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

[Guest]

Is this relevent to the thread, or shoudl we wait untill we get the All About The Levine up and running with all the related sub forums?

"You are ignoring this user".

[Guest James Trouble]

It was Cokell, not Cockell.

I'm thinking about whether I should keep answering your questions, when I know they're designed to humiliate.

But discussing a dead friend like Les Cokell and being honest and open, can't possibly do me any harm surely, now can it ???

And then we have the probing questions about memories of guys in white gym shorts having an affect on my early days on the Northern Soul Scene....

Certainly not as innocent as they are made out to be

Well, my being openly gay means that I am not ashamed to discuss who I am. If people don't like it then it's their problem not mine. In fact it's making you almost come across like a bigot, if you're trying to use that against me, especially probing into my most deep and personal coming of age memories, and people don't like bigots.

I don't suppose you ever liked the old Mecca classic "There But For The Grace Of God Go I", but these lines say it all.

LETS FIND A PLACE THEY SAY

SOMEWHERE FAR AWAY

WITH NO BLACKS NO JEWS AND NO GAYS

BUT FOR THE GRACE OF GOD THERE GO I.

Sorry, that was a typo on his name, I did it from memory.

And as I thought you would. You woudl start talking about your gayness (is that a word), and yes, you brought it up and talked about the cute guy you fancied but coudl never have and then when I ask about how your unobtainable lust for him may have effected you drive, ambitions and created your refusal to let go of desires you can not ever achieve in later life you go and call me a bigot.

Nice one.

So, back to the Torch: Why did you not go with the four of them when they first left. What kept with with Cokell, which then a few months later was not there? What had changed in that time?

Edited August 25, 2008 by James Trouble

[Guest]

Out of interest, Ian, what do you think of the recent hit "Mercy" by Duffy which has actually been played at Northern events?

I liked it but felt angst that I've ben doing this for 33 years and someone else walks in and gets a number one with a record that's blatantly Northern.

For example, this Flirtations track was written way before Duffy released her record, and hysterically people accused me of copying Duffy.

">

[Guest]

I must have read it somewhere!

I would love to hear Steves version?

Was Steve's version recorded at the same session as Ebonys version was with the orchestra?

No but we reused all the orchestra parts, and Steve sang backing vocals on Ebony's anyway.

[chrissie]

"You are ignoring this user".

ahhhhhh, don't ignore James, you will ruin my evenings reading

QoFxx

[Guest]

Are you two sure you're not in this together ? Master and protege?

Plenty of publicity for both of you.

I'm humoured him for as far as I'm going to.

He can retire now.

[Guest]

Out of interest, Ian, what do you think of the recent hit "Mercy" by Duffy which has actually been played at Northern events?

At no northern do i would stay at my question then,whats your favourite colour socks.

[Guest]

Ian. See post 882. Quick question.

I thought I answered it about which records me and Colin played, including Bari Track.

[Jez Jones]

After reading a few of the posts on here and not wishing to re ignite long debates on what Northern soul is, newcomers to the scene and maybe just maybe a few not so new comers could do a lot worse than listening to Ians views on the early days of Northern Soul music .

The ''scene'' has evolved and changed dramatically but surely the music that is Northern soul hasn't

I for one welcome his views and find it fascinating the way he introduced different records at different times on the scene and who played what and where etc. It really is Northern soul history ya know This isn't made up......it really happened back in the early 70's at the Torch and Mecca.

[Guest]

. Out of that 4000 disc haul which was the rarest that has stayed the rarest? If you know what I mean.

Don Gardner, which I sold to Richard for ten pounds, and had to be persuasive to get that much for it.

Bobby Kline

Telma Laverne

Loads....

[Guest James Trouble]

"You are ignoring this user".

And after all that work I've done today, that's just not cricket.

How will I ever complete my studies now? I only got as far as 1971 and the mystery of the promise sworn on his own life, was it to Colin, Keith, Alan or Martin. Or perhaps a promise to more than one of them, a secret pact perhaps?

