Ian Levine Productions

[Guest Paul]

Hi everybody -

When I returned to the UK in 1977 from Holland, I ended up at Baileys, in Hull, where I heard 'Weak Spot' and 'Magic put a spell...' for the first time. I bought them because I felt if soul/dance music had to change, that would be the direction I would rather go etc, along with Philly style productions and the birth of the 12". It was probably the very first time I became aware of Ian's musical talents and was not aware of his DJ days in Blackpool.

Dear Lorraine

Are you a member of SoundExhange in the States? If not, you should be as a performer/featured artist (not song writer BMI/ASCAP) and maybe as copyright holder to recordings you own/part own. SoundExchange pay royalties to performers/featured artists and labels for air play of digital media scenarios like satellite radio and TV, digital Internet radio etc. For example you have artist royalties for the following awaiting collection:

I can't hold on 1966 Sony/Columbia

Love you baby Ultimate Northern Music Club

You only live twice Vinyl Kent

I can't change Lorraine Chandler Universal (x 2)

What can I do OKEH DJ1

I can't change OKEH DJ8

Mend the torn Rare collectable

Plus a misspelt entry: Loraine Cant change LC

On songs that have errors, you have a chance to update and correct.

Ironically, even if these plays were off illegal copies...there is an airplay royalty! Here is the link to SoundExchange and if not a member, join as a performer etc. They pay royalties via Pay Pal I believe to the US, and by cheque to other territories. You will not get UK airplay royalties from the UK equivalent (PPL) on American recorded works released in the UK. If you own a recording, let me know and I will take a peep. If you do own masters you will be a performer/rights holder member.

Ian - if you by chance ever read this,there are 80 Evelyn Thomas airplay royalties too including things like Weak spot/Running Wild/Chalk it up...., as a copyright owner of the works (if you own them), there is a royalty. In theory the PPL are affiliated with SoundExchange and should collect as long as your international mandate agreement with them is up to date. I am no expert, and even I have a couple of Soul Recession royalties can you believe. I was advised by the PPL that they should collect, in time. But as I have access to the database now,.....I will be checking.

What I must say as somebody who has written, created, produced a finished recorded 'work', aggregated to digital sites, and pressed up vinyl, there is little scope for sales royalties to be honest! But I feel the 'pocket money' for artists is the residuals from the likes of SoundExchange and UK performers recording songs in the UK and most importantly, where the record label have duly noted their involvement with the recording.

Finally....Paul Mooney, does all that make sense to you? If you understand it, my English works ha ha.

Thanks Carl,

It's always worth artists claiming those additional fees and royalties. Let's hope these schemes are available in all countries one day.

Lorraine, go get some dollars ...even claim on the fake Lorraine Chandler record on Black Magic if you can!

Best wishes,

Paul

[Agentsmith]

I was there , great night, got a photo somewhere of my brother and me with Freddie Gorman.

yep, thats a treasure bro, got one of myself as well, with freddie and the other originals and i think, walter gaines daughter who was sharing vocal duties on the night...shot was took during afternoon rehearsals...oh, and get this...i hastily scribbled a jingle on a piece of paper and with a micro recorder, got them to sing "dont stop now" as the clincher .....we've a mate who did a soul show on local radio who broadcast it!!...was he made up or what?. do you know....that must have been one of the most exciting performances for them as well...i think they got a real kick,...first EVER u.k. performance and they were just open mouthed with the crowd singing back to them......anyway, i know its off tack but THAT levine tune was right in there, scherry payne or no.

[Guest Carl Dixon]

Paul - was that a fake? I bought that Black Magic single back in the seventies. That's terrible. How awful.....but, if anybody plays it in the US, Lorraine will get a royalty and so should the owner of the recorded work. This is where the boot/illegal copy raises my eyebrows a little. If played, ironically generates a royalty! And if Lorraine wrote the song or co wrote, would get a residual for her ASCAP/BMI membership.....

[viphitman]

Sorry I don't like his soul productions, they are too thin, too slick and somehow a whole lotta soul is missing in them. If he would have used some proper musicians with real depth, many productions may have sounded much much better. While his high energy productions like Eveelyn Thomas - High Energy are good pop records.

