Ian Levine, Motorcity, Centre City, Blackpool Mecca, And Swons

[Guest]

As the first 30 seconds or so are just beats then I'm not surprised.LOL. Didn't really expect anyone to like it just makeing a point about the vocals. If you say they are NOT soulful then your deaf. It's a bit frustrating to hear such great vocals on some if Ian's compositions backed up by out of date drum sounds and arrangements. Even when the instrumentation is totally live (full orchestra etc) the production is SOOOOOOO 'nice' that all the energy disappears and the whole thing becomes flat. Early Motorcity stuff had bounce and drive and energy that lifted the song and demanded the ear as well as the feet but the stuff I've heard on here is just so PLAIN JANE production wise it makes me wonder if he's listend to anything post 1985. The Ebony vids/songs he posted have so much potential but the production is beautifully BORING for todays market. No wonder no one brought it. They probably looked at the vids on you tube and gave it a wide birth after that. Sony & Expansions should have been shot for allowing it to go to market as it just does not stand up to anything contemporary that is out there doing the business, and don't get me started about the VIDEOS my God who dreamed them up, Stevie Wonder? No wonder they refused to put anything into the marketing! Ian Levine's musical output has been outstanding but the music he is producing now needs to be dragged screaming and shouting to the present day. Not stuck in the rose tinted memory of the 80's.......

This is getting silly.

We make records and videos as best we can with the budget we have.

I can't compete with major labels, we do it all in house.

Early Motorcity records were criticised for having drums that sounded electronic.

Now that my productions have drums that sound warm and live and real, you criticise them because the drums aren't electronic enough.

I see them as timeless, and you call them PLAIN JANE production wise.

But you have failed to grasp that I HATE today's market, and just want to continue to make great records.

In your own way, you're equally as reactionary as those who hate my music because it wasn't recorded in mono forty years ago.

I can't bloody win.

Edited August 24, 2008 by Ian Levine

[Guest]

I gave you the benefit of the doubt and listened for about 3 minutes, I can't decide whether you're having a laugh with us or not, if you think that is any better than the Levine stuff then you are seriously delusional. Terrible singer, mechanical production, and totally soul-less. I mean it's just music for shopping malls or something. No offence.

I LOVE YOU

[Alan Pollard]

Hi Ian,

How are things with you? Ok I hope, we haven't spoke for a few years but last time we did speak the real identity and origin of The Four Vandals and Venicia Wilson records were still a mystery to us but of course not to you, but now we seem to be able to discuss who they are, what year they were recorded and even videos of them which is great as I think they are good records and it's lot easier to appreciate them if you know who they are.

However there is still one record who's origins is still a mystery to me, as you can possibly remember I paid a hell of a lot of money for Jeanne and The Vallamonts - Change my destiny - Maximum and within a few months there were copies all over the place for £10, now I am thick skinned enough to accept that dropped a major bollock, who hasn't in the years they have been collecting, but I would like to close the subject so would you please let me know what you know about this record.

Incidentally I think the videos by Bobby Hebb, C.P.Spencer, Mel Britt and Freddy Butler are awesome.

Regards

Alan

[Guest thenogger]

I WILL SAY ONE THING ONLY.

" THIS THREAD IS GETTING GOD DAMN BORING, AND I'VE NEVER HEARD SUCH GARBAGE IN MY LIFE "

REGARDS.

thenogger

[Guest SteveJohnston]

Your wish is most gladly, and indeed gratefully, my command.

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[Guest]

Hi Ian,

How are things with you? Ok I hope, we haven't spoke for a few years but last time we did speak the real identity and origin of The Four Vandals and Venicia Wilson records were still a mystery to us but of course not to you, but now we seem to be able to discuss who they are, what year they were recorded and even videos of them which is great as I think they are good records and it's lot easier to appreciate them if you know who they are.

