Guest Posted January 16, 2009 Posted January 16, 2009 Ian, Do you ever look back at your earlier productions, say up to the Motorcity releases, and think how you would have/could have done them now? Are there any that you think you could vastly improve and how? All the time. I hate the sounds we were limited with, twenty years ago. I have redone loads. On the current "Reaching For The Very Best" triple CD, there are TWENTY TWO Motorcity recordings that have been completely redone and re-recorded since their original release. Later this year, we're releasing "Motorcity 2009" which will be 24 Motorcity songs all freshly re-recorded and remixed and redone from their original twenty year old versions.
Guest Posted January 16, 2009 Posted January 16, 2009 Are there any that you believe are 'perfect' and wouldnt alter even with a gun at your temple? Very very few. Maybe The Velvelettes "Running Out Of Luck" or Kim Weston "Signal Your Intention", as they worked with the drums they had, and funnily enough, they were the first ones. All the late eighties ones could benefit by having much more generic sounding drums. We can do now what we couldn't do then without bankrupting it all even earlier.
Guest Posted January 16, 2009 Posted January 16, 2009 hi ian, can you tell us more about soussan, ive heard lots of stories bout him,did you know him well ? what was the score with him ? he seems such a charactor, did he really love the music etc ? cheers jason When we all met him, he charmed the socks off everybody, back in 1972, with his discoveries. The box of records he brought to The Torch was mindblowing. Then he stole three records off me when he lived in Headingley Lane in Leeds. He borrowed Roy Hamilton, Earl Wright, and the Sweet Things. He said he'd posted them back, and he was emigrating to America, and the police raided his flat just before he left and recovered them. I had to go to court but Soussan didn't appear - he'd already done a runner by then. Look at this - this will blow you away....
Wiganer1 Posted January 16, 2009 Posted January 16, 2009 When we all met him, he charmed the socks off everybody, back in 1972, with his discoveries. The box of records he brought to The Torch was mindblowing. Then he stole three records off me when he lived in Headingley Lane in Leeds. He borrowed Roy Hamilton, Earl Wright, and the Sweet Things. He said he'd posted them back, and he was emigrating to America, and the police raided his flat just before he left and recovered them. I had to go to court but Soussan didn't appear - he'd already done a runner by then. Look at this - this will blow you away.... ===== i wonder if he reads this site - if he came back - would he be FORGIVEN??
Guest Posted January 17, 2009 Posted January 17, 2009 ===== i wonder if he reads this site - if he came back - would he be FORGIVEN?? I saw a lot of him in the late 1970s and early 1980s. I even came to the studio in Los Angeles in 1978 when he was recording Patti Brooks. But he was a rogue and a villain - a likeable rogue, but still a rogue. One of life's TRUE characters. His disco productions label, Harem Records, got sold to at least five different companies "exclusively" at the same time - a bit like Zero Mostel in "The Producers". He tied me in knots in 1999 trying to film him for SWONS. He was on the run from the Mafia, and has become a fanatically pious Jewish zealot these days. He won't even take his yamalka off his head.
Guest Posted January 17, 2009 Posted January 17, 2009 i wonder if he reads this site - if he came back - would he be FORGIVEN?? Tom DePierro told me the Frank Wilson story. Simon begged Tom to borrow his extremely unique and rare copy of Frank Wilson, promising to return it. Tom still thought he was getting it back, even after Simon sold it to Les McCutcheon, who then sold it to Tim Brown. Tom told me when he was dying of AIDS that Soussan still promised to bring it back. Once he died in the 1980s, Simon was off the hook legally, but never morally.