And now the allure of The Torch pulling him away from his greatest musical influence may never be fully understood in the history books.

And I wanted to find out what happenned to the prefect from his school as well, the part time Wheel DJ? Did that relationship end when Ian found his attentions turned at the Mecca and Les entered the story?

Facinating stuff, the secret of his relentless drive for success against all the odds lies in those 1968-1971 years, I'm convinced of it.

My last thoughts on this are that I am left wondering what is in there that he doesn't want the world to know, what did he come so close to exposing that he had to close up so abruptly? This is a man who started a thread to discuss all things about him and his history, his feelings and opinions and then he ignores the person who is truely facinated by his unique character, behavior, drive and in depth history of his relationships and lusts for attention that drove him forward and I believe had a bigger influence on his decisions relating to the soul scene than any records or artist ever did.

Just my opinions.

Edited August 25, 2008 by James Trouble

[Guest Nik Mak]

One of the best and fairest and most reasonable guys that I know, and trust.

I really admire you.

Didn't catch that post. So hi there Paul. I agree with you in nearly all you have said but there is always a feeling of the NOW in all music that gets recognition. Even if it was recorded 30 years ago. A record is as old as the first time you hear it. Ian's stuff doesn't come across like that. It always sounds so OLD and if you offer criticism and oppinion you are the Devils spawn and summerly dismissed out of hand. But the undeniable fact is this music he is creating now is NOT selling so there must be a reason for that? If he says he doesn't care is he saying the same thing to the Artists or to Sony or anyone else he is working with? NO OF COURSE NOT! Any Artist with a desire would never knowingly work with someone who couldn't give a toss if any one likes or purchases the end product. If Ian turned around and said 'look I'm paying these people out of my own pocket to sing for me on my own productions & they are fully aware of my feelings' much as you would a session singer (Happens all the time in House music). I really would not have a problem & would not comment or get involved in this thread. The reality is this is a scam on the Artists & a scam on the public so that Ian Levine can make a bit of dough. Anyone with an ounce of creative drive ALWAYS has an open mind/ear to improve their output and get it to a wider audiance in the best possible way they can. They HAVE TO compete and to do that you have to look around at what's going on around you. Stubbornly sticking to an out moded agenda does not wash I'm afraid.

[Pete S]

They weren't all great tunes back then though. The Petals - You can't close the windows to your heart. Need I say more. Yes, I do need to say more. Cack.

[Guest]

And as I thought you would. You woudl start talking about your gayness (is that a word), and yes, you brought it up and talked about the cute guy you fancied but coudl never have and then when I ask about how your unobtainable lust for him may have effected you drive, ambitions and created your refusal to let go of desires you can not ever achieve in later life you go and call me a bigot.

You're actually quite clever.

I could actually admire the way you twisted that sentence round.

You remind me of George W. Bush.

You'd make an amazing politician.

Ever seen "Babylon 5" ??

You're President Clark.

[Pete S]

Didn't catch that post. So hi there Paul. I agree with you in nearly all you have said but there is always a feeling of the NOW in all music that gets recognition. Even if it was recorded 30 years ago. A record is as old as the first time you hear it. Ian's stuff doesn't come across like that. It always sounds so OLD and if you offer criticism and oppinion you are the Devils spawn and summerly dismissed out of hand. But the undeniable fact is this music he is creating now is NOT selling so there must be a reason for that? If he says he doesn't care is he saying the same thing to the Artists or to Sony or anyone else he is working with? NO OF COURSE NOT! Any Artist with a desire would never knowingly work with someone who couldn't give a toss if any one likes or purchases the end product. If Ian turned around and said 'look I'm paying these people out of my own pocket to sing for me on my own productions & they are fully aware of my feelings' much as you would a session singer (Happens all the time in House music). I really would not have a problem & would not comment or get involved in this thread. The reality is this is a scam on the Artists & a scam on the public so that Ian Levine can make a bit of dough. Anyone with an ounce of creative drive ALWAYS has an open mind/ear to improve their output and get it to a wider audiance in the best possible way they can. They HAVE TO compete and to do that you have to look around at what's going on around you. Stubbornly sticking to an out moded agenda does not wash I'm afraid.

