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

[Guest]

Hello Ian,

Despite being a big fan of the original version, I was very impressed with what you and Clive did with "Cafe Reggios". It has great energy and feel.

I don't praise all your tracks but "Cafe Reggios" is one of your best in my opinion. It's very hypnotic and always makes me feel good.

It really should have been a single.

Best regards,

Paul Mooney

Thankyou Paul.

Like I said, it was a tribute to Les Cokell, trying to recreate that bit of Radio Station magic that dated all the way back to 1970.

Just think, all those soul radio tapes are nearly forty years old now.

[John Al]

Hello John,

"Come To Me" was actually recorded for Ardent in 1990.

Ronnie Dyson has passed away and Lamar Thomas needed a singer for "Come To Me". We had just done some tracks for Johnny Bristol (which we didn't release) so I gave Lamar his number and they got together with Patrick Adams and cut the track, thinking we would release it on Ardent.

At the last moment, however, I was asked for a big advance so I got annoyed and didn't release it. Lamar got Terry West to release it and Pete Waterman picked up the publishing rights in exchange for helping with pressing and getting Tony King to do a PWL remix.

It was a great song and it was very popular but it didn't sell as well as expected. I think too many people got involved and they all started getting in each other's way.

No disrespect to Johnny Bristol but the song sounded even better by Lamar Thomas. He sang it to me when he had a cold and he sounded like William Bell.

I keep telling him he should record a new version of it one day.

Best regards,

Paul Mooney

Many thanks Paul, interesting stuff. It is indeed a great track.

Will the unissued tracks ever become available? I wonder if Lamar will get around to recording it?

John.

[Pete S]

My last word on the matter is that every song was re-recorded, and we didn't use any original versions that we had no right to use.

I thought the Frank Wilson was so close that the differences were almost imperceptible, which is why I used it as a demonstration.

Ian I think you really overreacted to Epic's comments and you should apologise to him, especially as he has supported you throughout the last 2 weeks. He was only saying what other people thought. At the time I said that Out On The Floor and Seven Day Lover sounded like they were using elements of the originals. If people don't know about the ins and outs of the recording process they are not going to know what can be recreated.

[Ian Dewhirst]

I think you'll know that Hott Waxx had a part in that story too Paul, before Kev and Terry fell out that is.

On a lighter note we took Johhny and Lamaar on a barge down Wigan Pier one evening, I can't remember why now, we were trying to get Pete to showcase 'Come To Me' on a 'Hitman & Her' (weird, but publicity is publicity innit?) at the time.

Lamaar (in his charming NY pimp-mode), loved it - Johnny on the other hand f*cking hated it.

You know what?

I think I know you don't I Barry? If you worked with Kev @ Hott Wax I'm sure I popped in for a coffee once when I was on the road for Serious Records, probably around '87-'88 ish I think........

You'd have been the young whippersnapper called Barry who doubtless spent years listening to to Kev's diatribles LOL...

Come to think of it, that probably explains a few things LOL......

Hope you're well and all. What's Kev up to these days?

Ian D

[Guest]

Ian I think you really overreacted to Epic's comments and you should apologise to him, especially as he has supported you throughout the last 2 weeks. He was only saying what other people thought. At the time I said that Out On The Floor and Seven Day Lover sounded like they were using elements of the originals. If people don't know about the ins and outs of the recording process they are not going to know what can be recreated.

The reason we went to such lengths to re-record everything (not the most popular of choices anyway, as you well know) is because record companies, especially the majors, are even more greedy that you'd give them credit for, and the minute they sniffed some use of one of their tracks, out would come teams of extremely highly paid lawyers to cause trouble and strife.

I had all this with Motorcity. They tried to stop us doing everything they could. That's why I would run a mile from that again, and consequently, someone publicly posting a suspicion that instead of re-recording a song we had instead used the original, is just screaming out to cause trouble.

An accusation, even when totally unfounded, can do more damage than you or Epic realise, and I have enough problems and hassles as it is without being subjected to unnecessary complications, especially ones that I went out of my way to avoid in the first place. Of course I will have no problems proving my rights, but doing so costs a LOT of money in lawyers and barristers fees, and if you don't spend the money, then you end up losing, even if you're innocent. Been there, done that. Can't leave legal challenges to fester, but can't really afford to fight them either.

So I could do without these slurs and accusations, especially as those making them may not have a clue of the potential SERIOUS long-term harm they are doing.