Tabs Posted January 17, 2009 Posted January 17, 2009 Hi Ian, Seem to recollect something about this in the old memory bank. Correct me if I'm wrong but wasn't this to do with ripping off a doo wop collector or similar. Feel sure it has a doo wop connection. Thanks I saw a lot of him in the late 1970s and early 1980s. I even came to the studio in Los Angeles in 1978 when he was recording Patti Brooks. But he was a rogue and a villain - a likeable rogue, but still a rogue. One of life's TRUE characters. His disco productions label, Harem Records, got sold to at least five different companies "exclusively" at the same time - a bit like Zero Mostel in "The Producers". He tied me in knots in 1999 trying to film him for SWONS. He was on the run from the Mafia, and has become a fanatically pious Jewish zealot these days. He won't even take his yamalka off his head.
Guest Posted January 17, 2009 Posted January 17, 2009 Hi Ian, Seem to recollect something about this in the old memory bank. Correct me if I'm wrong but wasn't this to do with ripping off a doo wop collector or similar. Feel sure it has a doo wop connection. Thanks No. Not at all. Tom DePierro worked for Motown, was a big fan, and had kept the only file copy the company had of the Frank Wilson single. I first met him in 1978 while he was still at Motown. I visited him at Motown's LA Office. He owned a company called Airwave Records in the 1980s - put some great little obscure records out - I remember a great one by Caesar Valentino called "Honey Do You Wanna Love Me".
Tabs Posted January 17, 2009 Posted January 17, 2009 Thanks for the reply. Was the mafia connection solely to do with the FW single? I know that Tom was the Motown historian who lent SS the library copy. No. Not at all. Tom DePierro worked for Motown, was a big fan, and had kept the only file copy the company had of the Frank Wilson single. I first met him in 1978 while he was still at Motown. I visited him at Motown's LA Office. He owned a company called Airwave Records in the 1980s - put some great little obscure records out - I remember a great one by Caesar Valentino called "Honey Do You Wanna Love Me".
Guest Posted January 17, 2009 Posted January 17, 2009 Thanks for the reply. Was the mafia connection solely to do with the FW single? No, this was ten years ago, in 1999, according to Paul Klein in Miami, who dealt with Simon for years, releasing his back catalogue on CD.
jonbuck Posted January 17, 2009 Posted January 17, 2009 To discuss anything I have written or produced or both, between February 1975 and the present date 2009. Hi Ian A Whole Honeypot of Stuff to Discuss on hear - I Found the Interviews on DJHISTORY.COM A Facinating Insite To The EARLY Days - IAN LEVINE INTERVIEW - COLIN CURTIS INTERVIEW - IAN DEWHIRST INTERVIEW - Keep @ It Jon Buck
Guest Posted January 17, 2009 Posted January 17, 2009 Frances Nero when she punched me in the stomach. Obviously this was after completion of " FFM " ......... or possibly not ? Malc Burton
Guest Posted January 17, 2009 Posted January 17, 2009 I saw a lot of him in the late 1970s and early 1980s. I even came to the studio in Los Angeles in 1978 when he was recording Patti Brooks. But he was a rogue and a villain - a likeable rogue, but still a rogue. One of life's TRUE characters. His disco productions label, Harem Records, got sold to at least five different companies "exclusively" at the same time - a bit like Zero Mostel in "The Producers". He tied me in knots in 1999 trying to film him for SWONS. He was on the run from the Mafia, and has become a fanatically pious Jewish zealot these days. He won't even take his yamalka off his head. When was the last time you encountered Soussan Ian ? Malc Burton
Kev Moore Posted January 17, 2009 Posted January 17, 2009 (edited) Ian firstly thankyou for the night at the Ion Bar, although I had to leave early I had a very enjoyable night and it is always a pleasure to see The Flirtations (still a great act) not that they were the only ones dishing it out. Secondly and I'm not sure this should be posted in this thread or the other, but having listened to lots of your productions over the years I would be interested in this: Many times I think that if I had a time machine I'd like to travel back in time to Detroit around about 1965, maybe to have a night at The Phelps Lounge or The Twenty Twenty Grand, Hustle around the studios Terra Shirma, Golden World, Hitsville even. If you had the chance to do this...and I know it's hyperthetical.....where would you have gone...who would you have worked with and how would you have arranged the productions. This is a guenuine question and has crossed my mind for a long time. Kev Bump Hi Ian Is there any chance off a reply? I'd love to hear your thoughts as you have been a prolific producer. Kev Edited January 17, 2009 by Kev Moore
Guest Posted January 17, 2009 Posted January 17, 2009 Hi Ian A Whole Honeypot of Stuff to Discuss on hear - I Found the Interviews on DJHISTORY.COM A Facinating Insite To The EARLY Days - IAN LEVINE INTERVIEW - COLIN CURTIS INTERVIEW - IAN DEWHIRST INTERVIEW - Keep @ It Jon Buck I will keep at it as long as I'm allowed to, as long as I'm not pulled down and lambasted.