However there is still one record who's origins is still a mystery to me, as you can possibly remember I paid a hell of a lot of money for Jeanne and The Vallamonts - Change my destiny - Maximum and within a few months there were copies all over the place for £10, now I am thick skinned enough to accept that dropped a major bollock, who hasn't in the years they have been collecting, but I would like to close the subject so would you please let me know what you know about this record.

Incidentally I think the videos by Bobby Hebb, C.P.Spencer, Mel Britt and Freddy Butler are awesome.

Regards

Alan

Fair questions.

Tim Brown boasted in 1999 that I could never make a record that would fool anyone. He said that whatever it was, everyone would know instantly it was an Ian Levine production. I was determined to prove him wrong.

So I made The Four Vandals in 1999, and then Venicia Wilson in 2000.

It was necessary to lie about their origins as the whole exercise was designed to prove a point, but when Butch sold it to Ginger for £800, I was trapped in a problem that was not of my doing. I had given three copies free of charge to someone in Carolina. I had to buy one of these back from Ady Pearce for £450, even though I knew he had only paid $100 (£50) for it, because there was no other way of having a copy to DJ with, without causing suspicion.

Only Phil Dick knew about it, and Ralph Tee who'd had it pressed and the US size labels made. No-one else knew, not Gavin, not Simon, no-one and it remained that way until Steve Brookstein won the X-Factor in 2004, and the papers got hold of the story, and said that he'd been the lead singer of The Four Vandals.

I know you were critical of me, but I am proud and unrepentant to this day, and I'd do it all over again in a flash. I am sorry anyone paid too much for it, but I MYSELF didn't charge anybody, indeed I am still out of pocket the £450. If that record had borne the words "Produced by ian Levine" on it, no-one would have touched it. I more than proved my point.

Yes I made the Jean And The Vallamonts. It was left almost untouched because I didn't want a repetition of people paying high money for a record and then it coming back in my face. If it's any consolation, only 100 copies were ever pressed, not one more than the original 100 exists, and the masters, stampers and labels all got trashed when the plant that pressed it went bankrupt and got siezed overnight by the Inland Revenue, so I believe. So no more than those original 100 could ever exist. I think Kev Roberts took the balance of those as part payment of the £5000 losses I had to stump up for the Rocket, which I couldn't pay, and so he took whatever stock of records I had left as payment, in March 2003. I have no idea where the other copies are now. I don't even possess a copy myself, which is a shame as lots of people have been recently asking me for it. The Brenton Colbert was the same.

David Rhodes was not. Danny Leake owned the recording, told me to press 100 copies, and even has some of those himself. Those 100 copies of "Hung Up In Mid Air" are the only ever legitimate issue of that record and are now as rare as rare as can be.

At that time, people accused me of making Jim Gilstrap "Run Run Run" and pressing it on a facsimile Bell label to fool everyone that it wasn't an Ian Levine production.

[Guest]

I WILL SAY ONE THING ONLY.

" THIS THREAD IS GETTING GOD DAMN BORING, AND I'VE NEVER HEARD SUCH GARBAGE IN MY LIFE "

REGARDS.

thenogger

"You are ignoring this user"

[Guest Nik Mak]

This is getting silly.

We make records and videos as best we can with the budget we have.

I can't compete with major labels, we do it all in house.

Early Motorcity records were criticised for having drums that sounded electronic.

Now that my productions have drums that sound warm and live and real, you criticise them because the drums aren't electronic enough.

I see them as timeless, and you call them PLAIN JANE production wise.

But you have failed to grasp that I HATE today's market, and just want to continue to make great records.

In your own way, you're equally as reactionary as those who hate my music because it wasn't recorded in mono forty years ago.

I can't bloody win.