Why does it bother you so much what he does or does not do, you seem obsessed by the man.

[Guest]

my question then,whats your favourite colour socks.

White

[Guest]

After reading a few of the posts on here and not wishing to re ignite long debates on what Northern soul is, newcomers to the scene and maybe just maybe a few not so new comers could do a lot worse than listening to Ians views on the early days of Northern Soul music .

The ''scene'' has evolved and changed dramatically but surely the music that is Northern soul hasn't

I for one welcome his views and find it fascinating the way he introduced different records at different times on the scene and who played what and where etc. It really is Northern soul history ya know This isn't made up......it really happened back in the early 70's at the Torch and Mecca.

Wow.

Great post.

[Koolkat]

I thought I answered it about which records me and Colin played, including Bari Track.

You did.

[Guest]

The reality is this is a scam on the Artists & a scam on the public so that Ian Levine can make a bit of dough.

That's libellous.

I am not going to allow you to say stuff like this.

[Guest James Trouble]

You're actually quite clever.

I could actually admire the way you twisted that sentence round.

You remind me of George W. Bush.

You'd make an amazing politician.

Ever seen "Babylon 5" ??

You're President Clark.

I dont' watch children's programs.

Hang on a second, you're ment to be ignoring me?

Does this mean I can continue my studies?

[Guest]

And after all that work I've done today, that's just not cricket.

How will I ever complete my studies now? I only got as far as 1971 and the mystery of the promise sworn on his own life, was it to Colin, Keith, Alan or Martin. Or perhaps a promise to more than one of them, a secret pact perhaps?

And now the allure of The Torch pulling him away from his greatest musical influence may never be fully understood in the history books.

And I wanted to find out what happenned to the prefect from his school as well, the part time Wheel DJ? Did that relationship end when Ian found his attentions turned at the Mecca and Les entered the story?

Facinating stuff, the secret of his relentless drive for success against all the odds lies in those 1968-1971 years, I'm convinced of it.

My last thoughts on this are that I am left wondering what is in there that he doesn't want the world to know, what did he come so close to exposing that he had to close up so abruptly? This is a man who started a thread to discuss all things about him and his history, his feelings and opinions and then he ignores the person who is truely facinated by his unique character, behavior and drive and in depth history of his relationships that drove him forward.

Odd, interesting, if slightly worrying.

Why am I about to answer this ???

I must be mad. Maybe he's sussed that I wouldn't be able to resist answering it. That's scary.

Stuart Bremner lives in Australia. He married twice. His first wife was my best friend at the Mecca, Joanne Leech's sister. He came over to England in 1998 to be interviewed for the Strange World Of Northern Soul. I fancied him when he was sixteen and I was fourteen. I did not fancy him when he was fifty and bald. But he's a lovely guy and was one of my main influences in my career in Soul music.

Colin and Keith left the Torch. Alan and Martyn stayed till it closed along with me.

Les Cokell was my first openly gay friend. The friendship was platonic and indeed the idea of anything other than that was unthinkable for so many many reasons. But his openness led to me eventually coming out, but when I did, he was the hardest person to tell. I had had a girlfriend at Balckpool Mecca called Christine Gojke.

The promise sworn on my life was to a guy who worked at Motown, and was made in 1992, much later than the period you seem to think it was. He gave me a tape of Kim Weston's unreleased "You Hit Me Where It Hurt Me", which was the first copy to ever surface. I had to swear on my life to never copy it. In 1994, Les wanted a copy and I couldn't break that oath so we ended up not speaking over it, and I regret to say we never spoke again till the day he died.

I have answered all your questions frankly, not for you, not one bit for you, but for the others reading this thread, as I can see no harm, and many of them are ignoring the fact that you're attempting to make a scapegoat out of me.