[viphitman]

Now I know people can do good things and should get credit for it. However, being one of many artist who has material listed on YouTube by Mr. Levine and has sold tapes containing my image and sound over the past fifteen years and has never received a statement or a dime in royalties, you can imagine where he sits on my list!

I have contacted Mr. Levine and he informed me that no money has been made, therefore, no one can be paid. He also said, "no royalties or statements will be forthcoming until fifty percent of the expense has been recouped." Now, how many people will know when fifty percent is recouped? Will we ever know?

Soooo, Mr. Levine is not in good standing with me at this point and if anyone of you are friends of his, help him to upgrade his business practices. It would cost me more to pay a lawyer than in what I probably would receive, but now you all get a better understanding of how hard it is to trust folks in this business. We might love it and can't leave it, but it's those that deceive us that makes it a bumpy ride.

Lorraine Chandler

It's sad to hear this and I hope you'll get a few bob in the long run. But what money can't buy is the love, appreciation and joy you gave us with your music and I am sure many many more people from all over the world will cherish your music in years to come !!!! Greetings from Germany

Edited October 23, 2011 by viphitman

[Hermanthegerman]

Sorry I don't like his soul productions, they are too thin, too slick and somehow a whole lotta soul is missing in them. If he would have used some proper musicians with real depth, many productions may have sounded much much better. While his high energy productions like Eveelyn Thomas - High Energy are good pop records.

Have to agree with Frank on this and on a more personal side still remember his quite rude rants on this forum.....

[lorchand]

Hi everybody -

When I returned to the UK in 1977 from Holland, I ended up at Baileys, in Hull, where I heard 'Weak Spot' and 'Magic put a spell...' for the first time. I bought them because I felt if soul/dance music had to change, that would be the direction I would rather go etc, along with Philly style productions and the birth of the 12". It was probably the very first time I became aware of Ian's musical talents and was not aware of his DJ days in Blackpool.

Dear Lorraine

Are you a member of SoundExhange in the States? If not, you should be as a performer/featured artist (not song writer BMI/ASCAP) and maybe as copyright holder to recordings you own/part own. SoundExchange pay royalties to performers/featured artists and labels for air play of digital media scenarios like satellite radio and TV, digital Internet radio etc. For example you have artist royalties for the following awaiting collection:

I can't hold on 1966 Sony/Columbia

Love you baby Ultimate Northern Music Club

You only live twice Vinyl Kent

I can't change Lorraine Chandler Universal (x 2)

What can I do OKEH DJ1

I can't change OKEH DJ8

Mend the torn Rare collectable

Plus a misspelt entry: Loraine Cant change LC

On songs that have errors, you have a chance to update and correct.

Ironically, even if these plays were off illegal copies...there is an airplay royalty! Here is the link to SoundExchange and if not a member, join as a performer etc. They pay royalties via Pay Pal I believe to the US, and by cheque to other territories. You will not get UK airplay royalties from the UK equivalent (PPL) on American recorded works released in the UK. If you own a recording, let me know and I will take a peep. If you do own masters you will be a performer/rights holder member.

https://www.soundexchange.com/

Ian - if you by chance ever read this,there are 80 Evelyn Thomas airplay royalties too including things like Weak spot/Running Wild/Chalk it up...., as a copyright owner of the works (if you own them), there is a royalty. In theory the PPL are affiliated with SoundExchange and should collect as long as your international mandate agreement with them is up to date. I am no expert, and even I have a couple of Soul Recession royalties can you believe. I was advised by the PPL that they should collect, in time. But as I have access to the database now,.....I will be checking.

What I must say as somebody who has written, created, produced a finished recorded 'work', aggregated to digital sites, and pressed up vinyl, there is little scope for sales royalties to be honest! But I feel the 'pocket money' for artists is the residuals from the likes of SoundExchange and UK performers recording songs in the UK and most importantly, where the record label have duly noted their involvement with the recording.

Finally....Paul Mooney, does all that make sense to you? If you understand it, my English works ha ha.

Thank you Carl. Where have you been all of my recording life? Can you go after Simon Soussan for me now? Wow, this is what I'm talking about!