Again you've totally missed the point and taken it as a personal insult which beleive me it's not meant to be. I have loads of your music and love most of it. The point I was makeing about the Motorcity output was the vibrance of them all. The production regardless of what drums you used was uplifting and at the time totally contemporary but the stuff I'm hearing lately just isn't 'NOW'. I was trying to say (probably badly) that I think this is the reason your material is not reaching a wider audiance. All the eliments are there to do outstanding things but ultimately something isn't connecting with the punters out there. In my opinion it's the retro feel and sound of the production that is holding them back. Take an Amey Winehouse track totally rooted in the past but sounds so NOW. Verse, Bridge Chrus.Verse, bridge, Chorus. Middle eight then repeat 1st Half then coda to fade out. Time 3.41 or there abouts. BUT listen to it and it screams 2008. You are more than capable of doing the same and better. I wish I had access to some of the vocalists that you do They are the stuff of dreams. And so many!!! But hey don't sweat it if your happy then your happy. But the impression I've been getting from the posts is you would like to reach a bigger audiance and carry on influencing the music scene as you did in the past.I was trying to point out you still can if you take on board a few different points of view and assimilated them into your own writing.Sorry if I offended you, not my intention.

regards

[Guest]

Again you've totally missed the point and taken it as a personal insult which beleive me it's not meant to be. I have loads of your music and love most of it. The point I was makeing about the Motorcity output was the vibrance of them all. The production regardless of what drums you used was uplifting and at the time totally contemporary but the stuff I'm hearing lately just isn't 'NOW'. I was trying to say (probably badly) that I think this is the reason your material is not reaching a wider audiance. All the eliments are there to do outstanding things but ultimately something isn't connecting with the punters out there. In my opinion it's the retro feel and sound of the production that is holding them back. Take an Amey Winehouse track totally rooted in the past but sounds so NOW. Verse, Bridge Chrus.Verse, bridge, Chorus. Middle eight then repeat 1st Half then coda to fade out. Time 3.41 or there abouts. BUT listen to it and it screams 2008. You are more than capable of doing the same and better. I wish I had access to some of the vocalists that you do They are the stuff of dreams. And so many!!! But hey don't sweat it if your happy then your happy. But the impression I've been getting from the posts is you would like to reach a bigger audiance and carry on influencing the music scene as you did in the past.I was trying to point out you still can if you take on board a few different points of view and assimilated them into your own writing.Sorry if I offended you, not my intention.

regards

You might like Fay Jones "You Threw A Lucky Punch". It's got a slight Amy Winehouse vibe. But only VERY slight.

I haven't yet put it on YouTube but it's on this trailer and takes up the whole first minute of it.

">

[Guest Nik Mak]

I gave you the benefit of the doubt and listened for about 3 minutes, I can't decide whether you're having a laugh with us or not, if you think that is any better than the Levine stuff then you are seriously delusional. Terrible singer, mechanical production, and totally soul-less. I mean it's just music for shopping malls or something. No offence.

None taken. Disagree about the vocas tho. No just showing what's getting the props out there. This is being hammered all over (NOT on the soul scene). & I don't think it's any better than anything Ian has done it is just getting more exposure because it is more now. If you pump this out on a big sound system it really does the business on the dance floor. Ian's could do the same but it seems there is a reluctance to adapt to changing times as he has done in the past.

Atb.

Edited August 24, 2008 by Nik Mak

[Guest]

Marc Grant ft. Russoul 'Guessin' Again' Blackstone.

sorry.

Worse than the last one.

I HATE the drums, just HATE 'em.

I don't care if drums come off a computer as long as they SOUND real. This sounds like a metronome. Ugh. And ZERO chord changes.

Listen to The Sapphires "Gotta Have Your Love" or Tobi Legend, and try to get into my head and understand why I love those chord changes. I need to be lifted up by the music and enveloped by harmonies and strings.

[Pete S]

None taken. Disagree about the vocas tho. No just showing what's getting the props out there. This is being hammered all over (NOT on the soul scene). & I don't think it's any better than anything Ian has done it is just getting more exposure because it is more now. If you pump this out on a big sound system it really does the business on the dance floor. Ian's could do the same but it seems there is a reluctance to adapt to changing times as he done in the past.

Atb.