[KevH]

Not interested in your sexuality IAN,i'm sticking to ask about the music.

Did The Inspirations on BREAKTHROUGH turn up in the big find?

Which of the finds do you regard as the best?

That's how you do it James....

[Guest]

They weren't all great tunes back then though. The Petals - You can't close the windows to your heart. Need I say more. Yes, I do need to say more.

I like that, and Les Cokell adored that one and used to request it all the time.

[Pete S]

I like that, and Les Cokell adored that one and used to request it all the time.

Still don't make it any good though...I used to request Green Door, look at me now

[Guest]

Did The Inspirations on BREAKTHROUGH turn up in the big find?

No. I never ever posesed a copy.

I can't even remember who sold it to Colin Curtis, the one sided record.

Great record. Always wanted one.

[SteveM]

Why am I about to answer this ???

I must be mad. Maybe he's sussed that I wouldn't be able to resist answering it. That's scary.

I would have thought everybody had sussed that.

Your turn James, lets keep the posts going up. The advertisers on this site will be loving it.

[Guest]

Ever seen "Babylon 5" ??

I dont' watch children's programs.

Anyone on here who has ever seen it will know why I'm so amused.

[KevH]

Soul rev- 42,,,attic - 24,,,pimp that ride...............

[Koolkat]

Not interested in your sexuality IAN,i'm sticking to ask about the music.

Did The Inspirations on BREAKTHROUGH turn up in the big find?

Which of the finds do you regard as the best?

That's how you do it James....

HEAR HEAR. Lets get some proper interesting queries about finds/tunes/record finding trips etc. You know it makes sense people.

[Guest]

After reading a few of the posts on here and not wishing to re ignite long debates on what Northern soul is, newcomers to the scene and maybe just maybe a few not so new comers could do a lot worse than listening to Ians views on the early days of Northern Soul music .

The ''scene'' has evolved and changed dramatically but surely the music that is Northern soul hasn't

I for one welcome his views and find it fascinating the way he introduced different records at different times on the scene and who played what and where etc. It really is Northern soul history ya know This isn't made up......it really happened back in the early 70's at the Torch and Mecca.

Good call!.. and I for one am trying to do just that. This is an excellent thread, a breath of fresh air and after I've made dinner, we will have a listen through the tracks posted up on here.

Hopefully it'll be James's bedtime by then and the end of his bloody annoying posts.

Jayne.x.

[Jez Jones]

HEAR HEAR. Lets get some proper interesting queries about finds/tunes/record finding trips etc. You know it makes sense people.

Good call that man

[Guest Nik Mak]

Why does it bother you so much what he does or does not do, you seem obsessed by the man.

Because this is how most record companies operate big or small. Get the talent as cheap as possible put out product as cheap as possible too then reap the benefit for themselves by saturation ie: Sell little amounts of a lot of things and the money soon mounts up. Who loses out? The Artist. As most of the people this guy is working with are in the twilight years of their careers this is totally wrong. Your probably right tho I am getting a bit too involved. I lost hundreds of thousands of pounds in royalties back in the day and when I see it happening to others I see red. I don't like it when people bend the truth to suit themselves and make gain or just bullshit outright to make a buck. But I'm leaving this now I just hope that some of the artists are viewing this and start pushing this guy to come clean.I would like to be totally wrong but my gut says I'm not. It's interesting that none of the things I've said are being denied or defended as strongly as other comments here?

[Pete S]

Because this is how most record companies operate big or small. Get the talent as cheap as possible put out product as cheap as possible too then reap the benefit for themselves by saturation ie: Sell little amounts of a lot of things and the money soon mounts up. Who loses out? The Artist. As most of the people this guy is working with are in the twilight years of their careers this is totally wrong. Your probably right tho I am getting a bit too involved. I lost hundreds of thousands of pounds in royalties back in the day and when I see it happening to others I see red. I don't like it when people bend the truth to suit themselves and make gain or just bullshit outright to make a buck. But I'm leaving this now I just hope that some of the artists are viewing this and start pushing this guy to come clean.I would like to be totally wrong but my gut says I'm not. It's interesting that none of the things I've said are being denied or defended as strongly as other comments here?