The whole idea of re-recording 200 songs and filming them was a minefield from the word go. We did it. We did it fairly successfully, and I ask everyone to please respect that and please stop making troubling comments that won't benefit anyone and which aren't true anyway.

Richard Popcorn Wylie just passed away.

The latest of so many.

Be glad we filmed them all, and PLEASE stop and think before you accuse.

[Guest rasfoz]

The reason we went to such lengths to re-record everything (not the most popular of choices anyway, as you well know) is because record companies, especially the majors, are even more greedy that you'd give them credit for, and the minute they sniffed some use of one of their tracks, out would come teams of extremely highly paid lawyers to cause trouble and strife.

I had all this with Motorcity. They tried to stop us doing everything they could. That's why I would run a mile from that again, and consequently, someone publicly posting a suspicion that instead of re-recording a song we had instead used the original, is just screaming out to cause trouble.

An accusation, even when totally unfounded, can do more damage than you or Epic realise, and I have enough problems and hassles as it is without being subjected to unnecessary complications, especially ones that I went out of my way to avoid in the first place. Of course I will have no problems proving my rights, but doing so costs a LOT of money in lawyers and barristers fees, and if you don't spend the money, then you end up losing, even if you're innocent. Been there, done that. Can't leave legal challenges to fester, but can't really afford to fight them either.

So I could do without these slurs and accusations, especially as those making them may not have a clue of the potential SERIOUS long-term harm they are doing.

The whole idea of re-recording 200 songs and filming them was a minefield from the word go. We did it. We did it fairly successfully, and I ask everyone to please respect that and please stop making troubling comments that won't benefit anyone and which aren't true anyway.

Richard Popcorn Wylie just passed away.

The latest of so many.

Be glad we filmed them all, and PLEASE stop and think before you accuse.

Just say sorry thanks & give ian a big clap & a pat on the back,after all its his thread, its irespective if he contrives to patronise or bamboozle you with his awnsers

[Guest]

Kev Roberts tells me that the biggest hit of the whole Essex Weekender was Freda Payne's "Memories And Souvenirs".

When Terry Jones played it, everyone was clapping and cheering with hands in the air.

I don't suppose anyone (Chalky??) can post up a soundclip of it, can they ???

[Neil Rushton]

The reason we went to such lengths to re-record everything (not the most popular of choices anyway, as you well know) is because record companies, especially the majors, are even more greedy that you'd give them credit for, and the minute they sniffed some use of one of their tracks, out would come teams of extremely highly paid lawyers to cause trouble and strife.

I had all this with Motorcity. They tried to stop us doing everything they could. That's why I would run a mile from that again, and consequently, someone publicly posting a suspicion that instead of re-recording a song we had instead used the original, is just screaming out to cause trouble.

An accusation, even when totally unfounded, can do more damage than you or Epic realise, and I have enough problems and hassles as it is without being subjected to unnecessary complications, especially ones that I went out of my way to avoid in the first place. Of course I will have no problems proving my rights, but doing so costs a LOT of money in lawyers and barristers fees, and if you don't spend the money, then you end up losing, even if you're innocent. Been there, done that. Can't leave legal challenges to fester, but can't really afford to fight them either.

So I could do without these slurs and accusations, especially as those making them may not have a clue of the potential SERIOUS long-term harm they are doing.

The whole idea of re-recording 200 songs and filming them was a minefield from the word go. We did it. We did it fairly successfully, and I ask everyone to please respect that and please stop making troubling comments that won't benefit anyone and which aren't true anyway.

Richard Popcorn Wylie just passed away.

The latest of so many.

Be glad we filmed them all, and PLEASE stop and think before you accuse.

I don't think anyone realises how impossible it would have been to licence the original versions and try and use them over our footage.

As Ian has pointed out for a start the majors don't want to do business wth an indie company and if they do deign to do so charge a fortune and would allow a licence for just a limited number of years.But in most cases they would just point blank refuse to allow their old masters to be synched with new footage anyway citing legal reasons in the contracts for the original master recordings - so Ian had no choice but to create new versions.

Even then we had the problem of getting an agreement with MCPS who collect royalties on behalf of the songwriters/music publishers Nowadays the popularity of DVDs means there is a blanket licence which provides for a uniform pre agreed royalty rate to be paid for music to be linked to video footage. At the time of the VHS release of SWONS this blanket licence did not exist and potentially we had the nightmare of every different music pubisher for all the song copyrights used charging us a different upfront fee per song to allow for the synchronisation of their music with the footage - and to make it worse this would actually be on top of the roylaties to be paid per sale for the use of the songs.