Lorraine

[lorchand]

It's sad to hear this and I hope you'll get a few bob in the long run. But what money can't buy is the love, appreciation and joy you gave us with your music and I am sure many many more people from all over the world will cherish your music in years to come !!!! Greetings from Germany

Dear viphitman,

You are right. It is the love of the art that makes us share ourselves for people like you. For every Levine, there's probably 100 Carl Dixon's and others who make everything better.

Thanks to Germany and thank you for the compliment.

Lorraine

Edited December 22, 2011 by lorchand

[Guest Carl Dixon]

post removed.

Edited October 23, 2011 by Carl Dixon

[Shinehead]

Dear viphitman,

You are right. It is the love of the art that makes us share ourselves for people like you. For every Levine, there's probably 100 Carl Dixon's and others who make everything better.

Thanks from Germany and thank you for the compliment.

Lorraine

Sorry to hear you feel bitter towards Levine , just hope you get a bit of the money due to you by taking the advice offered. Thanks for the music you have created you are a talented lady . Graham.

[Guest TONY ROUNCE]

...and so it came to pass that this thread is threatening to evolve into another I. Levine slagfest.

While I feel deeply for any and every artist who doesn't feel that they have been correctly accounted to by any of their collaborators, this should remain a nice little thread asking about people's favourite work by a certain producer, not a soapbox for another series of diatribes against Ian.

I am not in any way challenging the validity of Lorraine's claims, and if she's owed money from Ian or anyone else in the business I hope that she gets paid, but surely that's a topic for another thread with its own heading and a separate contiinuity?

And perhaps a moderator will pull those posts that are not directly relevant to anyone's favourite Ian Levine production and put them in a separate thread, please?

Edited October 23, 2011 by TONY ROUNCE

[lorchand]

...and so it came to pass that this thread is threatening to evolve into another I. Levine slagfest.

While I feel deeply for any and every artist who doesn't feel that they have been correctly accounted to by any of their collaborators, this should remain a nice little thread asking about people's favourite work by a certain producer, not a soapbox for another series of diatribes against Ian.

I am not in any way challenging the validity of Lorraine's claims, and if she's owed money from Ian or anyone else in the business I hope that she gets paid, but surely that's a topic for another thread with its own heading and a separate contiinuity?

And perhaps a moderator will pull those posts that are not directly relevant to anyone's favourite Ian Levine production and put them in a separate thread, please?

Sorry Tony,

As a member of this family, I had to show two sides of the story. I'm glad I did. Going back home now. Carry on.

Lorraine

[Guest Carl Dixon]

Hi everybody -

I removed my posts as they were not appropriate for this thread.

'Magic and 'Weak Spot' were terrific work. And 'Footsteps'. Cracking tune. The sound of summer.....

Edited October 23, 2011 by Carl Dixon

[Guest sharmo 1]

1380 folk have had a peep at this thread and only a few have declaired thier favorite Levine number come on you little monkey's let's have your fave levine number.there is a genuine reason which I will reveal at the end regards Simon.

[Epic]

1380 folk have had a peep at this thread and only a few have declaired thier favorite Levine number come on you little monkey's let's have your fave levine number.there is a genuine reason which I will reveal at the end regards Simon.

Does the most popular one become the new theme tune to Dr Who ?

[Shinehead]

Waiting Round The Corner Mike And The Modifiers ain't too bad.

[Guest]

...and so it came to pass that this thread is threatening to evolve into another I. Levine slagfest.

While I feel deeply for any and every artist who doesn't feel that they have been correctly accounted to by any of their collaborators, this should remain a nice little thread asking about people's favourite work by a certain producer, not a soapbox for another series of diatribes against Ian.

I am not in any way challenging the validity of Lorraine's claims, and if she's owed money from Ian or anyone else in the business I hope that she gets paid, but surely that's a topic for another thread with its own heading and a separate contiinuity?

And perhaps a moderator will pull those posts that are not directly relevant to anyone's favourite Ian Levine production and put them in a separate thread, please?

TONY is absolutely right on this....with all due respect to the absolute legend that is LORRAINE CHANDLER, I am very sure that many, many Producers admired and treasured by Northern Soul fans would have artists somewhere in the background who may have complaints regarding business aspects, some justified, some mistakenly...But this thread was supposedly a 'creative' anylysis of IAN'S work, so therefore it would be appropriate for the posts to be seperated before this descends into the inevitable attack..I suppose the irony is that IAN is more likely to attract criticism than any of those old American guys...

