Barry

Thanks for that Rob. That was all I needed. (....talks to missus behind him.... "In a minute love!")

I was in the bath tonight, having a Wigan moment (I know), and I got to thinking of the last few seconds of a track being faded out and people applauding. I thought why did I/do I/we do that? Yes, obviously, cos I love the track in question - but I thought a proportion of my applause may have been given to the jock for playing it - sure! Also maybe cos at that moment, I was applauding cos I was dead happy - I'm here, with you (maybe I was applauding me, my state of mind, possibly?)....and dead happy . Then I thought, was I applauding the people, my kin, you and I, on the dancefloor at that moment? Or was I just applauding the beauty of my/our scene - cos it's obviously Ace! Do you know what I mean though? There's so much held within those applause that we give following a track. Should I go to bed?

I put Rahaan (BTH) on in Warrington last month and laid it on him, which I shouldn't have as we should have been going down the House route - but you do don't you, Billy Nichols, Leon Thomas, King Tutt, Larry Wedgeworth, Bileo, Frankie Crocker, Al Mason, She Devil, Blacksmoke, Jackey Beavers, Herbie Mann, Jewel, Wiili J & Co etc - he fucking loved hearing them, he didn't know them but he loved them, respect. I do fall in to this trap often but I remember the only US ('House' DJ, the pigeon hole actually demeans him as he is a Hispanic male with a massive musical history...and 54) bloke to catch me out was Hippie Torrales (Zanzibar/Turntable Orchestra) who buried me with stuff we know from the Northern scene [but he grew up with] at an after party. Yet again, I'm pissed, apologies to the board, just thought it may be interesting.

I'm out four nights a week, playing everything from Northern to House and apart from one track, I play vinyl - it's a novelty these days, given, but I do think it has a reassuring effect on people. I have a Pioneer CDJ for the only reason that certain things aren't pressed on vinyl - but it chauves me to use it - I actively dislike the process. The Pioneer has been the biggest single factor in reducing the quality of people playing on the House scene, if only for the fact that you could have yer Mam beat matching in 10 minutes on it (the youngsters benchmark of how 'good' a player you are), not relevant really on the Northern scene I know. But I do think it access to scenes with the tools (Cd recorded tracks that are 'obtained') and not the nous (history & passion) radically waters quality down. I Want To Be A Celebrity Get Me A CDJ.

All the best Peter.

One of me mates has just got back from Las Vegas, and alongside 'The Temps' were The Platters and The Coasters - how are the last two for original members? Nice touch though, when the concert ended the group members all congregated on the door and shook everyones hand on the way out.

You only do it once.

Not really my fault Ian - it was my young second in command, Aaron, who used to work for me in the shop who bore the brunt of my ire. Oh how I larfed.

Three examples: Kids'd come into my shop and put the needle on the slip-mat!? Another one would be when they saw the 12" in the shop would be to ask why I stocked mainly albums? I remember playing at Stylus in Manchester, funk/soul 7"s, and a guy came up, looked at the record in amazement, then began pointing and laughing - I soon had a group of 20 year olds over asking what they were??

May sound a silly question but does anyone know if the system used at The Casino was hooked up for stereo sound? I say so, as I'm sure the only thing that got played that made my ears prick up was King Tutt, as the sound seemed to wander across both speakers (on the shingly sound in the background on the main break) but I may have been slightly mad at the time. Was I dreaming or was it obviously stereo and I never noticed?

I left two 100 boxes of 12"s on a car park too, so easy to do - all the stuff I was using on my current playlist. Work that out, prob 2ks worth but it's not the money really (altough that hurts), the ballache comes with having to build up a playlist again from a standing start. The only feeling I can equate to it, is that one when yer first love at school dumps you - same pit of yer stomach stab.

I think that that my memories of the Northern scene would feel a little empty without a number of the funkier modern tracks mentioned in this thread. When The Crow or Frankie Crocker or whatever would get dropped in M's, of course it changed the dynamic of the dancefloor while they were on but kinda freshened your soul pallete for the more trad nighter tracks that followed 'em - and I couldn't think of a better track than Curtis to pick the main room's chin and failing legs at 6 in the morning. I for one am glad I saw those funk/modern tracks played under the 'Northern Soul' banner - as that's what they were and still are to me. Also think of the characters that attended nighters mainly for records with that sound that added colour to the scene - it was a melting pot then and I would like to think it's not that much different now.

