though from this topic that in planning some come straight to Soul Source, not just nationally but in your region?
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No one wants a slanging match but you had your say and denied others there right of reply by closing the topic, so only fair you reopen. All ask is keep it sensible and factual and no mud slinging please.
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As said a sad day. Again as said he had a huge involvement in the records we collect. These sad days getting all to frequent.
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Too many promoters care little for the bigger picture (the scene in general) and only care about them selves. Some aren't happy with one night per weekend they want two and want to run something every week. They don't care about clashing either, same for many all-nighter promoters. When they can't get the night they want, rather than not bother or postpone they simply clash with someone else often long standing promotions, often not caring for the consequences. There is a lot of apathy right now, especially from those who have been around without a break, fed up with dwindling attendances, same old records week in week out, many don't want newies but by the same token they don't want the same top 100 every week, many quality records ignored simply because a DJ and promoter play safe with guaranteed floor packers you hear every week. Friday nights are getting less and less feasible for an all-nighter, those that are promoted on a Friday all too often suffer with dwindling attendances. Many reasons, work, family. The cost of living which is just rising and rising also have=ing a effect with many simply staying nearer home. That leaves just the Saturday night to squeeze everything in and with soul nights also extending their hours this is having an effect on the all-nighter scene. I personally don't think there will be an all-nighter scene as we now know it in a few years. Look at the age of all-nighter goers……the majority the wrong side of 40/50. The youngsters just aren't there, I don't care what others say. Some nights might be doing well with venues fill of youngsters but they tend to be city centre venues and soul nights only, they don't tend to do the all-nighter circuit. Who can blame them, some decent music, free drinks, good laugh with people their own age, some sleep and the facet they have the next day and it isn't wasted by being a cabbage all day long. Something has to give and soon. Promoters will have to start thinking about the bigger picture, some will have to think about what they are doing and is it for the benefit of the scene of themselves. They will have to decide if it is detrimental to the scene then we will postpone rather than move and clash. I doubt it will happen because humans are by and large selfish. I keep seeing the excuse well we are 100 odd miles apart and music policy is different, b&ll*cks!! We are all into Rare Soul, all chasing the same crowd. Promoters will have to start showing some balls, introduce a few Dj's who can advance things, I'm not talking about new music all night or even a large part of the night but to strike a balance and freshen things up a little, maybe something different every 3 or 4 records, I mean 5 records in a set lasting an hour is f&ck all, dancers should show a little patience and realise not every record will be to their liking and that someone else might just be liking what they don't. I've been looking at playlists for several venues, boring boring boring....many good rare records but simply boring play lists, you hear them all the time. A Dj who spends a fortune will always get the bookings yet a DJ who plays good imaginative sets (I don't mean upfront either, oldies included in this) without resorting to the cheque book is always over looked. I fear though it is too late and that we are past the tipping point.
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I read somewhere that in the 70's most vinyl, not only was it made thinner but 30% of each disc was regrind or recycled vinyl. This is one reason for noisy vinyl discs even though they look mint.
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Took me well over a year to get a copy of Soul harmony Singles, I searched everywhere and asked on here two or three times, actually got it on off in the end. They are working on a 2nd edition.
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Top man, will get these added to the listing soon as I get the chance
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Dunno if mentioned but vinyl was also recycled. So it is feasible that any unsold stock at distributers returned and recycled for new presses/releases.
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It still appears for sale somewhere or other Bob, there's no way this is worth what it recently sold for nor £400 in the guides, not IMO anyway. There's no demand from the dance floor either form what I can see. The guy who had them had stacks of copies, for all we know he still might have. There was a lot of talk about him, maybe he has laid low for a while?
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Right, how many did he have before, do you know?
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This isn't a new policy though. We were giving people a message on the topic for the last few months, one so that the topic poster could see it and two so that others could see it. There are also pinned topics at the top of the sales forum that everyone should be reading as members. Most have agreed to do as asked. We were previously simply closing the topics, I will go back to doing this, saves the hassle and my time, time I can put to better use at home. It is other sellers who complain about the policy off bumping sales posts with "on hold" or "sold" when the topic can simply be edited to reflect this. I will give the topic at the top of the forum a bump so that those that are "unaware" will be aware. Thanks Chalky PS Seen two others who have bumped, have closed those topics, the others are mint minus members. The majority of sales posts have no replies and have simply been edited where items sold etc.
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there's no demand for this record now is there? I wouldn't pay more than £75 if that. If Danny Moore can drop to £40 why not the same for this? Danny Moore p*sses all over this as well. More fool those that pay silly money for records that are found in quantity, especially if it is the same seller that had the other lot.
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Most? Me thinks you rate exaggerating a tad? Many of the great classics in there and post Wigan greats. Granted not all rare records are good, just the same not all cheap records are good either. It's simply the fact that some are expensive and crap that they get highlighted whilst cheap crap records are simply ignored.
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Forget my last post, just re-checked the JM auction topic and Pat has added sold it at last.