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A short note about kev it won’t come as a surprise to many that kev disliked social media same as myself . his death is on Facebook yet nothing here no mention ? So seeing kev was my best mate and coming round from the shock and devastation i felt for the past few days . I just wanted to say a few words Most folks on here knew that kev run the most popular soul event in the north west For over 20 years with hundreds of different collectors &dj’s all enjoyed DJing there .I’m very surprised to see that there’s been no mention on here of his death Not everyone bothers with Facebook. so I have taken the liberty to say something myself Manny close friends will know he could be prickly if he didn’t know you also moody . but that was kev but underneath those that knew him like I did will tell you he had a really good sense of humour and was extremely kind hearted and generous, I heard a few weeks ago from someone that kev had been giving records away . for nothing ? I found out he gave them to a young kid who had been given a few DJ spots early doors . kev told me the young lad was autistic and his mother was made up with him enjoying n soul especially D Jing . And Kev asked me to not let anyone know he gave the lad records That’s the real kev Murphy I was proud to call him my friend! RIP KEV , TOP MAN

An interesting news item has just shown up on the feeds Details of an new Ai dj-ing app that has just been released today aimed 100% at Northern Soul Djs The app called 'Ai before 8' is aimed at regular northern djs, apparently the app asks you a series of questions, and also take into account factors such as date, location, time, previous plays etc once got the app then uses Ai to suggest a 60 min playlist that they guarantee will floor fill 100% Not only do they offer the playlist but for a extra subscription fee will actually supply and play the mp3s as well Seems they are offering a free trial for anyone interested, says you can sign up here https://rb.gy/o12yb4

Barnie on a misty Sunday morning in Norfolk.

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Its now all about the algorithm rather than the rhythm.... The more you post yourself the more you become the greatest Northern Soul dancer of all time: Forget the great dancers we have all seen over the decades... It's now more like Virtual Reality, curated online through relentless posting of the self, and you would definitely require some sort of artificial intelligence to buy into this manufactured hype. I'm still waiting for Kev Roberts response regarding the 'World' Northern Soul Dance Championship and what qualifies it as a 'World' event rather than a comedy event, a bit of fun.. These are the 'real world' consequences of cynical, ego driven marketing ploys such as calling it 'World' instead of 'Blackpool' (which is what it is in reality). Kev has now created individuals who believe in his Emperors New Clothes competition as a 'World event and consequently sell themselves (for money) as World Northern Soul Dance Champions - notably one from 2022 who never goes to nighters and started out as a YouTube NS dancing parody act - feeding the algorithm and erasing history in the process. AI is historically illiterate and has no 'real world' connection, no visceral instinct or rhythmic capacity, no soul, no spirit, no embodied experience. The last comment on the AI results is that NS culture is based on word-of-mouth, yet its ridiculous rankings are generated based on who posts the most images online (Bristol appear to rank highly for some reason). Anyway, interested in your thoughts on this?

Robin portrait.

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Yes, very good point! They never object to the misrepresentation, but rather, choose to exploit it for profit. Its disingenuous and comes across as delusional and narcissistic.....but, more often that not (if you dig deeper) they are all sole trader or limited company 'Northern Soul dance' businesses. The result is a plethora of hoppy, skippy, smiley, windmill armed, line dancers who have missed out the part that requires time, patience, observation, attendance, meeting people, absorbing the atmospheres (beyond the line dancing class venue), contribution to the scene, listening to the music and connecting with it all. The business(s) of Northern Soul dancing have watered it down to the simple equation that it is just steps to music....nothing more. No need for cultural connection, no need for historical connection, no need for a connection to the musicians. In some cases labels are even replacing images & biographies of the Afro-American musicians who have always represented the heart of the scene, with those of self promoting 'celebutantes' whose soul has been moulded via hashtags and relentless posting of the self online. It does have long-term implications due to its cynical erasure of memory, and the cultural amnesia that AI inspires and propagates. Much like the Wikipedia facade of self written history! It negates those who danced before us, collected, played, contributed, traveled far and wide, post - Wigan, to keep the scene going. And also those who perished in the pursuit. Imagine a lazy (they are all lazy) TV or Radio producer (BBC comes to mind) goes online and googles Northern Soul Dancer because they want to feature one, they will get this list of individuals. Apart from being below average dancers, who are not even on the scene as a whole, they are people who are solely business orientated and do not have the humility to recognise and admit that there is no such thing as 'a World Champion Northern Soul dancer, or a boy or girl or man or woman who represents the scene and its culture. It was/is a communal scene, a community, or nowadays a series of rival communities perhaps? Anyway, personally, I find it not to be "a bit of fun" but recognise it as a vacuous profit driven business model aimed at sucking the soul of the culture and the scene dry....and often attempting to gaslight us into thinking we are being negative if we question their motives and their products. Anyway, that is just my opinion and experience of course.