But it's an alien concept to me - I like Northern Soul music - this just sounds like the music I hear coming out of boy racers cars, I don't see the connection between this type of music (house?) and N.S. music, that's all.

[Guest]

Listen to The Sapphires "Gotta Have Your Love" or Tobi Legend, and try to get into my head and understand why I love those chord changes. I need to be lifted up by the music and enveloped by harmonies and strings.

I wrote a song called "Without The Music" which says it all lyrically.

Funny how life can change how you feel

Time can rewrite every line

Funny how words that once seemed so real

Sound like they no longer rhyme

In the lonely night where I hide

All my thoughts and feelings inside

With the pain instead of my pride

How can I face tomorrow ??

I won't last a day without the music

Nothing left to say without the music

Since you went away without the music

How can I ever go on.

(And Soul Sam said my lyrics were trite !!!!!!!)

You won't like who's singing it, but you might like the emotion of the song.

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[Guest]

But it's an alien concept to me - I like Northern Soul music - this just sounds like the music I hear coming out of boy racers cars, I don't see the connection between this type of music (house?) and N.S. music, that's all.

I agree with you, Pete. No connection to Northern Soul at all.

[Alan Pollard]

Fair questions.

Tim Brown boasted in 1999 that I could never make a record that would fool anyone. He said that whatever it was, everyone would know instantly it was an Ian Levine production. I was determined to prove him wrong.

So I made The Four Vandals in 1999, and then Venicia Wilson in 2000.

It was necessary to lie about their origins as the whole exercise was designed to prove a point, but when Butch sold it to Ginger for £800, I was trapped in a problem that was not of my doing. I had given three copies free of charge to someone in Carolina. I had to buy one of these back from Ady Pearce for £450, even though I knew he had only paid $100 (£50) for it, because there was no other way of having a copy to DJ with, without causing suspicion.

Only Phil Dick knew about it, and Ralph Tee who'd had it pressed and the US size labels made. No-one else knew, not Gavin, not Simon, no-one and it remained that way until Steve Brookstein won the X-Factor in 2004, and the papers got hold of the story, and said that he'd been the lead singer of The Four Vandals.

I know you were critical of me, but I am proud and unrepentant to this day, and I'd do it all over again in a flash. I am sorry anyone paid too much for it, but I MYSELF didn't charge anybody, indeed I am still out of pocket the £450. If that record had borne the words "Produced by ian Levine" on it, no-one would have touched it. I more than proved my point.

Yes I made the Jean And The Vallamonts. It was left almost untouched because I didn't want a repetition of people paying high money for a record and then it coming back in my face. If it's any consolation, only 100 copies were ever pressed, not one more than the original 100 exists, and the masters, stampers and labels all got trashed when the plant that pressed it went bankrupt and got siezed overnight by the Inland Revenue, so I believe. So no more than those original 100 could ever exist. I think Kev Roberts took the balance of those as part payment of the £5000 losses I had to stump up for the Rocket, which I couldn't pay, and so he took whatever stock of records I had left as payment, in March 2003. I have no idea where the other copies are now. I don't even possess a copy myself, which is a shame as lots of people have been recently asking me for it. The Brenton Colbert was the same.

David Rhodes was not. Danny Leake owned the recording, told me to press 100 copies, and even has some of those himself. Those 100 copies of "Hung Up In Mid Air" are the only ever legitimate issue of that record and are now as rare as rare as can be.

At that time, people accused me of making Jim Gilstrap "Run Run Run" and pressing it on a facsimile Bell label to fool everyone that it wasn't an Ian Levine production.

Ian, thanks very much for that explanation it is much appreciated, like I say the money that Jeanne & The Vallamonts cost me is history, it doesn't bother me anymore as I have had alot of satisfaction out of the record, I featured it in my dj sets for a good 2 years and it became a very popular record with people always asking me for it, I only dropped it from my set when the copies flooded the market and I became suspicious all over again and by that I don't mean I wouldn't of played it if I knew it was an 'Ian Levine Production' because I would have done and still will play if I am asked.