But people can only be paid if the records sell or get airplay, can't they?

[Guest Matt Male]

Hopefully it'll be James's bedtime by then and the end of his bloody annoying posts.

Jayne.x.

He really is the heir apparent i reckon.

[Mike]

dean barlow posts split into new topic

[Epic]

Still don't make it any good though...I used to request Green Door, look at me now

Yes Pete - Green Door is crap but I really like Look At Me Now!!

[Guest]

That's all of us except you two Northern Soul professors then.

It's not my fault your stuck in the past.

[Chalky]

It's not my fault your stuck in the past.

I'm not stuck in the past but still think your statement is a load of b*ll*cks.

[Guest James Trouble]

I would have thought everybody had sussed that.

Your turn James, lets keep the posts going up. The advertisers on this site will be loving it.

Nah, I'm off to bed. That'll do me. There are are only so many badgers you can bait in one day...

Edited August 25, 2008 by James Trouble

[Guest]

I'm not stuck in the past but still think your statement is a load of b*ll*cks.

Is that the best you can come back with. And precisly why is it a load of old bollox my friend.

House music has a 4/4 beat just like Northern Stompers.

Now you see i like nearly everything and i can see/hear the connection how come you can't.

[Pete S]

It's not my fault your stuck in the past.

18 posts and already patronising the regulars

[soulfulsaint]

And you're a fellow Doctor Who fan too.

Right that's it. No more Dr Who. It stops now.

I love the last hour of the Mecca, stompers, crossover, rare dobbers, proto-disco, street funk but most of all those unadulterated soul classics. I'm a friend of Ian and Simon and James Trouble all on Facebook. Rhod makes me laugh on SS especially when he's having sly digs at Ian Dewhirst. But unlike Ian D I have never seen Ian Levine thrown out of a car at Knutsford although I did see him sleeping inside one at Soul Bowl when I was inside doing John Anderson's dishes. And unlike Pete Smith I love the Carstairs although I do concede that the group shares their name with Scotland's biggest state mental asylum.

I danced to all Ian's sets at Wigan and seriously regretted the so-called division between Mecca and Wigan, which helped send the scene down the road of crass tribalism when it was uniquely poised for a deeper exploration of great music. Nothing else since, not even jazz-funk, or rare groove etc have a fan base as passionate and obsessed as the northern scene.

Ian you are a one-off I have defended you often in the past. But I always prefer it when you are inside, adding knowledge and passionate friction rather than outside being persecuted. Whatever northern soul is, it is has always been an academy of very serious passions.

One of the passions that I have always harboured is 'authenticity' loving rare independent music that had been unearthed in a US city and unkown to anyone beyond the scene. This has been my one abiding holy grail. When you began producing from inside the persepctive of the scene, Ian, it challenged that 'authenticity' and broke a spell for many people. Some could not forgive you, some could not understand, and others could not move on and embrace music that was changing around them. When your first batch of records were played it was with a mix of awesome power and originality but also some doubt. Both power and doubt - equal in measure. It was one of the biggest innovations to hit the scene, but like many forms of change left people confused and clinging to the familiar.

What I can't square even until this day, is that a record like James Wells is a phenomenal piece of music, and it completely annihilates my search for 'authentic' rare soul. Had it been discovered by a collector in Chicago in a yard sale, on a small US label and played at Stafford as a cover up it would be an all time, stonewall classic. What does that really say about the northern scene and 'authenticity' that myself and many on the forum believe in. Maybe that in some cases we would prefer the rarity to the quality, or deliberately pass over great music becasue it has not come through the specific and obscure route we demand.