Guest Posted January 17, 2009 Posted January 17, 2009 Obviously this was after completion of " FFM " ......... or possibly not ? Malc Burton Oh yes. Footsteps was cut in Detroit in 1989. This was in London in the studio in 1992.
Guest Posted January 17, 2009 Posted January 17, 2009 (edited) When was the last time you encountered Soussan Ian ? Malc Burton Trying to film him for SWONS in 1999, and having three different aborted attempts. Soussan and I were like The Master and The Doctor, in Doctor Who. Arch enemies for so many years, but with a respect for each other that we had for no-one else in the world at the same time. He stole records off me and I had him arrested for it. Then I had him prosecuted for bootlegging records, through the BPI and the MCPS. Yet, after it all, we could still chat and laugh. Edited January 17, 2009 by Ian Levine
Guest Posted January 17, 2009 Posted January 17, 2009 Bump Hi Ian Is there any chance off a reply? I'd love to hear your thoughts as you have been a prolific producer. Kev My thread has now been moved to the "All About Your Box" section. If I answer this here, Mike Hughes will just go ballistic again, so I suggest you go to the Ian Levine thread and ask me there, where I will be happy to answer.
Epic Posted January 17, 2009 Posted January 17, 2009 I am totally confused now about where any comments or questions should be placed correctly on Soul Source - but will try here. Did you ever consider, or indeed did you approach Ronnie Mcneir to record "Sitting In My Class" for SWONS . I think it was one of the finest tunes ever played at The Mecca - amongst the dying embers of Northern Soul in The Highland Room it was a real treat to hear it. I know it was a Colin spin but who first discovered it? Was it you?
Guest Posted January 17, 2009 Posted January 17, 2009 I am totally confused now about where any comments or questions should be placed correctly on Soul Source So am I. For once we're in agreement.
Guest Posted January 17, 2009 Posted January 17, 2009 I am totally confused now about where any comments or questions should be placed correctly on Soul Source - but will try here. Did you ever consider, or indeed did you approach Ronnie Mcneir to record "Sitting In My Class" for SWONS . I think it was one of the finest tunes ever played at The Mecca - amongst the dying embers of Northern Soul in The Highland Room it was a real treat to hear it. I know it was a Colin spin but who first discovered it? Was it you? We filmed "Lucky Number", in Las Vegas, which was massive at the time, so there was no room for a second. Plus Ronnie would have wanted more money - he was not the type to do anything without some dosh in his hand. It was not my discovery - it was Colin's.
Godzilla Posted January 17, 2009 Posted January 17, 2009 My thread has now been moved to the "All About Your Box" section.
Guest sean daniels Posted January 17, 2009 Posted January 17, 2009 We filmed "Lucky Number", in Las Vegas, which was massive at the time, so there was no room for a second. Plus Ronnie would have wanted more money - he was not the type to do anything without some dosh in his hand. It was not my discovery - it was Colin's. Why is Mike Hughes trying to shut this amazingly informative and interesting thread down. Does anyone know the answer?