By the way I never suspected that you had anything to do with Jim Gilstrap and David Rhodes.

Anyway thanks again for that

Regards

Alan

[Guest Nik Mak]

You might like Fay Jones "You Threw A Lucky Punch". It's got a slight Amy Winehouse vibe. But only VERY slight.

I haven't yet put it on YouTube but it's on this trailer and takes up the whole first minute of it.

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Edited August 24, 2008 by Nik Mak

[Guest]

I only dropped it from my set when the copies flooded the market

But there were only ever 100 copies made, so how could it have flooded the market ???

[Guest rasfoz]

I agree with you, Pete. No connection to Northern Soul at all.

So what about dr frankinstien here with his creations nearly but not quite

[Pete S]

But there were only ever 100 copies made, so how could it have flooded the market ???

Because they all turned up on ebay at the same time, one sells, it's replaced by another copy, until they are all sold

[Guest]

LOOK Ian these tunes are fucking brilliant! BRILLIANT!!! FAY JONES AWESOME!!! but you ain't gonna do diddley squat unless you get with programme. Get rid of the insipid drums and put some BEEF on the tracks these mixes are LP cuts NOT general release. Get some decent mixes done 2 or 3 per track and put out some limited 12" promos to the right Dj's that are NOT on the accepted 'Soul' scene. Ie: anyone who doesn't play in a back room of A PUB! Get the product out there on as many download sites as you can and you WILL sell bucket loads. Certainly more than 2000. I'm sorry but the potential here is huge and your just not getting it.

Because they're my "babies" and I don't want to ruin them with two minute hard drum intros. They are such beautiful self contained songs as is, and the soulfulness shines through. On track two, "Love Is My Sanctuary", Nat Augustin is a very skilled musician, and was Alexander O'Neal's bandleader and musical director, as well as originally being the lead singer of Light Of The World. He played every single brass part on trumpet and trombone himself, tracking up each part, he played the bass and the guitars all live himself, and the record sounds as real as if we'd spent twenty grand making it. he even played live tambourine on it. Remixing it with a thump thump drum would just destroy it, a bit like an elephant sitting on a butterfly.

[Guest]

So what about dr frankinstien here with his creations nearly but not quite

"You are ignoring this user".

[Alan Pollard]

But there were only ever 100 copies made, so how could it have flooded the market ???

It just seemed at the time that there were loads of copies, don't forget until now I didn't know there was only a 100 copies.

Regards

Alan

[Pete S]

So what about dr frankinstien here with his creations nearly but not quite

But a lot nearer than house music

[bri phill]

Hello dear old friend.

I mentioned you earlier, about Soussan's sales list with "Reaching For The Best" by Bob Relf on it.

How did you come to list it at the top of the list, when it didn't exist ?? Had he promised to send it on to you ??? Can you remember after thirty four years ??

Ian you've got a fantastic memory but I haven't I have no recollection of that listing.

I can't remenber thousands of records I had let alone the ones I didn't have that never existed.

Regards Brian

[Guest Nik Mak]

But it's an alien concept to me - I like Northern Soul music - this just sounds like the music I hear coming out of boy racers cars, I don't see the connection between this type of music (house?) and N.S. music, that's all.

Sorry you win Northern Soul is brilliant and everything else is Shit (LOL) . Keep on enjoying the music you love . If there is no connection for you then nothing I say will change that. I wasn't trying to show a comparison just what is moving the dance floors across the world and up and down the country NOW. Just a shame that Ian's stuff couldn't be a part of that movement too.

Atb.

[Guest]

It just seemed at the time that there were loads of copies, don't forget until now I didn't know there was only a 100 copies.

Regards

Alan

Well that part is true. No secrets now. No need to.

[Guest]

Ian you've got a fantastic memory but I haven't I have no recollection of that listing.

I can't remenber thousands of records I had let alone the ones I didn't have that never existed.

Regards Brian

I always wanted to know.