Edited October 23, 2011 by rich chorley

[Dazdakin]

Exciters - Reaching For The Best

For me if you did not know it was a Levine production you would not guess it was, which i feel you can in an awful lot of his work, not to say it aint no good, just not for me.

But "reaching" is for me far much more than a Levine production, it's a van load of memories which will live with me till the day i depart.

2 upper most memories are standing on the stage at Morcombe Pier second anniversary, 1200+ souls, 2.30am and the place just taking off......dont matter who you are you cannot produce that atmosphere, it just occurs.

And the other being at most Hinckley Leisure Centre Nighters as it always (i seem to remember) proceed Eddie Holmans "This Will Be A Night To Remember" Again priceless memories to me.

And as a side issue without Levine's input and forever lasting history he has had on our scene the phrase "gone stale" would have had a whole new meaning on our scene.........it would not had evolved in to what it has become today as it would not have lasted up until today!!

Besides that though the man's list of first play's or discovery's is just mind blowing. He get's my thanks just for the Malibus "Gee Baby" and Lada Edmunds "The Larue" fu** me!! goose bumps. Cheers Ian.

[Mike]

TONY is absolutely right on this....with all due respect to the absolute legend that is LORRAINE CHANDLER, I am very sure that many, many Producers admired and treasured by Northern Soul fans would have artists somewhere in the background who may have complaints regarding business aspects, some justified, some mistakenly...But this thread was supposedly a 'creative' anylysis of IAN'S work, so therefore it would be appropriate for the posts to be seperated before this descends into the inevitable attack..I suppose the orony is that IAN is more likely to attract criticism than any of those old American guys...

no he's not

if you are talking about peoples work then surely the people actually involved have a right to comment

can you and tony r both drop the telling members what can and can't do

no need

[Guest Carl Dixon]

I forgot to mention 'fan the flame'. Great song, great production.....and I have the single.

[Hermanthegerman]

....

Edited October 23, 2011 by hermanthegerman

[Guest Ollie Lailey]

From what I have heard, I've not been too impressed. I don't understand why anyone thought that "Wrong Side of The Street" was a legitimate 60's recording.

In general, as pop songs their ok, the songs lyrics and delivery are soulful, but the major problem is the production techniques are not very good at all (and that's being nice about them), and all sound like bad "Take That" records (is there any other kind?) to me for some reason

Though, in saying that, I really like The Pasedenas - Tribute (Right On) but, the rest of his productions leave me cold, and a bit embarrassed to be honest.

Edited October 23, 2011 by Ollie Lailey

[Guest Matt Male]

Though, in saying that, I really like The Pasedenas - Right On (as a pop song) but, the rest of his productions leave me cold, and a bit embarrassed to be honest.

Credit where credit's due, but Ian didn't write or produce Tribute (Right On), Pete Wingfield did. Nor did Ian produce the album it came from.

He did produce 'I'm doing fine now' and 'Moving in the right direction'.

[Guest Ollie Lailey]

Credit where credit's due, but Ian didn't write or produce Tribute (Right On), Pete Wingfield did. Nor did Ian produce the album it came from.

He did produce 'I'm doing fine now' and 'Moving in the right direction'.

Well, I stand corrected.

So, I don't like any of his productions then.

[Guest Paul]

1380 folk have had a peep at this thread and only a few have declaired thier favorite Levine number come on you little monkey's let's have your fave levine number.there is a genuine reason which I will reveal at the end regards Simon.

From Ian's earliest work I really like 'Suffering' by The Exciters, 'Running In Another Direction' by Barbara Pennington, 'Looks Like Love Is Here To Stay' by Tyrone Ashley, 'Baby I'm Still The Same Man' by James Wells etc. Not to forget that 'Weakspot' by Evelyn Thomas was a gem and it sounded so fresh and exciting when it was new.

When things became more disco-flavoured I liked 'One Way Out' by Doris Jones.