Cunnie Posted January 17, 2009 Posted January 17, 2009 Why is Mike Hughes trying to shut this amazingly informative and interesting thread down. Does anyone know the answer? Think you'll find that Mike is NOT trying to shut these threads but was just splitting them & moving them to what he considered to be the correct forums. Can members please keep to the topic header & ask any questions like this in the 'members feedback' forum. Thanks.
Cunnie Posted January 17, 2009 Posted January 17, 2009 Back on topic, Would say my favourite Motorcity track is I've Seen The Light - JJ Barnes. Got the 12" in my playbox but was it released on 7" Ian?
Drew3 Posted January 17, 2009 Posted January 17, 2009 Think you'll find that Mike is NOT trying to shut these threads but was just splitting them & moving them to what he considered to be the correct forums. Can members please keep to the topic header & ask any questions like this in the 'members feedback' forum. Thanks. I am confused also. The thread was in All About Soul and I've always understood that to be for posts/discussions about soul music and the soul scene. Like or dislike the man or his music, surely if anybody has anything to say about soul and the soul scene over the years worth listening to it is Ian Levine. This thread fitted that bill in my opinion. Aren't threads supposed to 'branch out' with one topic leading to another, that's what discussions do! I have been reading this thread on and off over the last few days and enjoyed lots of the information and stories that Ian has to share. I'm not a big fan of a lot of his stuff but I respect his passion for what he does and his significant contribution to the scene over the years, (I have never met the man by the way). A few posts back someone countered the negative posts against Ian Levine by saying that they were simply trying to get the thread closed or have some negative impact on it. It seems that they have had their way!!!!! No one is forced to read it or contribute for foooks sake!!!!!!!!!!!!!!!!!! KTF. Drew.
Mike Posted January 17, 2009 Posted January 17, 2009 I am confused also. The thread was in All About Soul and I've always understood that to be for posts/discussions about soul music and the soul scene. Like or dislike the man or his music, surely if anybody has anything to say about soul and the soul scene over the years worth listening to it is Ian Levine. This thread fitted that bill in my opinion. Aren't threads supposed to 'branch out' with one topic leading to another, that's what discussions do! I have been reading this thread on and off over the last few days and enjoyed lots of the information and stories that Ian has to share. I'm not a big fan of a lot of his stuff but I respect his passion for what he does and his significant contribution to the scene over the years, (I have never met the man by the way). A few posts back someone countered the negative posts against Ian Levine by saying that they were simply trying to get the thread closed or have some negative impact on it. It seems that they have had their way!!!!! No one is forced to read it or contribute for foooks sake!!!!!!!!!!!!!!!!!! KTF. Drew. may be the thread starter and others such as yourself should listen to whats been said countless times over the last two weeks long running threads centered around one person/topic are not a option in the main forum if want the reasons go and search for my posts or ask in feedback mike
Kev Moore Posted January 17, 2009 Posted January 17, 2009 Ian firstly thankyou for the night at the Ion Bar, although I had to leave early I had a very enjoyable night and it is always a pleasure to see The Flirtations (still a great act) not that they were the only ones dishing it out. Secondly and I'm not sure this should be posted in this thread or the other, but having listened to lots of your productions over the years I would be interested in this: Many times I think that if I had a time machine I'd like to travel back in time to Detroit around about 1965, maybe to have a night at The Phelps Lounge or The Twenty Twenty Grand, Hustle around the studios Terra Shirma, Golden World, Hitsville even. If you had the chance to do this...and I know it's hyperthetical.....where would you have gone...who would you have worked with and how would you have arranged the productions. This is a guenuine question and has crossed my mind for a long time. Kev Hi Ian I'm still intigued as to what your answer to the above question would be. I understand the passion and financial commitment of working with some of our revered artists and producers and feel that you (in hindsight) might still have veered towards working with Sylvia Moy who there is no doubt is an extremely talented lady. But given the hyperthetical questions if you'd had a chance to go back in time: Which areas of the states would you have gone to? I'm thinking of soul production styles. We know that Detroit, Chicago,LA, Memphis, Philly, Florida, Texas etc etc had at times distinct styles and there was quite a bit of crossing links/states whatever. Secondly Which artists, arrangers, producers would you have liked to have worked with that you never have had the chance to? I'm thinking of which people would have infiuenced you. i.e. Sylvia Moy, Jimmy Wisner, Paul Riser, Arthur Wright, Jesse James etc etc. I read that The Charades-'Key To My Happiness' was a huge influence. Just thought that your answer to these questions would give a greater insight into your feelings and aproach to production techniques. Hope this has now been posted in the correct thread. Regards Kev
