Winnie :-)

Russ you like Steve G are champions of moving the northern scene forward, so I'll ask you, doesn't having ''a sound'' limit the way forward, as by its very definition it must rule out certain genres. To me true progression is a mixture of everything available, shouldn't that be our ultimate goal?

So if a DJ goes to a club he or she should reflect the sound of the club in their set, rather than play what they're known for?

The dome was a complete mixture of sounds, Al favoured R&B, Carl used to throw in a bit of modern, Flynny would occasionally play a little bit of Latin, and Greg was more traditional although his sets usually had plenty of underplayed records in them. Then there would be a guest, so for me no specific sound. I would say similar for Driv's scenesville and PTP/Jo Wallace/Martin Thomson's TOS. They were 3 of my favourite nights, and to me they were so successful because they didn't stick to the tried and trusted formula, they were always experimenting. Which again just takes me back to the DJ's maybe having an identity, but not the venues. Like Ali said previously, this is just my opinion

Experts are just soooooooooo over-rated Ali, personally I prefer views with some balance

I've no idea mate, I just took it that that was what was being referred to, don't think it was to any particular comment within, you'd have to ask Nev really.

I don't really associate records with venues, more like Joan, with DJs. I think of 'World of Happiness' and Andy Rix comes to mind, or 'gettin' to me' and its Ady, I've never really gone into where and when a record was broken. Saw Arthur F a lot over a 12 month period, used to always ask him to play Coco and Ben, so then I associated it with him. I'm sure someone could tell me where, when and who discovered C+B but the association is still going to be Arthur, but not at any particular venue.

I think this might be what's being referred to

The point I was making needed some reference, so it made sense, I haven't mentioned the venue in the post you've quoted or the DJ, or the unimpressed punters by name, to avoid defence council seeing things as defamatory, I said in my last post the venue is irrelevant

I did say in the first post Kev the Burnley thread was what prompted my question, so I won't labour the point as the venue doesn't matter, this is more about the ''ethics of the scene being diluted'', which I often see quoted, is having a 'distinctive sound', more important than the scene progressing, or is that just a fallacy that suits particular arguments? I just find the whole thing interesting bearing in mind previous threads.

Over the years I've seen many disparaging remarks about oldies event, 'they're stuck in the past', or 'they only want to hear the top 500' or, 'don't they look funny in their northern soul costumes', all things that are defining the era these particular people want to celebrate, so me they want to hear a certain kind of sound. Then irony of ironies a DJ who loves the northern scene, is completely dedicated to the records he's playing out, is panned for not producing a certain sound at what's usually described as an upfront venue. Struggling to see any real difference in the perspectives myself?

Matt I just used those clubs as a reference point, I could just have easily referred to the Wheel etc as the starting point, but it does seem to me history repeating itself regarding limitations?

Steve I get your 'moment in time reference', it's pretty much my point really. I don't want to put words into your mouth, but you always appear to be more open to most styles than most musically, whereas the vast majority of us seem to be stuck in a rut, ruled by association with our pasts. It seems unnecessary to me to have these 'badges of courage', but every time I hear the phrase 'the sound of', I automatically wonder is it someone/a venue trying to carve their names into the history of northern soul. Often see comment on here, ''I catered my set for the event'', and I know you've said yourself if you were booked to DJ at an oldies night then that's what you'd provide, so in effect you're catering for the 'moment in time', but by saying 'The sound of......X' don't we run the risk of just creating another moment in time, for the future. Just doesn't seem very progressive to me that's all?

Read plenty of comments on here regarding venues and a certain sound, Wigan, Mecca, Stafford and more recently Burnley, which prompted me to ask this question. One DJ got slated because he didn't meet the requirements of one/some of the Burnley faithful musically. So if any venue/era becomes defined by a distinct sound, isn't that limiting the progression of the northern scene, I've certainly seen that definition levelled at Wigan from time to time. Worth a discussion maybe? Winnie

the one I've looked out for occasionally but never seen or heard about CHR 15T for the ultimate soul

I think that's what we tend to forget on here and its a very relevant point

I know there's a lot of weekenders Chalks, the point I was making was that the casual soulie is also catered for, with them as well

What's your own theory Bob?

Bob, it comes down to something you'll often see quoted on here, there are two scenes. The first one, and by far the largest is the casual 'soulie' one, this one isn't too bothered whether there's an OVO policy or not. Criteria is a bit of a dance, chat and a laugh, and crucially a taxi home, because as someone else said beer has become very important. Loads of small soul nights sprung up to cater for this scene, and the odd weekender. The second scene is completely different, much smaller and retaining what is seen by some as the original 'northern' ethic. Original vinyl is a must, as is progressing the scene via reactivating underplayed records and where possible, new discoveries. All nighters are the preferred choice, along with the odd quality soul night, and travelling isn't a problem. Each week as the number of events increases, the two scenes get further apart, my experience is that the second scene is far more vocal than the first, hence this argument coming up time and time again. For me personally, my mood dictates what I want to hear, but the more I go out, the more I gravitate to the second scene, because in all honesty, whilst I like seeing my mates, I get a bit bored with the music on the first one. That's not to detract from the first scene, it's still great music, but it's very much, in my mind anyway, a historical pilgrimage into the past, but when you're getting the same lesson week on week, it can get a little tedious. Winnie

RIP Etta James, sad sad loss

still like traditional northern as a staple, like some of the funky stuff I've heard, modern, overall my tastes these days lie mainly with 7ts

Northern dancing is unique in so many ways, we can all hear the same lyric, the same music but all interpret it differently and it's not for anyone to say what's right and wrong, it has never been about that. Just been watching 'gotta dance' and whilst it's obvious these people are technically good, they don't hear the music, it's virtually all choreographed. And in a nutshell that's why I love watching people on the northern scene dance, they feel the music. No need for criticism, just get on and enjoy it, as all of us know, we're a long time dead............

Cheers Mark

You obviously don't get the northern scene, the music and the dancing go hand in hand. Have no idea what ''san so fair anne'' means, but I'm sure it's very profound

Try reading the post, Paul said the dancing is the reason the scene exists, you added in the ''acrobatic'' for dramatic effect.

Just in, couldn't you have warned me about damage before I went out Have caned my back, should have warmed up first haha