Partial Solar Eclipse from Suffolk , England. 29th March 2025. Animation of 228 frames taken roughly 30 seconds apart. Canon EOS 6D , Evostar 150 , Baader ND5.0 , PIPP.

I certainly think the whole focus on prices, be they via auction or otherwise, is pervasive in relation to other topics around our collecting/listening/buying hobby. Like others here I do love to see what prices records fetch, and sometimes Im surprised, not just by high prices, but also by low prices relative to the quality and/or rarity of the record, and herein lies my main gripe about the whole prices thing. If only there was the same level and volume of discussion and interest about how good this or that record is, (regardless of value) instead of just what price it fetches. I feel I learn so much on these and FB pages about values of records, but in contrast so little about ‘good records’. Surely thats the problem; not enough balance. Thats not a criticism of the info provided here about Auction results; keep em coming, no problem. But why is there so little discussion (Generally not just here, Northern-wise) about ‘good records’, be they £5 or £5000? Loving music got me into this thing, not a love of ‘commodity’ values. If you’ve ever played (privately to a mate, or publicly via djaying) a good cheap record, and witnessed the sheer unbridled pleasure it gives someone who likes it and is overjoyed to find its ‘only’ £20, you’ll know exactly what Im talkin about. Conversely if you only ever buy/collect/talk about expensive ‘Trophy’ records, you wont have a clue lol. Just a personal perspective.

Not got all the way through this yet but thought it might be of interest to some. Mentions of Mr Godin/ Soul City (nice bags btw), John Anderson/ Soul Bowl, Peckings etc in the first 10 minutes!

Well I’ve been putting Tim’s up for a while now and they seem to be well received.

Hey everyone! It’s a pleasure to join this community! This feels like the right place to share my story. A little over a year ago I thought “wouldn’t it be cool to have a reissue record label like Numero Group or Mr. Bongo.” The only issue being I’ve never done anything close to this before. I’m a collector and DJ, so the only skills I felt I could rely on going into this enterprise was my music taste and my diligence for digging and discovery. I imagined for my first release I thought it would be cool to compile rare soul songs from my home state of New Jersey. I knew I couldn’t afford to touch anything by Sylvia/All Platinum so I continued to see what was out there in record world. Two names that kept coming up when scanning the credits on 45’s were Paul Kyser and George Kerr. Seeing as they are producers mainly (George had some success as a singer as most of you may know) I thought maybe they held onto control over some super rare Jersey soul. But how does one go about contacting old soul producers in their 80’s/90’s? Some more googling brought me to an interview with a band from Newark NJ called The Jack Moves. In it, they say for their 2022 release “Cruiserweight” they wanted an authentic NJ soul sound from those who originally crafted it, for this they enlisted non other than George Kerr and Paul Kyser! Now I don’t know the Jack Moves personally, but we are both from NJ and about the same age, so we shared a few friends in common on instagram. I decided, what the hell, let me DM The Jack Moves and see if they felt comfortable giving me an email or 2 to reach out. Teddy, the drummer was super kind and told me George and Paul were not big emailers (understandable) so instead he gave me Paul Kyser’s home phone number. This was so cool! But terrifying! I wasn’t sure exactly what I was going to say. I didn’t even have a business at the time. I was simply a young dumb enthusiast hoping to make something cool and had no idea the first step to achieving it. I held on to the phone number for weeks until I got up the courage to call Paul Kyser at home. To my great relief, he was extraordinarily kind and so willing to regale me with stories of the industry in the 60s-70s. He even knew George Kerr quite well, gave me his number and sent over a good word prior to my call. George was just as kind. Don’t listen to anyone say folks from New Jersey aren’t friendly! It took about a year of phone conversations and contracts, learning about everything as I went. George and Paul were mentors far more than clients. They walked me through the licensing process, revenue splits, etc. In a way, my inexperience proved to me my greatest asset of all. I had no savvy with which take advantage of anyone, only a dream and desire, which I think shone through and went recognized by fellow scrappy creatives. The Soul of New Jersey is available now but this not an advertisement. I’m still pretty green. I don’t think it’s really reached Europe so any tips/tricks/knowledge anyone can share would be priceless! Thanks for reading!