pikeys dog Posted January 17, 2009 Posted January 17, 2009 It is. You can buy "Technicolour" and SIXTY NINE other tracks on the "Reaching For The Very Best" triple CD for less than a tenner, from Goldsoul or Amazon. But if someone were to pay a tenner for a vinyl copy, I merely thought the white label twelve didn't look nearly as appealing as the picture sleeved release copy back in 1990. But my Mint promo is only a fiver including P&P - so that makes the record about £2.00 after you factor in the cost of posting it... I don't understand where you get the tenner from? p.s still available - lets call it four quid including p&p.
Guest Posted January 17, 2009 Posted January 17, 2009 Back on topic, Would say my favourite Motorcity track is I've Seen The Light - JJ Barnes. Got the 12" in my playbox but was it released on 7" Ian? No it never was, but we edited down a special seven inch recently which is now on the triple CD set, "Reaching For The Very Best" £9.98 from Amazon https://www.amazon.co.uk/Reaching-Very-Best...6608&sr=8-1 Both Terry Jones and Colin Curtis are playing "I've Seen The Light", so I'm quite proud.
Guest Posted January 17, 2009 Posted January 17, 2009 Back on topic, Would say my favourite Motorcity track is I've Seen The Light - JJ Barnes. Got the 12" in my playbox but was it released on 7" Ian? Especially for you, Cunnie. ">
Guest Posted January 17, 2009 Posted January 17, 2009 may be the thread starter and others such as yourself should listen to whats been said countless times over the last two weeks long running threads centered around one person/topic are not a option in the main forum if want the reasons go and search for my posts or ask in feedback mike I don't like it, I don't agree with your reasons, and I think you've not treated me fairly at all, Mike, but nevertheless, I'm complying with your wishes. I hope now that it's moved that you will be less zealous in your moderation of it, and Cunnie seems to be doing an exemplory job.
Guest lifeandsoul Posted January 17, 2009 Posted January 17, 2009 I don't like it, I don't agree with your reasons, and I think you've not treated me fairly at all, Mike, but nevertheless, I'm complying with your wishes. I hope now that it's moved that you will be less zealous in your moderation of it, and Cunnie seems to be doing an exemplory job. i don't think the people on this thread are particularly EMS members, some are, just making the point that on EMS long threads with many topics on the same thread are very much the order of the day, so it is confusing. Frankly, although I'm only an occasional poster, and have little interest in vinyl or 'scene' aspects, if it's not on the home page I don't look at it, so small threads that are not up to date are totally missed - Doubtless this is in the wrong place.
Cunnie Posted January 17, 2009 Posted January 17, 2009 i don't think the people on this thread are particularly EMS members, some are, just making the point that on EMS long threads with many topics on the same thread are very much the order of the day, so it is confusing. Frankly, although I'm only an occasional poster, and have little interest in vinyl or 'scene' aspects, if it's not on the home page I don't look at it, so small threads that are not up to date are totally missed - Doubtless this is in the wrong place. I am
Guest Posted January 17, 2009 Posted January 17, 2009 But given the hyperthetical questions if you'd had a chance to go back in time: Which areas of the states would you have gone to? Do you know something ?? I'm not sure I'd have been happier recording in the 1960s. I'm content with what I have made and the artists I have worked with. Because I recorded them in the 1980s, I got to work with Chuck Jackson, Johnny Bristol, The Miracles, The Contours, The Velvelettes, The Marvelettes, Edwin Starr, David Ruffin, Freda Payne, Eddie Holman, Archie Bell, Kim Weston, Brenda Holloway, The Trammps, The Elgins, Loleatta Holloway, Ronnie McNeir, Barbara McNair, Syreeta, Billy Eckstine, Marv Johnson, Mary Wells, Carolyn Crawford, Bobby Taylor, The Originals, and so many more. That could never have happened in the Sixties. So I am content. I think that no-one in the world could have worked with more wonderful singers than I have been privileged to work with.