After some very compicated negotiations with MCPS this was resolved, but honestly no one from the outside can have any comprehension of the logistical nightmare SWONS was. In comparison putting out a CD compilation is like a 100 yards sprint and with SWONS we were putting ourselves through a gruelling marathon.

I have never minded grafting and am not complaining, but it is too easy to look from the outside and be a critic without any idea of the practical problems we had to overcome ....then on top of everything Ian turned around and said he was filming The Dells just one week before the SWONS launch at Blackburn meaning I had to squeeze a production job that would normally last 17 days into 5 days!

[scunnyjack]

Kev Roberts tells me that the biggest hit of the whole Essex Weekender was Freda Payne's "Memories And Souvenirs".

When Terry Jones played it, everyone was clapping and cheering with hands in the air.

I don't suppose anyone (Chalky??) can post up a soundclip of it, can they ???

Got the capital import somewhere at home, had this since the Mecca days.Was it ever played there?

I also bought quite a few current Mecca releases at a market stall just up from the South Pier.

Better leave the soundclip to the experts.

Steve

[Ian Dewhirst]

I don't think anyone realises how impossible it would have been to licence the original versions and try and use them over our footage.

As Ian has pointed out for a start the majors don't want to do business wth an indie company and if they do deign to do so charge a fortune and would allow a licence for just a limited number of years.But in most cases they would just point blank refuse to allow their old masters to be synched with new footage anyway citing legal reasons in the contracts for the original master recordings - so Ian had no choice but to create new versions.

Even then we had the problem of getting an agreement with MCPS who collect royalties on behalf of the songwriters/music publishers Nowadays the popularity of DVDs means there is a blanket licence which provides for a uniform pre agreed royalty rate to be paid for music to be linked to video footage. At the time of the VHS release of SWONS this blanket licence did not exist and potentially we had the nightmare of every different music pubisher for all the song copyrights used charging us a different upfront fee per song to allow for the synchronisation of their music with the footage - and to make it worse this would actually be on top of the roylaties to be paid per sale for the use of the songs.

After some very compicated negotiations with MCPS this was resolved, but honestly no one from the outside can have any comprehension of the logistical nightmare SWONS was. In comparison putting out a CD compilation is like a 100 yards sprint and with SWONS we were putting ourselves through a gruelling marathon.

I have never minded grafting and am not complaining, but it is too easy to look from the outside and be a critic without any idea of the practical problems we had to overcome ....then on top of everything Ian turned around and said he was filming The Dells just one week before the SWONS launch at Blackburn meaning I had to squeeze a production job that would normally last 17 days into 5 days!

I think it's fair to say that if SWONS hadn't have been done all those years back, it would never have been done at all, as the finance and sheer logistics of the task simply wouldn't be worth the lack of any feasible return in today's climate.

We're dead lucky to have what we have here. I certainly wouldn't have been able to take such a task on. The negotiations alone would have robbed me of the will to live! All credit for everyone's perseverence on this. Not an easy task by any means......

Ian D

[Ian Dewhirst]

Got the capital import somewhere at home, had this since the Mecca days.Was it ever played there?

I also bought quite a few current Mecca releases at a market stall just up from the South Pier.

Better leave the soundclip to the experts.

Steve

I could have sworn it was Laura Greene who did "Memories & Souvenirs".............?

Am I wrong?

Ian D

[Guest swoz]

I am so saddened by the passing of my friend Richard "Popcorn" Wylie.

I made lots of records with him and write many more for other artists.

There's lots of video of him in the studio, but most of it was done when the camera had the sun filter on accidentally, and therefore is too dark to use.

But I still have some great stuff of him.

Here he is to be remembered forever

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[scunnyjack]

I could have sworn it was Laura Greene who did "Memories & Souvenirs".............?

Am I wrong?

Ian D

You are right sir and I am wrong .I do have the record by Laura Greene and not Freda Payne. I have not heard the Freda Payne version.

Excuse my error,I should be concentrating more instead of trying to combine this with work.I blame Ian for giving us this infectious thread.

[Guest]

We have now finished the nine minute trailer for the DVD Box Set, which will be going on YouTube tonight.

Once it's up, I will post it on here too, for everyone to enjoy.

