Barry

Just as an add on, Mr Lord was my sisters husbands, Best Man. Ace.

Have you read Julian Cope's tomes by any chance? I stumbled on Teardrop Explodes at school with their 'Kilimanjaro' album (bought it off my history teacher, Mr Lord, who was Thalidomide - he used his affliction (not to say it was an affliction but could be read by some as such)to his advantage though...he used to twat us on the top of the skull with a massive bunch of keys, utilising his added arm-torque to administer pain for late homework, 'whatever'...another of his penalties was to make you cut the grass outside our class window with nail scissors during lesson. Genius!! Anyway, 'Kilimanjaro' was released prior to 'Reward's chart sucess and re-issued with the track included, with the addition of a wanky zebra-african sleeve, instead of the original band aimed photo cover. I'm wandering a bit here but Cope's opening oratory gambits, 'Head On' and 'Repossessed' are singularly riveting. As Julians brother Josh said, mis-quoting Stephen Fry (wink),..."there are those of us that lie in the gutter, but some of us are looking at the kerb!" They are classic books mate.

It's a nice thread this, it has allowed people to drop their guard to some extent. It's funny how this kind of thread is accepted, when it deals with unrelated All Nighter material yet other threads regarding played Nighter material attract ire. It's all good.

Pete you didn't mention what side of the street that house was on and so anecdotal evidence in support of your unwarranted questioning of my interpretation of the rules is unadmissable under 411 section C. Laminated hand-bound copies can be ordered from myself at £29.99 which I think you'll agree is under £30. Fantastic use of 3/4 syllable words there M. 'inadmissable' btw.

MAW have quoted this to be one of their major influences - still, a bad ass, stand up dance track. Never left my box and have dropped it mid (House) set for years - I'll never bore of it and it never, EVER, fails. Good shout!

At the risk of repeating myself, played in M's on more than one occassion.

Bradford play.

Phil Webb, pm me with your phone number mate.

Just had a thought about a 'Venues' deck. Imagine your mate going with a 'Dancefloor' Trump card and it was Hinckley Leisure Centre, and you are thinking 'Ah! I'll have him here, it was a shit dancefloor, full of basketball markings and sports hall shit'....and then you pull out a Notts Palais card - 'Bollox! Revolving dancefloor!'

....Wigan long leather at me Ma's (you know how they hide stuff in their drawers for years!?) the other day...and the stench of it - that lovely stench that spun me back 25 years - was just the bomb. I tried it on, which felt good on it's own, but - How tiny was I then? Feck me, there's a good six inch between buttons. That coat in one sniff brought back getting on the 604 with the Warrington punks, shitting myself walking past Trux punk club under the bridge after getting off the bus, the little leather and sheepskin coat check room to the left of the bar up on the balcony, getting legged through Wigan town centre by Chink and his bunch of Wigan c*nts (Giz yer money!!), walking through Bryn on the way home on sunny Sunday mornings and a million more memories. I'm sure that leather don't just smell of leather anymore - each piece must have it's own distinct aroma. Or am I taking this too far?

Cunnie, firstly I do love you...but! DJ-ing is an art, a science almost. Their are 'collectors' and there are 'collectors' (said in a knowing yet hushed, serious monotone)[1]. DJ's don't wear elasticated waist-bands and need to nip to the toilet every three records - 'collectors' do. [1] Oooooh!!!

Seeing as Modersoulsucks can do badges, could we compile a set of Northern Soul Top Trumps cards, venues, DJ's, drugs etc for him to put up for sale. Oh, the fun!

Here's one of 'em! Oh! Did I type that out loud?

Without pointing 'em out, there are some really - I mean REALLY - eye wateringly w*nk responses on this page haha.

But Bazza, they are not. They have all the knowledge of the big guns, but not the wallet. Now you can argue that major DJ's have more 'Soul' as they spend more - but in reality they haven't - it is an earner for them - and that earner deems they spend more. It's a job and people invest in their work. You will never tell me that one mans view of Northern is of less value than anothers, simply for the fact that he has not the means to buy big money records. That is un-arguable.

Good shout mate but you can't drive without first learning to drive. To work a floor you first have to have been worked. To understand what is required, you simply need to know what is required - and that comes from the floor - not the collection. Mate, I know what you are aiming at and am in no way having a pop, your response was bang on.

Fecking Hell mate - bit strong that innit?

Bazza, that statement makes no sense at all - At all! By your view, it seems to me that the person that fits your 'numpty' term, would be one that knows a great deal about Northern Soul and also one that, given a blank cheque book (a cd player that is - same thing), has the knowledge to fill a floor with his choices. It seems I see myself of the 'Numpty' School. As, by your own admission, 'Non-Numpty's must just have loads of spare cash and lttle else. Your views?