Guest Posted January 17, 2009 Posted January 17, 2009 Which artists, arrangers, producers would you have liked to have worked with that you never have had the chance to? Linda Jones, Billy Stewart, Jackie Wilson. I did try to work with George Kerr, but he quit the studio in Detroit after causing a lot of trouble and running up a huge hotel bill. He had a problem working with another producer who wasn't black, and he said so to everyone who was in earshot. So the producer answer has to be Van McCoy.
Guest Posted January 17, 2009 Posted January 17, 2009 p.s still available - lets call it four quid including p&p. Oh someone please buy it and put the man out of his misery.
Kev Moore Posted January 18, 2009 Posted January 18, 2009 Linda Jones, Billy Stewart, Jackie Wilson. I did try to work with George Kerr, but he quit the studio in Detroit after causing a lot of trouble and running up a huge hotel bill. He had a problem working with another producer who wasn't black, and he said so to everyone who was in earshot. So the producer answer has to be Van McCoy. Thanks for the reply Ian sure are some stalwarts amongst those names. I respect the passion, commitment and energy you put into your work Having aquired quite a few of your cd's over the years I must admit I listen to them infrequently as the production techniques leave me with an 'almost' there feeling. While others just leave me reaching for the stop button It's like a racer running 10,000 metres seeing the finishing line and not being able to make the final 100 metres. I understand also that if you've recorded 100's of songs some are going to stand out more than others. I still play Reaching for the Best, Put your magic Spell on Me, and Weak Spot. I quite like all of those records and keep them in my collection. I also bought copies of Chuck Jackson All Over the World (and was genuienly astounded at the 10-15 minute live performance of it by Mr Jackson at Gt Yarmouth in the late 80's) A great soul moment as IMO most who where there would agree. I have a live recording of it that I often go back to to remember the event. Also I have Man up in the Sky. These recordings worked as they fitted into the genre at the time and as I recall around the same time as Lisa Standsfield was pushing up the charts and Yazz was doing her thing with Coldcut. I have a soft spot for Technicolour and It's all over the Grapevine as well. I know it's my opinion and taste but I've often wondered if you recorded any Deep Soul tracks with anyone or any tracks that I would describe as Southern in style/Shouters in the vein of James Carr, Tony Washington, Joe Simon, Irma Thomas, Bobby Bland etc. It may be that you have concentated and worked to your strengths i.e. producing mid/uptempo dance tracks. But I'd be interested in hearing any 'Deep' or 'Southern' recordings if they exist. Regards Kev
Guest Posted January 18, 2009 Posted January 18, 2009 I know it's my opinion and taste but I've often wondered if you recorded any Deep Soul tracks with anyone or any tracks that I would describe as Southern in style/Shouters in the vein of James Carr, Tony Washington, Joe Simon, Irma Thomas, Bobby Bland etc. It may be that you have concentated and worked to your strengths i.e. producing mid/uptempo dance tracks. But I'd be interested in hearing any 'Deep' or 'Southern' recordings if they exist. Regards Kev You might quite like the two Joe Stubbs albums, or some of the stuff I cut on Sammy Ward.