In the meantime, here are Richard Searling's AMAZING sleevenotes for the DVDs.

---------------------------------

"I believe the concept that Ian envisaged, when he painstakingly tracked down so many of our previously untraceable soul heroes, should, and will, go down in musical history as one of the greatest achievements. Not content like some others to rest on his laurels as being the pioneer of discovering the majority of Northern soul's classic pieces, Ian decided it was time for the artists themselves to get the recognition their talents so richly deserved, but that they were so patently unaware of. To have the patience and the passion to do this massive project could not have been achieved by anyone else in my opinion, and when Ian and myself were able to then put together a groundbreaking VIP premiere for the epic film at a prestigious venue such as the King George's Hall in Blackburn, it still stands today as one of the most unforgettable day/night sessions that I or any of the other 2,000 people who attended will ever experience.

Thank goodness Ian had the skill and the vision to make it happen, because looking back today, so many of the artists and the DJs who were captured forever on film, have passed away - but we have this precious piece of work to remember them with.

What a magnificent and enduring tribute this fabulous "Northern Soul's 200 Greatest Floorfillers" is to them and the unique scene they graced with their talents.

I, for one, will forever be indebted to Ian, not only for being my favourite Northern Soul DJ of all time, but for being someone who made the effort to give something back to those unsung heroes of 60's and 70's America"

So here we have the ultimate collection of Northern Soul magical masterpieces - 200 tracks over 5 action-packed DVDs. From disc one, check out Willie Hutch performing his 1965 Dunhill rarity "Love runs out", the super cool Bobby Hebb "You want to change me" (penned by Gamble and Huff), and the sassy Maxine Brown with her brilliant mid tempo masterpiece "One in a million".

On disc two we enjoy Leon Haywood and his rendition of the first ever import rarity "Baby reconsider", the genial Sidney Barnes with his Blue Cat 45 "I hurt on the other side", and Chicago songstress Jo Armstead on her uplifting Gospel Truth recording "I got the vibes".

The 60s classics are not forgotten either, as disc 3 reveals the Stax legend William Bell and his joyous 1969 cut, "Happy" and similar brilliance from that vintage comes with the unique talent of Beaumont , Texas's Barbara Lynn performing "You're losing me" - breath taking stuff indeed!

On disc 4 we are able to remember the talent from the recently departed legends Jackie Day with "Before it's too late" and Ray Pollard's great ender "The Drifter", as well as the superb "Selfish One", a '64 beauty from Jackie Ross.

Disc 5 is packed with more emotional moments, none more poignant than Tobi Legend's Pendulum discovery "Time will pass you by", the brilliant "Ain t that good enough" by soul superstar Garland Green as well as a Van McCoy track from the enchanting Sandi Sheldon and her anthemic Okeh cut "You're gonna make me love you".

These are just a few of my personal favourites, there are many many more to keep you happy for hours on this quite sensational collection that Ian has assembled for perpetuity".

Sincerely

Richard Searling.

Original Wigan Casino DJ, Co-owner of Expansion Records, Co-owner of "Togetherness", and DJ for Smooth FM

[Guest]

Got the capital import somewhere at home, had this since the Mecca days.Was it ever played there?

Not the same song at all.

This is a song where I wrote the music and Edwin Starr did the words and basic melody.

[Guest]

I don't think anyone realises how impossible it would have been to licence the original versions and try and use them over our footage.

As Ian has pointed out for a start the majors don't want to do business wth an indie company and if they do deign to do so charge a fortune and would allow a licence for just a limited number of years.But in most cases they would just point blank refuse to allow their old masters to be synched with new footage anyway citing legal reasons in the contracts for the original master recordings - so Ian had no choice but to create new versions.

Even then we had the problem of getting an agreement with MCPS who collect royalties on behalf of the songwriters/music publishers Nowadays the popularity of DVDs means there is a blanket licence which provides for a uniform pre agreed royalty rate to be paid for music to be linked to video footage. At the time of the VHS release of SWONS this blanket licence did not exist and potentially we had the nightmare of every different music pubisher for all the song copyrights used charging us a different upfront fee per song to allow for the synchronisation of their music with the footage - and to make it worse this would actually be on top of the roylaties to be paid per sale for the use of the songs.

After some very compicated negotiations with MCPS this was resolved, but honestly no one from the outside can have any comprehension of the logistical nightmare SWONS was. In comparison putting out a CD compilation is like a 100 yards sprint and with SWONS we were putting ourselves through a gruelling marathon.