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Some mothers day talons.

Well, it doesn't, thats the entire point? BUT, the idea and discussion is not about its validity but the fact that history is co-opted by AI and people (lazy bookers and TV producers) take the results as gospel and book these comedy parody dancers to represent the scene. In that way, like most vernacular dance culture, it becomes gentrified, sanitised, and mis-represented. You may not care, but as someone who has spent 5 decades caring and contributing, I do.

As at 18:09.

To me, AI will always look like some "plastic" creation - it will never be able to replicate the buzz that we all felt when en route to an all-nighter........ the sweat running down the walls of some grubby old cellar with the music bouncing off the walls..... that gritty atmosphere that we all remember so fondly.....walking out on a Sunday morning blinking in the sunlight (or shivering in the cold!) with the music still ringing in our ears........AI will never - ever - be able to do that!

Aquamen - 460 Lee Fields - 360 Little Joe Cook - 902 Richard Caiton - 450 Combinations - 2500 Matt Lucas - 1326 Groovettes - 2250 Jesse Fisher - 275 Little Johnny Hamilton - 1000 Bro Robert - 290 Mel Hayes - 195 Herman Hitson - 190

I've met Sally a few times before the 'championship' and she certainly seemed a level headed nice person & I do think that dance classes can be used to encourage the wallflowers new to the scene to get onto the floor. If she's determined to make her web offerings work I'd prompt her to look at her responses given to FAQs as they are confusing and potentially even misleading. It's also best practice to make the annual sub significantly cheaper than 12 x monthly subs. (Just my previous experience in digital marketing with a leading genealogy company.) Seriously though: The 'world championships' are no more than a marketing gimmick for the Blackpool Tower weekender, legally someone 'winning' that competition has no more right to be declared a world champion than anyone winning a similar dance off anywhere else in the world. It isn't adjudicated independently or scrutinised by any professional dance body, it matters not how many take part or believe it to be a real competition, it isn't. The comments about NS being freestyle with lots of 'set moves' is hokum IMHO also - those set moves are merely a result of others copying another dancer they've seen. I've actually seen a instagram video this morning of one of the country's absolute best dancers (not just my opinion either) being ridiculed for not doing 'NS dance style' -it's this very sort of 'dance classes' - pretending there are defined sets of 'moves' that can be classified & categorised -that caused those ignorant comments. Just my twopenneth but NS/Rare soul should be both absolutely freestyle & best done in as dark an event as is possible. High time video makers & social media grifters were positively discouraged from invading our hobby.

Jesus christ......

I always love Modern 7ts Soul from Main major Artists to Rare soul ones there are some of my fav , there are also some recent release that are now on vinyl and before available only on cd or LP or unreleased ( not here i think Masterforce - Don't fight the feeling - Rainforest Chain Reaction - Search For Tomorrow - Blue wave records Curtis Mayfield - You so good to me - Rso Linda Jones - Love Pillow - BM records Rivage - Strung out for your love -Tempus Kenix - there has never been one like you -Derby Italian 7 Frankie Alexander - No seat dancing - Delegance Records - Jeffree - Mr Fix it - MCA Records lp all lp for me GWEN McCRAE - MELODY OF LIFE George & Gwen McCrae - Winners Together or Losers Apart Serenade - Maybe This Time Bobby Womack - Tell Me Why Sundown Spaced Outta Place Betty Wright - Open The Door To Your Heart Marcia Hines - You gonna let go - Randy Brown - I'm Always In The Mood ) Rip first Southport Record

Your dead right there Dylan been telling them to switch the lights off for the last 40 years, plus leaving doors open , fans switched on all things that kill the atmosphere, all the ingredients that destroy the atmosphere and keep you in reality when your trying to escape it , to be fair in all honesty a lot of people on the scene today haven’t a clue, as regards dancing there s a big difference between gymnastics acrobatics, and feeling the music I know which I prefer but each to their own ML

Please stay strong and enjoy life as much as possible.. as we get older we all have things to get through . I'm lucky no prostate problems . But diagnosed with acute heart failure.. I wish you all the best wishes I can. But I think we have to remember that we are all getting older and our health is not what it was.. but in our minds we are still in our teens / 20's . I went to my 1st niter in may 1980 I was 15 . And have had 45 years of fun.. I will go to my grave with northern in my ears Do I regret a Moment... never!!! northern has been my life along with my twin son's Please stay positive Mick

Most of those on the list are fit to put the talc down for the very best the scene has offered, even by today's standards they are only average. As you say it is nothing to do with their quality of dancing more about their social media presence, hype and others blowing smoke up their arses.