Some of the late Nightmare and early Motorcity tracks sound a bit mechanical now because of the technology and economics, as Ian would admit himself, but quite a few Motorcity tracks still sound good - especially 'Technicolour' by Billy Griffin and the GC Cameron stuff (which I was pleased to be involved with) and it's worth noting that disco / house tracks such as 'Heartstealer' by Loleatta Holloway were also great.

Many tracks from the days when sequencing was in its infancy may sound a bit contrived and too heavily quantized now but it's fair to say that also applies to many other soul and club tracks recorded in the late 1980s and early 1990s.

And I agree with Tony about Take That's version of 'Could It Be Magic'. It was a great pop record and it deserved its huge success.

I also like 'Wrong Side Of Town' by The Four Vandals (and it really fooled a lot of people for a while) and 'Cafe Regios' by Gary The Masterblaster, even though the Isaac Hayes original had always been a big favourite.

Ian's style is sometimes too poppy for some peoples tastes but that's his style and it often works. One fault may be that at times he was too prolific and issued too much product which resulted in some tracks sounding too similar and some great tracks being overlooked or taken for granted.

I know he lost a lot of money on the Motorcity project but I'm pleased he recovered. His heart is always in the right place and his enthusiasm is always absolute.

It's natural for people to build their hopes up too high sometimes and I know that some artists were disappointed when they didn't achieve fortune or renewed fame but most artists accepted the harsh realities of the business. Many records just didn't sell enough to recover production costs.

Deep down inside I think Ian knew he'd never recoup costs on some projects but he followed his heart rather than his head. That's something I admire.

Paul

[Guest Matt Male]

Well, I stand corrected.

So, I don't like any of his productions then.

[Guest]

no he's not

if you are talking about peoples work then surely the people actually involved have a right to comment

can you and tony r both drop the telling members what can and can't do

no need

Well, I think the point I made about many Soul Producers was a very fair one....I am sure that a huge amount of records cut by a myriad of Artists that members of this site revere all carry similar stories, but very rarely do the American 'legends' of the NS scene get their business aspects dissected by members during threads dedicated to CREATIVE appraisal of the records they produced...In fact I cannot recall a single instance previously...And I do not think TONY or I were telling 'members what to do', to quote your suggestion, more a case of trying to make a logical and fair case for division of the two seperate aspects, creative and business...Having said that it is your site and I respect your decision....

[Codfromderby]

really loved at the time both running in another direction and i cant erase the thoughts of you by barbara pennington, however even more impressed by the new versions on you tube mr levine has cut by other artists, sorry cant upload the you tube things cause this laptop just does what it wants again, oh and standing still by he monitors is ace, and so is the wrong side of town and detroit city by earl van dyke

however videos or whatever they are called now of the artists are very strange, even the lead singer of the sapphires is wearing a roy cropper jumper whilst singing "got to have your love" whats that about then

[boba]

Well, I think the point I made about many Soul Producers was a very fair one....I am sure that a huge amount of records cut by a myriad of Artists that members of this site revere all carry similar stories, but very rarely do the American 'legends' of the NS scene get their business aspects dissected by members during threads dedicated to CREATIVE appraisal of the records they produced...In fact I cannot recall a single instance previously...And I do not think TONY or I were telling 'members what to do', to quote your suggestion, more a case of trying to make a logical and fair case for division of the two seperate aspects, creative and business...Having said that it is your site and I respect your decision....

that's because the american legends that end up posting here are almost all artists and not producers. They usually weren't involved with the business aspects. The only producer I can think of that posted here (besides Lorraine) is Paul Kyser. I don't see why it's only acceptable to discuss the positives of anyone, american or otherwise.

Edited October 23, 2011 by boba

[Wrongcrowd]

Sometimes it's just impossible to argue with a totally ROCKIN' production......

.......totally waaaay over-the-top vocals but I just can't help loving it....

James Wells "Baby I'm Still The Same Man"

I'm one his biggest critics but I have a lot of respect for his belief and focus in his visions. He really doesn't muck about when he's serious about something and I think he was on a roll when he recorded James Wells. What a FANTASTIC vocalist. Ian found him. 'Nuff said.