I have never minded grafting and am not complaining, but it is too easy to look from the outside and be a critic without any idea of the practical problems we had to overcome ....then on top of everything Ian turned around and said he was filming The Dells just one week before the SWONS launch at Blackburn meaning I had to squeeze a production job that would normally last 17 days into 5 days!

I very much appreciate you posting this up, Neil, because I honestly believe that most people are not aware of the logistical nightmare of being able to do this legally and above board and get it released. If it hadn't been for Sharon Dean at MCPS, the clearance for synch fees alone would have cost us another fifty thousand pounds just to put the thing out.

[Guest]

The negotiations alone would have robbed me of the will to live!

It nearly did. Especially poor old Neil.

[Guest]

IAN

AFTER LISENING TO ALL YOUR VIDEO'S ON HERE, ALL I CAN SAY IS NEVER STOP PRODUCEING,

RAY POLLARD AND POPCORN WYLIE,CLIFFORD CURRY HAVE SENT SHIVERS DOWN ME, SEEING MY 3 MOST FAVOURITE RECORDS, BEING PERFORMED ON HERE, CAN YOU PLEASE SEND ME YOUR OUTLET ADDRESS AS I WOULD LIKE MY COMPANY, OLDIES UNLIMITED TO STOCK YOUR DVD's AND CD's VINYL....

MANY THANKS

PM me your e-mail and I'll contact you.

I am seriously appreciative of your support and I thank you most sincerely.

[Guest]

You are right sir and I am wrong .I do have the record by Laura Greene and not Freda Payne. I have not heard the Freda Payne version.

It's not a version. It's the best song Edwin Starr ever wrote.

[scunnyjack]

It's not a version. It's the best song Edwin Starr ever wrote.

Thanks for that and I look forward to hearing this if someone can do a soundclip.

Steve

[Guest lifeandsoul]

I very much appreciate you posting this up, Neil, because I honestly believe that most people are not aware of the logistical nightmare of being able to do this legally and above board and get it released. If it hadn't been for Sharon Dean at MCPS, the clearance for synch fees alone would have cost us another fifty thousand pounds just to put the thing out.

I know this was later than the original concept but am I not right in that Weinerworld wouldn't have touched in with a bargepole unless it was squeaky clean, and you had to go through their clearance procedures also.

[Guest]

I know this was later than the original concept but am I not right in that Weinerworld wouldn't have touched in with a bargepole unless it was squeaky clean, and you had to go through their clearance procedures also.

You are indeed 100% correct.

[Guest]

Anyway who claps and cheers that record nears their ears cleaning out, 10 pence soul pack crap

Wrong record.

Wrong song.

Wrong artist.

NOTHING TO DO WITH THE FREDA PAYNE RECORD WHATSOEVER.

How many times do I have to say this ???

The only similarity is the same title - NOTHING ELSE.

[Guest trickbag]

on the subject of edwin starr, you co wrote the very best of the motor city recordings

with edwin, except two, darling darlind baby (ojays) and walking in rhythm(blackbyrds)

cd, edwin claimed he wrote most of all the recordings on motor city, on the glyn williams

radio show, is that true, havent got the interview at hand,but sure he said this.

ricky.

[Guest]

on the subject of edwin starr, you co wrote the very best of the motor city recordings

with edwin, except two, darling darlind baby (ojays) and walking in rhythm(blackbyrds)

cd, edwin claimed he wrote most of all the recordings on motor city, on the glyn williams

radio show, is that true, havent got the interview at hand,but sure he said this.

ricky.

Yes but I still produced his versions of darling darling baby (ojays) and walking in rhythm (blackbyrds).

We did over 850 songs for Motorcity.

Edwin co-wrote about eighty of these in total.

[Guest]

Anyway who claps and cheers that record nears their ears cleaning out, 10 pence soul pack crap

Please somebody, PLEASE put us out of our misery, having heard Laura Greene's ten pence soul pack crap, and PLEASE post up the Freda Payne song, written by Edwin and me, so Smiffy doesn't think the whole world's gone mad.

[Simsy]

I'm not sure the quantity discovered down south was that great but there were only a handful of people searching circa 72-ish, that'd be Mick Smith & Clive Everet, Ken Rowlands & Nigel Martin, probably Ady although I don't remember much more than a scruffy parka and clapped out scooter, Tony Rounce for sure albeit via Record Corner I suspect, Dave Rivers & Dave Burton me a bit and perhaps about 3 or 4 others. Thing was at least one of us could bring a new sound to the Torch every 14 days and invariably did.

