Chalky

take you won't be going then

HI Dave, missed that track the first tome you posted it, does sound good and will look out for the Lp/cd.

I might try and get the day off. If I remember rightly Lucy has asked me questions in the past about the scene, help for a thesis/dissertation, and has read this site for some time.

here's me and a few others from Chesterfield in Sept. 1987 in Mansfield in I think Trotters. Nige Parker ready to fall through the bar (Del boy style)..you can just see Gary Churm's eyes peeking over (I think) Graham Manlove's shoulder....

seen two or three in the past for around 4k in vg+ only. CM price not too bad if you ask me.

Back on topic Billy & Betty who?

can't remember but when it first started back in the eighties we were a much younger crowd any way (I was 22 or 23 when it started I think, '88 or '89) until those who left when Wigan closed and missed the eighties returned and bumped up our average age If I remember rightly there was a cafe/canteen lounge area at the side of the main hall which was frequented by some students, I would imagine some ventured into the nighter?? Someone with a better memory might be able to add more.

how do you know it's boring and sh*te? It's being held and discussed in a university, full of students? Who knows it might just turn a few towards the NS scene

Hi Len, my comments weren't directed at you, here the comment "well they play different music to us" too many times. Think promoters would be better off going every other month, might make for a healthier all night scene.

Phil, I reckon Andy has one, mail him at Dysonsoul@aol.com

people do vote with their feet yet some still continue to promote poorly promoted venues, at a loss.....what good is that doing? Friends loyalty is put to the test with some feeling "obliged" to attend a night run by a friend that they no will be poorly attended. As for constructive criticism, depends how you view it and what is meant by it. I know some thin k suggesting more oldies at a night with a progressive policy or more newies at an oldies night is constructive.

set up a new website with new host so should be bit better... you can view it here >>>>www.soulunderground.co.uk<<<<

Lifeline has had the same dates for 7 years, we work with most promoters so no clashes occur, We work closely with Mace at Bidds, Chris at New Century, even sharing flyers to cut costs with Mace and Chris, we also work with Kev Roberts, Sian at Rugby, and Ady at the 100 Club to ensure no clashes (unfortunately 100 Club clash with us this month as Ady could get no other date). I don't get this they are all right, different policy so won't affect us, it's boll*cks, we are all after the same punters. "Upfront/progressive" venues want the oldies crowd as well, we want them to embrace newer discoveries, it is working as well a The all-nighter crowd whether you care to admit it or not is an ever decreasing number of people, this is for various reasons. I don't agree with two all-nighters in the same region, one on a Friday one on a Saturday. It simply takes numbers away from each other and more often than not results in two all-nighters with medocre attendances. Not many do two all-nighters a week now. The Wilton which has been running for nearly two decades has suffered this year because of Burnley (twice) and Morecambe deciding to go on the same night, I mean any other week to choose from and they pick the same night as a long established nighter which runs every other month and sometimes less. All three venues suffered because of this lack of planning and one venue had less than 30 in from what I hear?! As I said Wilton is on 1 week out of 8, these other two venues could have used any of the other 7 weeks yet decided to put their night on the same night /weekend. This lack of planning (or is a couldn't care less attitude about another venue) affects everyone, other promoters, the paying public and the DJ's. It is time promoters started using a bit of common sense and also put the scene before their own interests, it is a slowly dying scene and some promoters are simply hastening it's demise by their actions.