Demanding authenticity when so many great performers were being unrecognised is hypocritical. How many times on this forum have we bemoaned the passing of a soul great, and two clicks on are salivating at the prices being paid for the music of a soon-to-be-dead legend. That makes me squirm to this day. And I am one of the forums biggest hypocrites in that respect.

The northern scene has shaped my life and I'll always love it and defend it. But it is a mass of unresolved issues and the role of the 'self-produced' record is high among them. This is ironically in contradiction to other great soul sub-cultures, like dancehall, house and hip-hop where the the DJ/Producer is king.

What must be really hard to take Ian is that you are a producer connected to a scene that has not shown the same level of respect to the DJ/Producer as reggae or house, and we can be brutally judgemental on those that try.

Welcome back Ian never lose your passion or your unique personality. I like some of your videos (if you delete them, take them off you tube, and hide them in a vault in Philadelphia I may even b encourged to like them even more....but that is my sad problem not yours)

Stuart Cosgrove

PS. To all the Hibs and Dundee fans that have been PMing me about Saints being shit, get a grip. We have a new player called Nick McKoy, who if my spies are right is related to one of Ian's artists. Soul and Saints I'll take a bit of that.

[Tony Smith]

Well said Stuart, and welcome back by the way.

[Guest]

18 posts and already patronising the regulars

Sorry cos your a regular that makes you some kind of God does it. I'll remember next time, i'll doff my cap when ever i reply to you.

Your quick to slag me off but not very quick to say why House and Northern Soul are not connected..

[Guest]

Good call!.. and I for one am trying to do just that. This is an excellent thread, a breath of fresh air and after I've made dinner, we will have a listen through the tracks posted up on here.

Hopefully it'll be James's bedtime by then and the end of his bloody annoying posts.

Jayne.x.

Another new best friend. This is fun.

[Guest]

Because this is how most record companies operate big or small. Get the talent as cheap as possible put out product as cheap as possible too then reap the benefit for themselves by saturation ie: Sell little amounts of a lot of things and the money soon mounts up. Who loses out? The Artist. As most of the people this guy is working with are in the twilight years of their careers this is totally wrong. Your probably right tho I am getting a bit too involved. I lost hundreds of thousands of pounds in royalties back in the day and when I see it happening to others I see red. I don't like it when people bend the truth to suit themselves and make gain or just bullshit outright to make a buck. But I'm leaving this now I just hope that some of the artists are viewing this and start pushing this guy to come clean.I would like to be totally wrong but my gut says I'm not. It's interesting that none of the things I've said are being denied or defended as strongly as other comments here?

My final word on this particular matter is that for most of the artists, they have no opportunity to get a record out.

I give them that opportunity and they seem to be both grateful and appreciative on the whole. Of course there are always exceptions.

The launch parties, which have been stunningly successful as far as PR goes, give them lots of exposure and so does having videos on YouTube.

Going back to Motorcity, most of the artists never had any other chance to record once they'd left Motown, and in many cases would have died without leaving any further legacies behind.

No-one is forced to record with me, and they all know the score, but these days with diminishing record companies, unless an artist wins the X-Factor, they have virtually nil chance of a record release, especially a black artist over thirty.

I don't tie them up in any way, just give them some extra exposure, and thank the Lord they aren't all as cynical as you.

Edited August 25, 2008 by Ian Levine

[Guest]

But people can only be paid if the records sell or get airplay, can't they?

It's no good reasoning with him, Pete. There's a solid brick wall around his mind.

[Guest]

Nah, I'm off to bed. That'll do me. There are are only so many badgers you can bait in one day...

As you freely admit that your questions are merely baiting badgers, I shall revert to ignoring you once more.

[Guest]

Stuart Cosgrove

Ohhhhhhhhhhhhhhhhhhhhh

SERIOUS RESPECT.

SERIOUS RESPECT

THE Man !!!!!!!!!

I bet YOU wouldn't have spelt Les Cokell's name wrong.

I have some great photos of you and him, you know.