When I asked Simon about it, he laughed so long that I couldn't get a straight answer out of him.

[Pete S]

Sorry you win Northern Soul is brilliant and everything else is Shit (LOL) .

Wrong. I've got more reggae and ska than I have northern soul. I've got over 50 cd's by David Bowie. I've got every note the Sex Pistols ever recorded and a couple of dozen bootlegs. My favourite band is The Prodigy. I like all sorts of music, honestly. Your house music no doubt sounds great in the proper environment but it just doesn't do anything for me thats all.

[Dave]

Yes but most of the music I make is basically Northern Soul. And as I have argued, Northern Soul is a musical form, not a description of either a record's age or its scarcity. At least not to most people who love it.

Yes but northern soul is music that is played and accepted at northern soul events by northern soul fans.

Merely labelling a record as northern soul does not make so.

[Guest]

Lets just enjoy a wonderful song that everybody loves.

EVERYBODY.

Even those who don't want to admit it.

">

[Guest Nik Mak]

Because they're my "babies" and I don't want to ruin them with two minute hard drum intros. They are such beautiful self contained songs as is, and the soulfulness shines through. On track two, "Love Is My Sanctuary", Nat Augustin is a very skilled musician, and was Alexander O'Neal's bandleader and musical director, as well as originally being the lead singer of Light Of The World. He played every single brass part on trumpet and trombone himself, tracking up each part, he played the bass and the guitars all live himself, and the record sounds as real as if we'd spent twenty grand making it. he even played live tambourine on it. Remixing it with a thump thump drum would just destroy it, a bit like an elephant sitting on a butterfly.

NO NO NO! With that sort of talent on board you could take on the best in the world mate. Like I said these are album cuts & good ones at that. The mixes I'm talking about would be aimed squarly at the dance floor opening up a whole NEW audiance for you and the artists, what's wrong with that? Every other label on the planet does it except you it just doesn't make sense? YOU don't even have to do the mixes!

[ChrisOD1964]

Lets just enjoy a wonderful song that everybody loves.

EVERYBODY.

Even those who don't want to admit it.

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[Guest Nik Mak]

Wrong. I've got more reggae and ska than I have northern soul. I've got over 50 cd's by David Bowie. I've got every note the Sex Pistols ever recorded and a couple of dozen bootlegs. My favourite band is The Prodigy. I like all sorts of music, honestly. Your house music no doubt sounds great in the proper environment but it just doesn't do anything for me thats all.

That's cool I can respect that. 'Firestarter' classic!

[Guest]

Yes but northern soul is music that is played and accepted at northern soul events by northern soul fans.

Merely labelling a record as northern soul does not make so.

But when Kev Roberts or Sean Chapman or Hitsville Chalky or Bob Hinsley play it, then it makes it so, even if you and Steve Guarnori and James Trouble would rather slice your wrists open than play it.

Do you have ANY idea how many people played Sidney Barnes "Standing On Solid Ground" or Rocq-E Harrell "My Heart Keeps beating Faster", or Archie Bell "Look Back Over Your Shoulder, or J.J. Barnes "Talk Of The Grapevine", or Angelo Starr "Stand On MY Own Two Feet", outside of your little chin-stroking collectors cult niche end of the scene ?????

The scene consists of purist gigs, and it consists of dance round your handbag gigs too.

[Guest Nik Mak]

LOVE THAT TO BITS IAN

CHRIS

Complete with Thump! Thump! Thump! house (Ish) beat! Your a nightmare.

[Epic]

Lets just enjoy a wonderful song that everybody loves.

EVERYBODY.

Even those who don't want to admit it.

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[Sean Hampsey]

The scene consists of purist gigs, and it consists of dance round your handbag gigs too.

Hi Ian,

Are you saying here that your productions are actually aimed at the 'dance round your handbag' market?

Or is it that that end of the market is more open to your productions?

Sean

[Guest]

Complete with Thump! Thump! Thump! house (Ish) beat!