Hail, Hail, Rock'n'Roll Like many pop songs, there's something of the sonnet about Tobi Legend's northern soul belter Time Will Pass You By Laura Barton guardian.co.uk, Thursday 21 October 2010 22.45 BST Sic transit gloria ... Wigan Casino in its heyday. Photograph: ITV / Rex Features The final three records traditionally played at Wigan Casino's northern soul all-nighters were known as the Three Before Eight, and fittingly, for the closing notes of the night, all three were concerned with the passing of time. The sequence opened with Time Will Pass You By by Tobi Legend, followed with Long After Tonight Is All Over by Jimmy Radcliffe, and ended with I'm On My Way by Dean Parrish. It's the Tobi Legend track I have always loved most. It is somehow undiluted by the schmaltz of Radcliffe's track, or the hey-ho-on-we-go of Parrish's number, and instead is simply a song about seeing the preciousness of life, about trying to live our lives better and brighter. Legend was born Bessie Grace Upton in Alabama, the daughter of the gospel singer Emma Washington. She began her career in Detroit, more commonly recording as Tobi Lark, and singing backing vocals for artists such as BB King and Wilson Pickett, Duke Ellington, Ben E King and Cannonball Adderley. This track was released in 1968, and written by the English-born engineer John Rhys, but it did little commercially until it was picked up by northern soul clubs in Britain. Earlier this week, I found a podcast in which Rhys talks about writing the song. "I didn't even know it had been released until 1982," he laughs, detailing the history of Time Will Pass You By's composition and recording before it was seemingly lost. "After that, I don't know what happened," Rhys says, "but somehow it got to England … and it was successful. So thank you, mother country … Thank you northern soul, so much." Its verses cut a melancholy figure, its opening lines reflecting on the steady turn of the world: "Passing seasons ever fade away/ Into misty clouds of autumn grey/ As I sit here looking at the street/ Little figures, quickly moving feet." And then in zaps the chorus, a remonstration of sorts, or a call to arms: "Life is just a precious minute baby," it yells. "Open up your eyes and see it baby/ Give yourself a better chance/ Because time will pass you/ Right on by." Like many pop songs, there's something of the sonnet about Time Will Pass You By; it's there in the song's intention of course, but there is something about Legend's track that has always reminded me specifically of Shakespeare's Sonnet 60. Legend's second verse, "I'm just a pebble on the beach and I sit and wonder why/ Little people running around/ Never knowing why," for example, seems to echo Shakespeare's lines: "Like as the waves make towards the pebbled shore/ So do our minutes hasten to their end;/ Each changing place with that which goes before,/ In sequent toil all forwards do contend." Sonnet 60 is itself a song, of sorts, about life's "precious minute". Shakespeare was writing at the end of the 16th century, in an age when time had become increasingly mechanised, its measurements more accurate, and for the first time, clocks began to have minute hands – the sonnet's name is thought to reference the number of seconds in a minute. Time, perhaps, never seemed to pass by so keenly. Legend's song also came at the end of a decade, written over a three-year stretch in which the magnitude of events meant that life perhaps seemed to gather speed – Vietnam, the assassinations of Malcolm X, Martin Luther King and Bobby Kennedy, riots in LA, New York and, of course, Detroit. In 1968, the year of this song's release, ours was a world trying to reorder itself, the civil rights movement was under way in the US, there were protests across Europe, and Apollo 8 allowed us to see Earth in its entirety from space. "This big old world is spinning like a top," Legend sings, "Come on help me now and make it stop." But Legend offers the sonneteer's age-old remedy: "All you have to do is live for now," she sings, "Come along with me I'll show you how." And how softly reassurance turns into seduction: "Take my hand I'll show you how to live/ Why wait until tomorrow?" guardian.co.uk © Guardian News and Media Limited 2010

Not saying it was unknown, maybe should have worded it better, the vast majority of todays scene I doubt even knew it till a few years ago when it appeared on a cd? You rarely heard it out. Karl Willingham I think had a copy, Tim B has/had one.

It's gone for a 3 figure sum plenty of times in the past, demo and issue.

Here's the article of Dan's from Issue 32 of Shades Of Soul.... Hytones Article.pdf

It don't do it for a lot but it does for some and at $3700 it's not bad considering how rare it is, nobody knew it few years ago.

it's catchy but it doesn't take long to lose it's appeal. Still a rare rare record.

I think it is inevitable that the financial crisis will have an effect on venues in the future, fuel costs the biggest reason with petrol constantly on the rise, alcohol sales with tax rises year on year, fuel/heating costs at venues rising. All venue owners are bothered about by and large is what they take over the bar. The number of people sneaking alcohol in to venues is a big concern and I know of several complaints in recent times that bar takings are not what they should be or what they expect.

I think you will find that most promoters make little if nothing at all as it is and can I'll afford to cut admission fees. £10 for ten to twelve hours entertainment isn't bad if you ask me, intact it is bloody good value for money. Any other dance scene and you pay much more in many instances. Venue owners are not cutting their costs and in most cases they would make more money from a normal club type night. Dj's still need paying, their costs are rising yet fees don't.

personally wouldn't have thought it that tough over the years, seen countless copies. Used to see it every week somewhere or other and a lot cheaper than it is today. This year on popsike if the seller had looked the dearest in the search i've done was $344, £218 today which I would say is not far off, Dave's valuation about right.

I'll do me best to get it sorted for the weekend

Personally I'd get the lp, lot more for your money

fookin ell......I'd have thought £75 or so, maybe a ton but didn't think that much......must get up to date with prices £250 I bet it is still there.