Particulary interested to know any further info on Nigel Martin - where he is now and what his contribution was then. I've heard tell that he supplied records to dj's in the 70's.

I last saw him 25 years ago (a chance meeting in the Star Inn here in Bishop's Stortford) and was invited to have a look through his records. I was a young shaver at the time and knew dick ... If I could go through the boxes again now ...

[Pete S]

Particulary interested to know any further info on Nigel Martin - where he is now and what his contribution was then. I've heard tell that he supplied records to dj's in the 70's.

I last saw him 25 years ago (a chance meeting in the Star Inn here in Bishop's Stortford) and was invited to have a look through his records. I was a young shaver at the time and knew dick ... If I could go through the boxes again now ...

He lives approx 7 miles from here in Wollaston near Stourbridge but supports West Brom so there's no hope really

[Simsy]

He lives approx 7 miles from here in Wollaston near Stourbridge but supports West Brom so there's no hope really

.. no none. Struck me as strange he'd never heard of 'Cracking up' (Roy Hamilton).. Kept going on about Danny White ..

Anyway say hi from Simsy from Stortford if you see him going out for fags or owt..

[Guest]

Particulary interested to know any further info on Nigel Martin - where he is now and what his contribution was then. I've heard tell that he supplied records to dj's in the 70's.

I last saw him 25 years ago (a chance meeting in the Star Inn here in Bishop's Stortford) and was invited to have a look through his records. I was a young shaver at the time and knew dick ... If I could go through the boxes again now ...

he is extensively interviewed in the original SWONS and appears in several places throughout it.

[Simsy]

he is extensively interviewed in the original SWONS and appears in several places throughout it.

When you say the original SWONS, wonder if it was it edited down from the one I saw? Remember his name being mentioned, but don't recall an extensive interview as such..

[Guest]

When you say the original SWONS, wonder if it was it edited down from the one I saw? Remember his name being mentioned, but don't recall an extensive interview as such..

When I say extensive, I mean he appeared more than once. He was in the intro stuff, in record collecting, in The Torch, etc etc.

He appears at least four times in different places, and was in every version we released. The DVD extended all the other stuff. The interviews in the three basic four hour programs remained the same more or less.

[Guest]

Here's a wonderful, and now neglected, early Blackpool Mecca classic.

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[Guest]

And a classic for EVERYBODY.

Remember later tonight the absolute first time unveiling of the trailer for the whole new five disc box set. "Northern Soul's 200 Greatest Floorfillers",a trailer CRAMMED with clips.

">

[Simsy]

When I say extensive, I mean he appeared more than once. He was in the intro stuff, in record collecting, in The Torch, etc etc.

He appears at least four times in different places, and was in every version we released. The DVD extended all the other stuff. The interviews in the three basic four hour programs remained the same more or less.

Oh I think I need to have another watch.

Do you recall him supplying dj's with records in the 70's? Do you think you may have bought from him?

[Guest]

Oh I think I need to have another watch.

Do you recall him supplying dj's with records in the 70's? Do you think you may have bought from him?

Loads and loads and loads.

He sold "Crying Over You" to Keith Minshull in 1972 for £50, the highest price ever paid for a record AT THAT TIME.

[Guest]

Oh I think I need to have another watch.

"The Strange World Of Northern Soul" is ALWAYS worth another watch.

The new set of 200 is just fabulous, but it's all songs. There are no interviews. All the interviews (400 of them) are in SWONS, and are priceless.

[Simsy]

"The Strange World Of Northern Soul" is ALWAYS worth another watch.

The new set of 200 is just fabulous, but it's all songs. There are no interviews. All the interviews (400 of them) are in SWONS, and are priceless.

You're not wrong pal ...

https://shop.ebay.co.uk/items/__strange-wor...northernQ20soul

Less you have a 'mate rate' in mind?

Loads and loads and loads.

He sold "Crying Over You" to Keith Minshull in 1972 for £50, the highest price ever paid for a record AT THAT TIME.

Wow! Thanks for the info.

Edited September 8, 2008 by Simsy

[Guest Biz]

https://www.4shared.com/file/62211023/6321463d/FP_online.html

snippet of freda payne

[Guest]

You're not wrong pal ...

https://shop.ebay.co.uk/items/__strange-wor...northernQ20soul

Less you have a 'mate rate' in mind?