Ian D

I'll stop being one of the 1300+ watchers of this thread to agree with Ian on James Wells 'Baby I'm Still The Same Man' as being one hell of a tune. Stands head and shoulders above eveything else that Mr. Levine put together, though the other tracks that were put out on James Wells ain't too bad either.

[kevinsoulman]

jb wrote it and performs it very well too

and this is as good as it gets along with all his early productions and the aforementioned four vandals.

most of his recent stuff sounds too tinny and the computerised drum drives me mad

kev

[Guest TONY ROUNCE]

no he's not

if you are talking about peoples work then surely the people actually involved have a right to comment

can you and tony r both drop the telling members what can and can't do

no need

...Sorry you don't think I'm right, Mike.

I'm not telling anyone what to do, I merely requested that posts inappropriate to the tone of a thread were removed. I was enjoying reading the thread and I didn;t want to see it go off topic, as so many threads about IL have done in the past.

I did this politely and in a restrained manner, and I ended my last sentence with a 'please'..

How you could interpret that as 'telling someone what to do' I don't know...

Cheers,

TONY.

[Winnie :-)]

Did/do like the Four Vandals

[Guest]

that's because the american legends that end up posting here are almost all artists and not producers. They usually weren't involved with the business aspects. The only producer I can think of that posted here (besides Lorraine) is Paul Kyser. I don't see why it's only acceptable to discuss the positives of anyone, american or otherwise.

A strange response which does not quite make logical sense...I meant Producing 'legends' of which there are plenty...And my whole point was that Producers do not usually post and nor has IAN in this instance (As we know he can't)...I have read many SS threads where people have commented on the creative work of certain American Producers but it is not usually accompanied by artists or anybody else then dissecting their business deals...As for your comment regarding 'I dont see why it's only acceptable to discuss the positives of anyone etc, etc...' TONY suggested a seperate thread, MIKE has declined, it is his decision so that's the end of it but it would be a shame if a thread devoted to discussing records had to yet again become an opportunity for people to take pots at somebody, which is what usually happens on most IL threads...And I maintain that plenty of our American Producing heroes have plenty of washing they would not want aired in public, it's the nature of the industry...Perhaps people have more of an appettite when it comes to certain people though....Let's just hope this thread remains on topic, my last words..

Edited October 24, 2011 by rich chorley

[paultp]

I know he lost a lot of money on the Motorcity project but I'm pleased he recovered. His heart is always in the right place and his enthusiasm is always absolute.

It's natural for people to build their hopes up too high sometimes and I know that some artists were disappointed when they didn't achieve fortune or renewed fame but most artists accepted the harsh realities of the business. Many records just didn't sell enough to recover production costs.

Deep down inside I think Ian knew he'd never recoup costs on some projects but he followed his heart rather than his head. That's something I admire.

Paul

Maybe if he knew he wasn't going to recoup costs he shouldn't have told people they would be paid from the profits? I certainly don't admire that.

I don't know the details but the impression I get is that he got performances from a lot of artists on the basis they would eventually be paid and then they didn't get paid. As I understand it TSWONS was an example of a project in which a lot of people performed and didn't get paid, happy to be corrected if I'm wrong.

On topic .... err ..... I don't have a favourite IL anything

[viphitman]

Back on topic What I can't understand is the fact that with his experience, contacts und skills, why he never got proper musicians together and produced a solid soul tune. I mean he introduced fantastic tunes to the scene and quite clearly has a very good ear for a good soul tune but the friggin drum mashine does my head in. While his pop & high energy records are quite good the soul ones don't cut the mustard. I hope in the future that he rather produces one or two great tunes with proper musicians with real depth then many ''schlager soul'' tunes out of a tin. Imagine Nat Augustin I found Heaven with a real good backing band and in depth production!!!

Edited October 24, 2011 by viphitman

[boba]

A strange response which does not quite make logical sense...I meant Producing 'legends' of which there are plenty...And my whole point was that Producers do not usually post and nor has IAN in this instance (As we know he can't)...I have read many SS threads where people have commented on the creative work of certain American Producers but it is not usually accompanied by artists or anybody else then dissecting their business deals...As for your comment regarding 'I dont see why it's only acceptable to discuss the positives of anyone etc, etc...' TONY suggested a seperate thread, MIKE has declined, it is his decision so that's the end of it but it would be a shame if a thread devoted to discussing records had to yet again become an opportunity for people to take pots at somebody, which is what usually happens on most IL threads...And I maintain that plenty of our American Producing heroes have plenty of washing they would not want aired in public, it's the nature of the industry...Perhaps people have more of an appettite when it comes to certain people though....Let's just hope this thread remains on topic, my last words..

please give one link to a thread on soul source discussing a record producer where people refrained from posting known negative information about a US record producer. also, which part of my post did not make "logical sense"?