Kev Moore Posted January 18, 2009 Posted January 18, 2009 You might quite like the two Joe Stubbs albums, or some of the stuff I cut on Sammy Ward. Thanks Ian I'll check them out. Kev
Guest Posted January 18, 2009 Posted January 18, 2009 I've also seen people totally exploit the forum for there own gains by ripping off unsuspecting artists and musicians in a thinly vailed attempt at documenting the 'history' of the scene. This is from another thread. But I want to be sure it's not aimed at me, because if it were, I should be most most upset indeed, in fact possibly more than anything else that has ever been said or inferred previously here on Soul Source. People cannot get away with making this kind of slander.. Doubly painful when you consider that SWONS cost eighty grand to make and only recouped fourteen grand of that, and it's only two days since Ronnie Walker came onto Soul Source to praise me for doing it. Can someone please please verify that this Nik Mak person was not referring to me here in this slur ????
Pete S Posted January 18, 2009 Posted January 18, 2009 This is from another thread. But I want to be sure it's not aimed at me, because if it were, I should be most most upset indeed, in fact possibly more than anything else that has ever been said or inferred previously here on Soul Source. People cannot get away with making this kind of slander.. Doubly painful when you consider that SWONS cost eighty grand to make and only recouped fourteen grand of that, and it's only two days since Ronnie Walker came onto Soul Source to praise me for doing it. Can someone please please verify that this Nik Mak person was not referring to me here in this slur ???? Well only he can do that, but thats how it reads to me I'm afraid, unless there are a whole heap of people who are part of the recording industry on here
Guest posstot Posted January 18, 2009 Posted January 18, 2009 But my Mint promo is only a fiver including P&P - so that makes the record about £2.00 after you factor in the cost of posting it... I don't understand where you get the tenner from? p.s still available - lets call it four quid including p&p. I'll have it off you for 4 quid.....No, give me the four quid!! and i'll have it off you.
Denbo Posted January 18, 2009 Posted January 18, 2009 Ian, Do you ever look back at your earlier productions, say up to the Motorcity releases, and think how you would have/could have done them now? Are there any that you think you could vastly improve and how? Are there any that you believe are 'perfect' and wouldnt alter even with a gun at your temple? Joe, Did you get a reply to your question? I mean it was on subject.
Denbo Posted January 18, 2009 Posted January 18, 2009 hi ian, can you tell us more about soussan, ive heard lots of stories bout him,did you know him well ? what was the score with him ? he seems such a charactor, did he really love the music etc ? cheers jason Arnie, Did you get a reply to your question? Guess you didn't 'cos it wasn't about Ian and his Productions and Songs? Just a guess.
pikeys dog Posted January 18, 2009 Posted January 18, 2009 Joe, Did you get a reply to your question? I mean it was on subject. Posts # 403 & # 404. Although one wasnt really an answer, more an advert for current CD.
Pete Eccles Posted January 18, 2009 Posted January 18, 2009 Arnie, Did you get a reply to your question? Guess you didn't 'cos it wasn't about Ian and his Productions and Songs? Just a guess. Check post 405,
Guest Posted January 18, 2009 Posted January 18, 2009 Well only he can do that, but thats how it reads to me I'm afraid, unless there are a whole heap of people who are part of the recording industry on here No there aren't, and as for those few that are part of the industry, none of them were ever responsible for charting the history of the Northern Soul Scene. When it comes to that, I'm the only one.
Guest Posted January 18, 2009 Posted January 18, 2009 (edited) Joe, Did you get a reply to your question? I mean it was on subject. Yes I gave a detailed reply. Both posts 403 and 404. Edited January 18, 2009 by Ian Levine
Guest Posted January 18, 2009 Posted January 18, 2009 Arnie, Did you get a reply to your question? Guess you didn't 'cos it wasn't about Ian and his Productions and Songs? Just a guess. Please read back before making accusations, especially ones tinged with a vicious barb. I told loads about Soussan earlier, and even supplied a picture of him. WHY OH WHY would you be so nasty without bothering to check ????? SHEEEEEEEESH !!!!!!!!!!!
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