If it is previously unreleased then it is fine IMO why deprive anyone of great soul music? If it’s reissued for the scene decades later where original issues exist from the time then a big no no from me.

Chinese Water Deer jumping into some nice light yesterday.Bonus spider under the chin hanging on for deer life.

Hard to get my head around the fact that I will never see Kev again, you never ever let me down mate. Rest easy Kev Murphy.

Just sat here in San Jose, Costa Rica, musing about how being diagnosed with incurable prostate cancer, actually provided me with the opportunity to see life from a different perspective. I’m in my 10th year and probably beaten expectations. In that time I’ve become a grandad to 2 beautiful girls, something that I thought might not happen in my lifetime. I’ve travelled extensively and regret nothing about how life has turned out. Anyhow, given that this twat of a disease is now up there amongst the most common cause of cancer deaths, perhaps men of a certain age need to be reminded that signs associated with prostate cancer symptoms are not readily dismissed as being age related. Screening does not take place in the UK put PSA tests can be offered on the NHS if a GP thinks symptoms warrant it. There is significantly more awareness of the disease than when I was diagnosed but there is no downside to prompting you guys to be vigilant. You owe it to yourselves.

Ok the prep for the major upgrade goes on On Thursday morning all accounts will be logged out of the site and all members will have to login in with their account email This is being done now as if anyone has problems now, then they can be resolved before the upgrade! If we did wait till after the upgrade, then members access to their accounts could be lost forever, without a working password and/or working email

Am delighted to announce that the next WEST GRAND single delves into the RIC-TIC archives. REAL HUMDINGER / SCOTT’S ON SWINGERS (alternate take) - EDWIN STARR It was way back in 2018 at Detroit A-Go-Go that Al Kent totally flabbergasted me when he revealed that he and Richard Morris recorded Edwin Starr on REAL HUMDINGER before they cut it on JJ Barnes. Edwin wanted to get on the road to do a show and Ed Wingate wasn’t happy that Edwin was not in his opinion 100% focused on the studio session. After Edwin left, Ed suggested “that kid with the high voice” be tried on the track. Al recalled Richard tracking JJ down to a pool hall and bringing him back to Golden World where he duly threw down on what became the all time classic we know and cherish. Uncle Ed decided to release that instead of Edwin’s take which has laid unknown and unloved in the Motown archives all these years. JJ confirmed everthing the same day at Detroit A-Go-Go. Dedicated detective work by Paul Nixon of CELLARFUL OF MOTOWN! fame led to the master tapes being located after everyone thought they had been lost. Without Paul this release could not have happened. AND IT’S BRILLIANT! By arrangement with Universal Music/Motown we have licenced it for release on WEST GRAND single. And again thanks to Paul the b side is also a bit special, a previously unreleased take of SCOTT’S ON SWINGERS which is more uptempo than the version that was used first time around.

According to Al Kent in his book 'Custodians of the hummingbird' 'Actually we had written the song 'Real humdinger' for Edwin Starr. We were in the studio late one night over dubbing his voice on the track.However, the music track seemed to be overwhelming him.It was just a matter of laying in the pocket for a singer, the track had a tremendous groove and feel but the track was all over Edwin and he was getting frustrated. Richard (Morris) suggested we take one verse at a time. Edwin was walking back and forth across the studio floor 'This damn song ain't shit man. I don't see why you guys wrote it !'He was wasting time doing more complaining than singing. 'Stay in the track. Don't jump the lyrics Ed' I said over the console mic. We tried to get inside his head and stroke his ego, because Edwin carried his ego around on a truck bed. 'Do it from the top' Richard punched the tape. 'Rollin' Ed' The song was there, the groove was there - he wasn't. 'Man if this ain't over in ten minutes I'm outta here' Again Edwin couldn't find the handle to the song, but pushing him faster and harder throughout the overdub didn't help either because Edwin couldn't seem to take advantage of the breaks and the 'pick ups' in the song and he got creamed, devoured. Edwin threw the headphones to the floor in a rant. A restless abrupt juvenility manner ' I gotta be at the airport in fifteen minutes', he said in frustration 'I ain't got time for this damn song man.' 'C'mon Edwin' I yelled 'You almost had it. One more take.' 'Man f*** this song.' With a loose limbed walk, head thrown back high into the air,with too much pride to admit he didn't have the chops to deliver,he stormed out of the studio carrying his ego off in a wheelbarrow. We were left with a strong music track and no singer. But just by happenstance the ball took a fortuitous bounce in our direction. The next day JJ Barnes eagerly accepted our invitation to overdub his voice over the song 'Real humdinger'.