I don't think that's what is at issue.

Our stripper fest was the Higher Seven Stars Ste.

I'm having a pop at his Cecil Washington.

I'm for that, would love to hear a few bits my man.

I have had this discussion regarding vinyl/cd/mp3 with so many young lads, given - mainly house based chaps, who have entered the black music scene in the last five or so years. They are of the same mind regarding the obvious 'why pay for it, when you can 'obtain' it' train of thought and I can see their reasoning, in todays material world it makes obvious sense. On a musical level, why should it matter how that sound is conveyed to the dancefloor, just as long as it is conveyed!? Well it bloody does. Soul music shouldn't be seen as a hobby, and if it is, I look forward to the day I can go and pick up a pack of glitter, two tubes of Pritt-Fix and a Jimmy Delphs at Hobbycraft.

I'm really not being arsey here but if you have the vinyl, maybe Greg and yourself got rid of a lot of it, maybe not - but if you have it, then use it - don't bottom out by making sure you sound like your doing the job, when to me, you ain't. I hope the Northern scene doesn't go the way of every other scene, whereby people who don't put up, gain. With respect.

Ay oop Rhino - I am always pissed when I post these little mind scratching posts and I hope they stimulate healthy scene based conversation. Please feel free to ignore the questions I pose and nit-pick at any time mate.

I'd lose two toes for it - great memories.

Thanks for the answer Mark but incredible collections at such a young age these days must be a rarity!? It's difficult to keep up here and now, I certainly would not be able to buy my own collection a todays rates - so the guys you mention - are they from money or are they working class lads that, truly, have a diamond ear?

Firstly, the hard work was done by real dj's years ago, when dancers danced and others had the good fortune/summat else innem to do what was required to be that man, we all know the names. Personally, I have spent my money an soulful music from all era's, and if I'm honest the money I've earned from them outweighs what I've spent (cue, it's not about the money replies). The wedge you lay out for a tune, whatever it is, should be irrelevant - it's between you, your soul and that record...yes, I understand the histrionics of it, the more you play your rareity, the less its longevity....but, to me it's organic....there should always be the pain factor, the honesty of going without to prove to others what that record meant to you....and it always is appreciated. Ian, your point about having a laptop full of 10,000 tunes at your disposal is a valid one but isn't having the weight, mentally, behind you before you turn out and pack your box always going to prove you're the better man in the long run? I don't want to turn this thread into a negative one by my reply btw, it's just that the way technology has gone and the ease of access to this music nowadays, I feel that knowing tracks and when to play them isn't the same as growing up with them and doing enough with your finances to eventually own them (the truth behind loving a track, that an ever responsive dancefloor will respond to - we all know this scene responds to more than the sound). I don't want to be offensive here but do you not think with this train of thought that a Northern night would just end up like bars have in cities whereby musically uninterested and egocentric tits would end up playing anything that would be a crowd pleaser? That last line alone, in reality, is ridiculous as it asks, 'Why not?'....but the NS scene is so much more - No?

With the way we have all grown up, 'knowing' dj's who have made us dance - how do 'new' lads (who want to play records) get on, we were all kids at one point? It's got to be hard, hasn't it? How many scenes have a following with such knowledge, not many ay? And it appears that dancers are always the fiercest of critics (not always justified). It strikes me that it is a 'rock and a hard place' thing. Don't give up lads, we all had to start somewhere and a lot of the owd bastads'll be gone soon. Only kidding - please discuss.

JJ Caillier Otis Clay Oscar Perry The Pockets Charles Johnson Machine Curtis ZZ & Co ...and then it was 8 o'clock with silver and copper in your pocket, a million miles from home but it didn't really matter (I love rose tinted specs). What was the cafe called with the juke box full of Northern that we used to go in following?

Good shout! Stupidly a ten bob album for years (Yanks, Manchester special), I'm sure Dave Hawkins used to spin this at Bradford!?