[Agentsmith]

favourite tunes then or should i say preferred, in the wake of the double dialogue:

barbara pennington - i can't eraze the thought of you

evelyn thomas - weakspot

exciters - reaching for the best

james wells - baby im still the same man

lj johnson - your magic put a spell on me

doris jones - he's so irreplaceable

barbara pennington - 24 hours a day

frances nero - footsteps

chuck jackson - all over the world

ronnie mcnier - lucky number

and of course...supremes & originals - back by popular demand

like many of you out there, ive heard and danced to all of these at one time or another and even bought some of them but the outstanding fact is that they span four decades and ,many of them still have relevance in todays market wether or not they have the resonance of genuine 60's records.

[purist]

Answering the original question, IL productions that I like - the early stuff, behave - we all liked the first few, if you were there you know ! RFTB is an all time classic, LJ Johnson 'Magic' just works, then and now. Perhaps our love was worn away with overplaying? plus the unknowing throng who were only too happy to dismiss N/S as just these prod's and nothing more probably sealed their fate. That and the stuff associated with IL, but enough of that. I want to talk about music, not personalities.

Anything by Venecia Wilson, I just love her voice & delivery ( i understand other don't, but think they are comparing them to 60's original productions on legitimate artists) One question, are there more than these 4 i know about - Further Down The Road, Don't Snap Your Fingers,I Cant Erase The Thoughts Of You ( even beats the original version for me) and for me, the big daddy of IL prod's - This Time I'm Loving You - sure it came along at a time when IL seemed to be hell bent on the self destruction of his name & reputation on the scene, and yes of course we know the story behind the inst backing track on jamie etc, but if I'm answering the question which ones do I like ( and this is outside of the world of rare & Norther Soul) then I like all these 4 ( plus it doesn't affect my judgement in the slightest that she bears a striking resemblence to Tina out of Corrie, and be honest you would, wouldn't you, well i would, as a blonde or brunette:) You look at those X Factor wannabees and wonder why this girl never became a pop star ( but there was a rumour about...)

Anyway, back to the tunes - Although Ronnie M's version will always be the standout, I also rate All Points Bulletin's take on Lucky Number as a pop disco track.

One thing I found sad with some of IL's prods was that he stuck by some of the old artists where they had clearly not kept their voice. Granted the good ones outweighed the bad, but it still made me sad. One of the brilliant ones who definately kept their voice is the already mentioned Barbara Green and her gem "More Where That Came From", just a superb track. Thinking on it, I guess I probably like more of the IL prod's where they feature artists who dont come from the old school.

ANGELO STARR - Stand On My Own Two Feet - a corking modern soul track, sung with passion.If this aint soul I'll eat his hat

FOUR VANDALS - Big Strong Love In My Heart - just belts along. Before he passed away Derek Allen and I often discussed songs that could cost you your driving licence, our term was "speeding ticket soul", 'cause when they're on in the car your right foot gets very heavy all of a sudden

Okay as you can guess there's quite a number of the Pop, Hi-NRG & Disco prod's that I like, and this is how I judge these I've mentioned, as soul / disco tunes, and as the original question made no mention of northern soul, and what is or isnt applicable to soul scene venues, but if I can alter the original question to which IL prod's have you played in soul clubs, then my answer changes ( a lot)

FRANKIE GAYE Cross That Bridge/ My Brother

I got this 45 for a pittance, 10p I think? and its one of my faves of the genre - I have played both sides at ATB/X-Over friendly clubs back in the 90's. CTB is the prime side for clubs, but it needs a few revs on the deck but is superb blasting out loud. The flip is more a tune for home listening, but one nite i was playing CTB and a punter came up and asked me to play MB, and it filled the floor. I do like listening to his Extraordinary Girl, but dont own a copy to play. jump this forward to about 0:35

DAVID RUFFIN - Hurt The One You Love

I've played the original Motorcity 12" mix at modern nites, but the other take is more floor friendly for Northern clubs, even if it is obviously in the IL style that sometimes winds certain folk up (where it sounds like he's borrowed bits from lots of other records you already love). If I was going to press a 7" from his vast catalogue I'd make sure this was on one side of it, because this would 'go' if DJ's had 'wider access', especially at the 'Soul & Motown' type nites methinks.(not sure if there aint 2 alternative version as well as the 12"?)