I'm choking from laughing so hard.

[Guest]

Dont think it was ever played at The Highland Room was it?

It bloody was.

So was "Who Is Gonna Love Me" before it.

[Guest]

Hi Ian,

Are you saying here that your productions are actually aimed at the 'dance round your handbag' market?

Or is it that that end of the market is more open to your productions?

Sean

I'm saying that that end of the market is less likely to be dictated to by how old a record is and who produced it, and they're much more open minded. Otherwise Sidney Barnes would never have been the massive success that it became. I might quite like "Rainy Day" by The Parliaments, but it sounds like it was recorded in an outside toilet in comparison.

[Pete S]

Lets just enjoy a wonderful song that everybody loves.

EVERYBODY.

Even those who don't want to admit it.

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[Sean Hampsey]

I'm saying that that end of the market is less likely to be dictated to by how old a record is and who produced it, and they're much more open minded. Otherwise Sidney Barnes would never have been the massive success that it became. I might quite like "Rainy Day" by The Parliaments, but it sounds like it was recorded in an outside toilet in comparison.

Thanks Ian,

But you would acknowledge that some would actually prefer to listen to 'an outside toilet' type recording, over a more, shall we say, 'polished' production?

Sean

[Guest]

Thanks Ian,

But you would acknowledge that some would actually prefer to listen to 'an outside toilet' type recording, over a more, shall we say, 'polished' production?

Sean

Not me.

Never me.

Our rejection threshold at Blackpool Mecca was very high - serious quality control. Half of what's played nowadays on the scene I rejected without a second's thought.

[Guest thenogger]

PLEASE IAN, DON'T IGNORE ME. You hate it when people the same as yourself IGNORE you, like I have for a long, long time.

You are so childish, Like I told you all them many years ago at the

BLACKPOOL MECCA. cheerio Ian (THANK GOD)

thenogger

[Sean Hampsey]

Not me.

Never me.

Our rejection threshold at Blackpool Mecca was very high - serious quality control. Half of what's played nowadays on the scene I rejected without a second's thought.

Amen to that!

Quality control does seem to be what's missing in some quarters of the scene.

BTW many would extol the virtues of Barbara Pennington (24 Hours) and James Wells (Baby I'm Still The Same Man)... I love 'em too... but one that many seem to have missed is Scherrie Payne's "Somebody Elses Arms"... which (IMO) is excellent!

How many recordings did you do with Scherrie?

Sean

[Epic]

It bloody was.

So was "Who Is Gonna Love Me" before it.

Remember buying "Who Is Gonna Love me" as a new release - point I was trying to make is "Love is......" was never "big" at The Mecca - a couple of spins maybe - never ever seen it on a Mecca compilation because it is not associated with the venue.

Same for Bobby Sheen, Gloria Scott etc. should have been big Highland Room records - unfortunately they slipped through the net.

[paup-ine]

Here's a treat for you....

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[Guest rasfoz]

But a lot nearer than house music

Yeah granted but i dont mind the occasional bit of house & appreciate it for what it is , but i this other mutation trying to pass it off as what ? Cause i know what it isnt so where does it fit in

[Soul Shrews]

I honestly think I should keep it limited to this thread.

If I take the moral high ground, and avoid exposing my stuff to those who want to avoid it, and avoid me, then if they DO come in here to criticise and hurl rotten eggs, it's they who look pathetic, not me.

Ian,

I think you will find that if you dip your toes into other threads and contribute constuctively there will be no probs

If another member were to "throw rotten eggs" at you off topic on the same thread then the mods would take a dim view and delete their posts

So....................c'mon and "DoThe Chin Stroke Baby"

Cheers "L"il boy" Paul

[Guest]

PLEASE IAN, DON'T IGNORE ME. You hate it when people the same as yourself IGNORE you, like I have for a long, long time.

You are so childish, Like I told you all them many years ago at the

BLACKPOOL MECCA. cheerio Ian (THANK GOD)

"You are ignoring this user"