I find this a personal affront really. After hours of training and dedication to my art I recently only managed to come 97th in the NE Lancashire championships. The judges felt that my reinterpretation of the Black Wednesday 1992 sterling crisis through the medium of dance was not quite what they were looking for. That Kev Roberts knows nothing !

The best ones are they that seem to be dancing to a different tune than the one being played!

She isn't a good enough dancer to charge anything. She probably learnt like the rest of us by simply watching others, practising at home. I don't think many care how others dance as they are more often than not more concerned with what they are doing. There have been some terrible dancers over the years and they have simply been left to get on with it by and large.

This dance lesson bol**cks infuriates me as much as when I see kids about 5 years old been coached by wanna be football coaches. There is no need for either.

There are plenty of semi known and plenty that have had very little or no exposure at all nighters and soul nights

March Hare.

Had the below passed on to me to post by a member having posting issues 'Just had this pop up on Google, a little more sympathetic to the history of Northern Soul with a couple of old soulies featured' https://www.bbc.co.uk/news/videos/c2ljr0q5d9ko

Excellent afternoon at Soul Liberation with Angie before our trip into Manchester to see Jalen Ngonda who was superb. Thanks to Tony Ollier and Dave Griffiths for the invite to play a few records. Here is what I played over two 30 minute sets, not necessarily in order and I could have forgotten something, I've spelt since then Randy Brown - I’d Rather Hurt Myself (Than Hurt You) - Parachute LP Test Press Jerry Butler - Stop Stepping On My Dreams - Spice Of Life LP Maxine Brown - Don’t Leave Me Baby - Out Of Sight LP The Dynamics - Woe Is Me - What A Shame LP Teddy Pendergrass - Somebody Told Me - Teddy P Lp Zingara - Are You Ready For Love - Zingara Lp Ted Taylor - Standing In The Wings Of A Heartache The O’Jays - Extraordinary Girl - Love & More LP Barbara Mason - World In Crisis - Transition LP Gene Faith - My Baby’s missing - Virtue Damon Fox - Black Widow Spider - Crimson Kim Tolliver - Can’t get Into You - Soul 4 Real Tommy Tate - I Can’t Do Enough For You Baby - Soul 4 Real Tavares - Strangers In Dark Corners - Capitol Johnnie Taylor - After Hours Joint - This Is Your Night LP Willie Hutch - (I Wanted To Be A Rock & Roll Star) Woman I Still Got Loving You On My Mind) - Mark of The Beast Lp Relatives - Heaven Help Us All - Don’t Let Me Fall Lp Larks - For The Love Of Money - Arock Norma Jenkins - Come Take Your Love (Acetate)