Wow! Thanks for the info.

It's not up to me. I don't sell them. I don't manufacture them. That's why I did a deal with Wienerworld, but part of that means I don't get many free copies.

I'm not set up or equipped to sell this kind of stuff myself. I'm a Producer, not a wholesaler.

[Guest]

You're not wrong pal ...

https://shop.ebay.co.uk/items/__strange-wor...northernQ20soul

Less you have a 'mate rate' in mind?

Wow! Thanks for the info.

You can also buy it direct.

I thought I'd put the link up an hour ago, but looking at the post, it clearly didn't take.

Here it is.

https://www.wienerworld.com/wworld.php?catnumber=WNRD2174

[Guest]

https://www.4shared.com/file/62211023/6321463d/FP_online.html

snippet of freda payne

Well done.

Good man.

That's the one.

FREDA PAYNE - MEMORIES AND SOUVENIRS

The intro is clipped sadly, but other than that, it gives you an idea.

[Guest Hunnymon]

Well done.

Good man.

That's the one.

FREDA PAYNE - MEMORIES AND SOUVENIRS

The intro is clipped sadly, but other than that, it gives you an idea.

You can download the song for free (with an advert) from Sonys we7 site. http//we7.com.

You have to regiester first, but there are plenty more of Ian's Motor City songs available on the site.

[Guest]

A gift.

For anybody and everybody who loved that mid Seventies Highland Room sound.

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[Guest]

You can download the song for free (with an advert) from Sonys we7 site. http//we7.com.

You have to regiester first, but there are plenty more of Ian's Motor City songs available on the site.

I don't understand.

How can that be ??

That can't possibly be legal.

The only people we ever did a deal with, for downloads, are One Media Publishing, and it can't be downloaded for free.

You have made me very worried.

[Guest Hunnymon]

I don't understand.

How can that be ??

That can't possibly be legal.

The only people we ever did a deal with, for downloads, are One Media Publishing, and it can't be downloaded for free.

You have made me very worried.

So you know nothing about this site! wow that's unbelievable!

There is a lot of music on the site and not everything can be downloaded, though being sony it must be above board.

The advert at the start of the song is supposed to pay for the copyright.

Maybe they owe you some money Ian?

[Guest]

So you know nothing about this site! wow that's unbelievable!

There is a lot of music on the site and not everything can be downloaded, though being sony it must be above board.

The advert at the start of the song is supposed to pay for the copyright.

Maybe they owe you some money Ian?

Well it wouldn't actually be me they owed. We did a deal with One Media many years ago before downloading ever became big, and now it is what it is.

But I can't imagine they'd allow their copyrights to be downloaded for free, so I shall ask them tomorrow.

I should still get a trickle as one of the songwriters, nevertheless.

But these days, everyone expects their music for free and no-one is willing to buy anything, and it's crippling both producers and artists.

I have to put my videos on YouTube to gain the interest, but it's a two edged sword.

I keep hoping one of my songs is going to end up in a film, but I realised that it won't ever be a film with a Northern Soul theme, or else the Producers might get themselves lynched by purists, after what I have witnessed here on Soul Source.

[macca]

Ian, I think you mentioned in the other thread that Mr Rounce had turned up at the Mecca with a copy of Freda Payne's 'Band of Gold'. As an 11 year old, I remember my older sister raving about this track when it hit the charts, it was all we heard in our house for weeks on end. Was it another of these 'cross-over' records, along the lines of Robert knight, Tammi Lynn, Jamo Thomas etc?

[Guest]

Ian, I think you mentioned in the other thread that Mr Rounce had turned up at the Mecca with a copy of Freda Payne's 'Band of Gold'. As an 11 year old, I remember my older sister raving about this track when it hit the charts, it was all we heard in our house for weeks on end. Was it another of these 'cross-over' records, along the lines of Robert knight, Tammi Lynn, Jamo Thomas etc?

He did indeed. Very early on in 1971.

[Guest]

The trailer should be ready and loaded in about an hour, so everyone can see the world premiere of it tonight.

In the meantime, I apprehensively offer you this in the hope you will all enjoy it as much as we do.

I just pray I'm not accused of sacrilege.

Think of it in the same way as you think of Erma Franklin doing "I Get The Sweetest Feeling", as an extra and a complement to the original, not replacing it in any way.

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