MARV JOHNSON - Magic Between Us

listed as an unreleased 12" single (I've no idea if they exist and frankly don't really care) I came across it on his album and subsequently played it to good floor reaction. Like most others of IL's, I found I prefered to trim the intro and alter the pitch a little. In this format it sounded just like Edwin Starr when booming out of a big system, so for fun I 'covered it up as Edwin & called it "Abracadabra" for a few weeks An absolute Floor Packer every time I played it.

Back in the Albrighton era I spun another IL prod, to great effect. Again I edited it quite a lot because it was a lengthy seven minute+ long 12" mix (and then pitched it) and the result became known as (Mrs) Kay McMurray "Silly I Was " c/u. I covered it originally as a bit of fun, and because in the Albrighton era the soul detectives were so ruthless you were lucky to get 2 spins out of a tune before some other DJ was playing it. I chose the name expecting that folk would soon click on and work out that Mrs K McMurray would have to be the (ex?) wife of Clay McMurray, the classy voiced Karen Pree. It became one of the biggest & most requested tunes for me in that era, and i still get asked for it even now on the odd occasion. Oddly, while some Motorcity records used to be easy finds this one never was. It's a real tough find and once in a venue in London, Scenesville I think, I asked IL about why they weren't easy to find and he told me, but that was years ago and i've forgotten. Not expensive if you do find one, but you do need to do a bit of work

KAREN PREE - Girl With A Broken Heart Motorcity 96 ( I think - 1992 release ?) jump it in to abround 1:30, when she sings "Silly I was..." not as good as when its revved up, but you get the idea

https://www.youtube.com/watch?v=8vVsPnxL-Bw

There's others of his I like, more along the lines of soul/disco than northern, but cant think right now. Oh just thought of one KIM WESTON Signal Your Intention on Nightmare, nice video on youtube

I dont know his catalogue well enough to say there aren't more lurking, always open to hearing some i don't yet know

[Guest Carl Dixon]

I forgot about The Four Vandals too. Cracking track. Love the stories about these songs and how they came about. Ian should write a book about the ups and downs of his career and tit bits about the songs, how he got started etc, any tips for budding writers, performers and the politics. I am sure there is a movie in there somewhere Ian....

[Simsy]

Any way you slice it, this picture is pretty awesome.

[Guest Carl Dixon]

Blimey - cracking photo.

[Guest soulboy1965]

Not bad either!

[Sutty]

I didn't think I liked any of Ian's productions (nothing personal, just didn't do anything for me) until I heard and bought this

https://www.youtube.com/watch?v=lkuT117FQDE

[Guest]

Have to agree that the ANGELO STARR track is a superb modern record and had it come out of Washington or somewhere it would have been hailed by the scene for sure...One of his very best in my book...

[Guest]

I didn't think I liked any of Ian's productions (nothing personal, just didn't do anything for me) until I heard and bought this

https://www.youtube.com/watch?v=lkuT117FQDE

And anybody who trys to deny the Soul quality of this is being slightly dishonest! Lovely record....

[Pete S]

Imagine Nat Augustin I found Heaven with a real good backing band and in depth production!!!

Nat Augustin played every instrument on that himself, live, and overdubbed each instrument himself.

Wrong choice there!

Edited October 25, 2011 by Pete S

[Pete S]

All 'proper' instruments

[Rotherham Soul]

Edit multipost

Edited October 25, 2011 by rotherham soul

[Rotherham Soul]

Was "Back By Popular Demand- Supremes/Elgins" one of Levines productions? If it was then I quite like that one and the Venecia Wilson thing 's not bad