I respect and admire this man, who I am privileged to have known for thirty three years I believe, more than I can ever begin to put into words. His sleevenotes to my albums in the 1980s were amongst the finest and proudest moments I have ever had, and together with Dave Godin and Tony Cummings, Stuart is one of the three greatest minds I have ever encountered.

I am genuinely moved and humbled to see him on here and to read such a soul-searching post as the one above.

Stuart, please never change.

[Mark R]

Right that's it. No more Dr Who. It stops now.

I love the last hour of the Mecca, stompers, crossover, rare dobbers, proto-disco, street funk but most of all those unadulterated soul classics. I'm a friend of Ian and Simon and James Trouble all on Facebook. Rhod makes me laugh on SS especially when he's having sly digs at Ian Dewhirst. But unlike Ian D I have never seen Ian Levine thrown out of a car at Knutsford although I did see him sleeping inside one at Soul Bowl when I was inside doing John Anderson's dishes. And unlike Pete Smith I love the Carstairs although I do concede that the group shares their name with Scotland's biggest state mental asylum.

I danced to all Ian's sets at Wigan and seriously regretted the so-called division between Mecca and Wigan, which helped send the scene down the road of crass tribalism when it was uniquely poised for a deeper exploration of great music. Nothing else since, not even jazz-funk, or rare groove etc have a fan base as passionate and obsessed as the northern scene.

Ian you are a one-off I have defended you often in the past. But I always prefer it when you are inside, adding knowledge and passionate friction rather than outside being persecuted. Whatever northern soul is, it is has always been an academy of very serious passions.

One of the passions that I have always harboured is 'authenticity' loving rare independent music that had been unearthed in a US city and unkown to anyone beyond the scene. This has been my one abiding holy grail. When you began producing from inside the persepctive of the scene, Ian, it challenged that 'authenticity' and broke a spell for many people. Some could not forgive you, some could not understand, and others could not move on and embrace music that was changing around them. When your first batch of records were played it was with a mix of awesome power and originality but also some doubt. Both power and doubt - equal in measure. It was one of the biggest innovations to hit the scene, but like many forms of change left people confused and clinging to the familiar.

What I can't square even until this day, is that a record like James Wells is a phenomenal piece of music, and it completely annihilates my search for 'authentic' rare soul. Had it been discovered by a collector in Chicago in a yard sale, on a small US label and played at Stafford as a cover up it would be an all time, stonewall classic. What does that really say about the northern scene and 'authenticity' that myself and many on the forum believe in. Maybe that in some cases we would prefer the rarity to the quality, or deliberately pass over great music becasue it has not come through the specific and obscure route we demand.

Demanding authenticity when so many great performers were being unrecognised is hypocritical. How many times on this forum have we bemoaned the passing of a soul great, and two clicks on are salivating at the prices being paid for the music of a soon-to-be-dead legend. That makes me squirm to this day. And I am one of the forums biggest hypocrites in that respect.

The northern scene has shaped my life and I'll always love it and defend it. But it is a mass of unresolved issues and the role of the 'self-produced' record is high among them. This is ironically in contradiction to other great soul sub-cultures, like dancehall, house and hip-hop where the the DJ/Producer is king.

What must be really hard to take Ian is that you are a producer connected to a scene that has not shown the same level of respect to the DJ/Producer as reggae or house, and we can be brutally judgemental on those that try.

Welcome back Ian never lose your passion or your unique personality. I like some of your videos (if you delete them, take them off you tube, and hide them in a vault in Philadelphia I may even b encourged to like them even more....but that is my sad problem not yours)

Stuart Cosgrove

PS. To all the Hibs and Dundee fans that have been PMing me about Saints being shit, get a grip. We have a new player called Nick McKoy, who if my spies are right is related to one of Ian's artists. Soul and Saints I'll take a bit of that.

A class post dealing with so many of the issues and hypocrisy that I see in a scene that, despite which, I also defend to the hilt.

Cheers,

Mark R