Geeselad

How does a journalist come up with this crap and not ask, couldn't I talk to someone who was actually at Wigan? and if this is about now why don't we get someone into the scene now? And we could all be slagging off RS and one of those self proclaimed yoof leaders of the scene instead

I think Stef orlinski, of Biddulph had MB's copy, not sure who he sold it on to.

I can't justify it but always had a weakness for BA. GJC, just played it again, and from those first horns, I think, muck fe! Two and a half minutes of this!

Can't believe that GJG has doubled thought people would get over it quickly, sadly not

https://jazzage.thelostestate.com/book/ Thought this might inspire an intrepid promotor to do a similar themed northern do, for the yoof' "The Wigan age, flooded bogs, getting rolled and sold duff gear. Coming to a venue near you..."

I don't think the wheel or torch had a record bar, did they? When I started going nighters it seemed to me where the action was, as a music fan primary, obviously the dancefloor was important but perhaps less so than in the Wigan era. By rarity I do indeed mean more focused on rarity than quality at the expense of easily available but truly great northern records. Rarity+ quality, in terms of dancefloor appeal, seems to elevate a records status to mythical proportion. I've heard comments like; 'its just not rare enough to get played' hundreds of times over the years. Since the 80's an unwritten rule seems to be; it has to be Rare, and good, obviously that's subjective ,so let say: good as in having dancefloor value, to get played at all on the scene. But it always starts with rarity or at the very least scarcity, it's a prerequisite.

Two different entry points here, that was my point initially, and two different experiences. Rarity was certainly embedded when I started in '87, but the desire by everyone to DJ wasn't. Getting involved was through social aspects, collecting or dancing. Exclusivity and rarity now mean practically the same thing, in 1972 I don't think they were. Someone must have been the first to play landside, but I can't have been long before most djs, playing decent size venues, had a copy, weeks? Due to its relative abundance as a nationally distributed record in the US, not quite the same with the mello souls was it? That's why I make the distinction between between rare and exclusive here.

It's not always as straight forward as you might think, herb ward- honest to goodness, I know minshull first played it off the funky bottom congregation compilation on UK RCA.

Tbh I hadn't considered this factor which in turn ties in with the rise of bootlegs

Obviously I wasn't around but im speculating that the focus was in the music rather than the djs, and indeed the atmosphere, dancing and other pleasures.

I've heard so many punters from the wheel and torch era say that it was never about rarity, and reference many common records and new releases that were played. When did rarity or perhaps exclusivity become of paramount importance in terms of northern soul? As I'm writing I'm questioning my motivation, recent discussions on trophy DJs and ego's dominating playlists. Tin hats on standby

I see parallels with Skate and BMX freestyle, that started around the same time, incidentally. Lots of coaching and training for these activities around now but I don't here the old school bemoaning the pursuit of excellence in kids through instruction. I'd say it's more to do with the likely quality of instruction, in this case, sounds like an OAP's aerobics class tbh, rather than somewhere you could actually learn how to pull off gymnastic floor moves, in your 50's. One beauty of 'the scene' is surely that's it's both inclusive and exclusive at the same time, once you start to break it down into technique you begin to lose expression and interpretation. Some of my favourite dancers have distinctive styles that would never win any competition but in terms of expression say so much.

Love diet is a great to track by them on 20th century

Correct https://en.wikipedia.org/wiki/Raised_fist

Craig Charles a fellow of real integrity. How this guy is still working is beyond me. His show is awful, it was better when snowboy was selecting but Lisa tarbuck Beata it hands down for interesting selections.

That's completely subjective, and purely a matter of taste.

Thanks for sharing that, from the opening bars I knew it was something special. Totally agree that many genres can have soul, but although it may have been played with technical gusto, did the BBC orchestra have the belief in the music that makes any music soulful?

I said it with tin hat in place, I am a fan, but not as knowledgeable as I want to be. Flamenco sketches is my favourite piece of music any genre, but it's the Coltrane section that really lifts it to another level. I think my point is actually this, Davis and be bop was about small groups, I was involved in a night recently and I related to the orchestra thing and thought, well I can't remember a single track played with strings. All small groups, perhaps a bit of brass, but all group based. It's just all a bit excessive to these ears, to rich and lacking rawness. So many of my favourite tracks have a sparse sound but do so much with it.