New Book available to order now which may be of interest to some on here. Photos mainly from Manchester venues including The Twisted Wheel. Has been around 10 years in the making so can't wait for my copy to arrive! https://easyontheeyeshop.co.uk/product/boom-boom-boom-boom-the-blues-photos-of-brian-smith-1962-1966/ Back in the late fifties and into the sixties, Manchester was a happening centre of popular music, rivalling Liverpool and London. Local lad Brian Smith saw it happen. In the mid-1950s a friend’s older brother took them to shows at Manchester Free Trade Hall where Brian was introduced to skiffle, early rock and roll and the blues boom. A keen amateur photographer, Brian got his first proper camera in 1961 and began combining what were now his two passions. He soon became known to door staff as ‘the fan with the camera’. He strived to get a decent frame or two, had them printed up locally, then went along the next time to have the photograph signed. Along with his friends they got to know theatre managers and staff, who were happy to let them backstage to meet musicians and chat, with Brian invariably photographing the scene. Spurred on by the excitement of mixing with famous musicians, they founded the Northern Society Of Popular Music, printing up letterheads and business cards to help them gain access to the venues and dressing rooms. Towards the end of the fifties promoters and artists began adding ‘guest stars’ to their bills, and many blues artists first appeared here in that role. Brian took a keen interest in the emerging blues scene after seeing Muddy Waters on a bill with Chris Barber in 1958. Over the next decade Brian saw and photographed most of the big American blues musician who played in Manchester. There is an acknowledged irony that black blues artists began to enjoy a cult following in Britain and Europe while they were still largely unknown or acknowledged back home. Through the distribution of records in specialist shops and the concert performances, the scene burgeoned in Britain in the early half of the sixties, until British bands, hugely influenced by the music, assimilated (sometimes acknowledged, sometimes not) much of the music and spirit, and took it back to America to massive acclaim. To be there witnessing the scene at first hand is enviable enough, but to be there with a camera recording it is something blues fans worldwide can be grateful for today. Brian began frequenting venues such as the famous Twisted Wheel Club as soon as he was old enough. After the start of Roger Eagle’s legendary r’n’b allnighters at the Twisted Wheel in 1963 (which later led to the birth of Northern Soul) the groundbreaking music magazine R & B Scene launched the following year. Put together locally by Twisted Wheel regulars, Brian became their main photographic contributor for the next fifteen months until the magazine folded. Money was always tight and Brian could only afford a couple of rolls of film at any one time. Once the magazine folded, Brian’s photography began to take more of a back seat. It wasn’t until the 1980s and a revival of interest in blues music that Brian’s images began to be sought out by CD compilers. Since then his pictures have appeared in magazines, books and exhibitions, yet until now nobody has attempted to present a published collection of his work. In doing so, and taking the book title from the John Lee Hooker classic, Easy On The Eye have had unique access to Brian’s extensive archives, working directly with surviving negatives and prints which have been newly scanned for the book. The photographs are annotated and fully captioned. The selected material shows the blues artists who most interested the young photographer, as well as the British bands who often idolised them as well. Brian produced images with a real presence and quality, and managed to capture a unique and relatively short lived scene in fascinating detail. Not only on-stage, but back in the dressing rooms, he photographed these giants of the blues relaxing with a beer and a pack of cards, or posing for souvenir pictures with British fans, male and female, a remarkable cultural melting pot considering that many of the musicians themselves could not even travel next to whites in some States back home at that time. It shows how music could and can cross any boundaries. FEATURING : Johnny Guitar Watson, Big Joe Turner, Chuck Berry, Screaming Jay Hawkins, Little Richard, Bo Diddley, Jimmy Reed, Hubert Sumlin, Howlin Wolf, Buddy Guy, John Lee Hooker, The Rolling Stones, Carl Perkins AND MANY MORE.

True, my dancing left a lot to desired but when in the zone I was out of myself and the soul and beat had me, most today is dancing by numbers and acrobatics and spins are not I time to the music and mostly crap and all for the camera.

It should be very very interesting; looking forward to it. He certainly had a dodgy side, but I’d say this. I was lucky enough in the early 80’s along with Ian Clark, to be invited to Les McCutcheons home to view Simon Soussans collection, which was being sold through Les. What a sight that was! That haul of records all together like that, would blow most collectors minds; it blew mine!! Rarely do any of us see that many rare original records, all in one place in this country. It was phenomenol, amazing. Everything was for sale, and the pricing was amazing (Cheap!!)but thats a whole other story. Anyway, my point is, whatever retrospective judgements we feel inclined to make about SS, I think we shouldnt lose sight of the fact that he found, discovered, loved, and collected these records a long time before most of us here did, in a country where there was no other collector interest, and no Rare Soul Scene, as a context for doing so. That he was also clearly a bootlegger, along with everything immoral about that is not in doubt though. Whats also clear to me though, having seen and bought (extensively) from that collection, is that he really did love Northern. Somehow bootlegging and collecting the same music seem irreconcilable facts I guess, and Im not defending anything he did; depriving artists of what theyre due is just plain wrong. But somewhere in there is a man who loved what we do, and discovered and collected a lot of it before us, so for that I’ll give him credit.

Guess that depends on your level of knowledge and how many genres of this wonderful music you’re into. Good example the other day when a mate of mine played this at the Dalmeny Weekend. Never heard it before and it cost me the princely sum of £4.99 to get a minter. Anyway always going to buy records over dance classes.