I have had the old, 'What was that ........... (whatever) remix you played with the disco beat behind it?' question aimed at me so many times that I feel the need to address it. It tends to be asked in an 'I'm not really that arsed and as a matter of fact I feel the (odd) need to intone my question in such manner that it sounds that I am asking out of abhorrence, almost repulsion' kind of way. Which never cuts it, I always know that the reason they are asking is simply because they like it, no matter how they phrase their query. What this this type of person doesn't tend to realise is the toil that was behind this remix/re-edit/re-working. And not only the toil. How much did that particular track mean to someone - to actually have it buzz round their head for years to the point where they wished to spend their hard-earned notes and precious time, in a studio to (hopefully) sympathetically give their spin on it. As much as you may wish to say 'Why bother? You can't improve on the original' etc - that isn't really the issue - it is simply one man's love of a track - a love that will make him try his damdest to improve on it....all the time knowing that he won't. Long story short - spend seven days in a studio re-working a track, re-building chords, adding hand claps, trying to re-work a bass-line etc...that is loving a record, nothing else. If nothing else the time spent remixing a track simply shows your respect for the original team behind it, and on the back of that - your love of it. Not something to have a pop at in my book.

I'll give you my view, I've only scanned this thread as it goes but anyway: One thing that needs to be addressed here is the fact that DJ's are solely there to keep a floor full, put people through the doors and the like. I am not a fan of that 'hot-box' shit, one out as it is not in vogue and one in, cos it is...and all that malarky. But at the end of the day you simply have to refer to the fact that dj's are there to do a job. Now, I'm quite sure that anyone who attains the stature to be a regular circuit DJ, no matter what he does whence playing a set at an all nighter, when at home has all the credentials that allow him that mantle. The dancefloor, the punters, the scene itself has dictated the need for a 'hot-box' - not the DJ - so having a pop at this state of affairs should go no further than yourself. For me, collectors (in the true sense of the word, and not just us that buy records), tend not to have been dancers - and dancers are all. Not that I am knocking your run of the mill anally retentive vinyl storer (See: 'collector')....but it's kinda like writing porn when you haven't lost your cherry - know what I mean? Real DJ's were punters and dancers at one time but Collectors simply rue the fact that were neither.

That was Al Kent's high point, a blinder of a tribute that lit dancefloors up at the time - why? Because his interpretation did to the kid today, exactly what it did to the kid of yesterday. Al didn't lose the 'high on hope' core of JJ's original. It just hit's the spot, as did the original - that piano hook is a killer, and Tyrone Taylor's vocal did it justice. Big up Al.

Cool

....what's it like? Now I'm not saying this is a wrong thing, nor any less enjoyable than what anyone else does with the time they give up to music....it can't be as it is all, after all, subjective. But at what point does it cut off for you sixties lads? (Or seventies, or mod, or ska...whatever) I find it hard to comprehend that, as I find, most of the people that are die hard-whatevers, always seem to have a seceondary leaning - be it punk or whatever, something that is a million miles away from their 'polished boot' credentials on here - and that seems to be accepted...strangely. Why is this odd juxtaposition deemed okay? Eg - Malcolm Owen & The Ruts (tick), The Pages (shite)...get me?

The problem that 'House' has within the Northern Soul (All-Nighter) fraternity is that it's emergance kind of corresponded with the low point of the Nighter scene. As Wigan closed it's doors, Rotherham, Leicester, Hinckley etc and the like carried the torch, playing later more cutting edge, funkier, jazzier/Modern releases....then the attendances and the hullabaloo tailed off - as black America opened it's production-mind to new technology. This technology (sound) appealed to a younger audience at that time, and I suppose to an older crowd it seemed that the song and the vocal took a back seat to the production values. US 'House' got played alongside more appealing, to a younger audience anyhow, European tracks built more around the feeling than the Soul. The positioning of the 'House' explosion within what was happening on the Nighter scene precluded it from the Soul scene, nothing else. The continuity of the Nighter scene was interrupted at that time - and House music was seen as something new by that scene, when it never was - it was just yesterdays Willi J & Co in played in that times format, yet sadly ignored. Note my use of the term 'the Nighter scene', which had/has little to do with the true appreciation of soul music. 60's isn't deemed a dirty word, nor 70's, nor cross-over, Modern - whatever. How so the useage of the term 'House', is? Sensible answers that utilise more than two sentences only please. (I'm just saving you volatile feckers from looking like a tit there - see - I do have a caring side.)

Post 67 Mark. Mark that down as one of your best.