Barry

Marvin Holmes was the last record on my tape recorder on the last, final night at Wigan - I flicked me switch and shut Marvin up at the train station then got in the cab (sounds mad but I can't remember if they out a cab on for us as the train didn't turn up or what) - excuse my hi-jacking bullshit indulgence Sir, it was just a nice sunny morning memory tinged with a hint of tragedy.

Now this is a complicated query and I'll try not to make an arse out of myself in my positioning of it. Just to get it out of the way at the beginning, I am a lad that has always looked up to the people that have sacrificed to buy original vinyl, I have been led by them, my values are borne of those exceptional individuals and I am, thanks to this upbringing, very anal when it comes to original vinyl - but! Is Northern Soul and it's furtherance today, hindered by these values? There are individuals that are in better positions to acquire original vinyl than others, maybe they are single, maybe they earn more, whatever it may be. On the flip there are stone cold dancefloor punters, that spend a large portion of their weekly income making all-nighters what they are and have been, attending, learning and filling dance-floors. Foot Soldiers it could be argued. I would add myself to this group and I'm happy with where I am musically so I hope that you don't see this as a pop at people that sit above me in what people would see as the general scale of things. I was out at a wedding do in Cleethorpes a couple of weeks ago, a do for Soulies and I'll admit that it's a while since I have been in the surroundings of 50 somethings talking about NS. It was about 5.30am the following morning me and a belting fella called Terry, who is around 8-10 years my senior, were waxing lyrical about the state of the scene and I just listened to the level of his NS intellect - no doubt the intellect of many people that have fed this scene over the years have. Terry puts do's on for nowt but the love, I hope I'm not making this up as I am trying to recall a messy conversation that we had late on, and I loved him for that. Anyway, back to the point. Is the NS scene about spreading this beautiful music or about looking up to relevant others that through chance are in a position to fulfill certain criteria. I see so many posts about how horrific it is that someone played a boot, or something off cd - the point that causes the horror is that they played anything but the original. Here comes the rub. Surely we all have grown up on this scene, spent our youth and a great deal of our money - harder for some than others - learning our trade. At what point is it bad for someone to show their knowledge whilst playing a set, if their set includes a non original piece of vinyl? Could there be an amount of wanking certain better positioned people off to further your own lowly, in your mind maybe, position? NORTHERN SOUL - it's all about the music. Mmmmmm!?

Bang on - if you ever sneaked into Wigan round the back, you came through this area, generally you would push through the fire doors at the back of the building and through the area you speak of, into the long corridor spoke of above, through M's and it's foyer, down the stairs and hide in the Gents bogs until they let people in, then out you went - quite scary sometimes though as I have been hidden in a bog witha random Blackpool lad when a doorman has come in for a piss in the next trap - problem being that said Blackpool lad had a death-wish and was tittering like a bast*rd. Good shout, as if you ever did that run it gave you a different perspective of The Casino and the way it sat on it's foundations.

'Happy Feelin' was a Clifton Hall play too. Bang on, Jewel is a great EWF rip off.

Glad you brought it up, was just telling the missus about it - confirmed.

I don't really get the hype on this track.

Thanks for the opinions folks, I suppose it doesn't sit in the usual 'comfy pigeon-hole' that is deemed soulful house, on here anyway, so the mid range replies are understandable. As for Mr. 'pill music', you just laid yourself bare for all to see mate, saved me a job too.

Pm us your mobile number if you would Nick.

Nicholas - for you: https://uk.youtube.com/watch?v=3YrUrZQg-4Q

Just listening to this Wigan floor filler wit' wife, trying to explain what a biggie it was (and after the fact personal views stand for nowt as it was a floor-filler at Wigan) and why. And I found it difficult to explain it's appeal to her, she's younger, as it does sound like the theme from a Tomorrow People short film or something. It did have Ron Grainer elements in it, the Avengers running guitar etc, but I still in hindsight find it hard to put my finger on why I still find it appealing - I know memories stand for a lot, but still. A very weird record that seemed at the time to fit in easily after 'The Seeds' or the like. I have fond memories of it and it was part of my scene at the time - but how ha ha?

Me and the missus are waxing lyrical about 2004's releases (on the house side of things) and we are both in agrrement that it was a fine year for soulful house. Anyway the critique I'm asking for is regarding this particular track: Beady Belle - 'Hindsight' https://uk.youtube.com/watch?v=v4FqsCjPU5g We have both come to the conclusion that, for us anyhow, this was the pick of that particular year. I understand that I am laying myself bare for criticism here but I am happy in relaying our thoughts right now in the hope that someone who hasn't heard this particular track will understand it the way we do. It was a great period for us, I hope you enjoy it.

A great Wigan memory pour moi - I recently buried a bloke called Rahaan from Chicago with it. Good shout mate - somebody should do thereselves a favour and one, if they don't know it seek it out and then buy it. Quality state of the art US soul.

Just because I have the opportunity, we brought Lew in, in the early 90's - lovely bloke - we djed at one of Harry Dennet's do's at Widnes I think and Lew performed, he'd released a new album, which I'm sure some of you will be au fait with ('Just Can't Get Enough etc) - but the funniest thing was that when we got pissed we tried our hardest to explain the obvious relation between Lew's moniker and the material that covers a WC's window, he just didn't get it. (Do you?)

Hobbsy always gave us a nod in B&S, whereas Richard never - I hate myself for that comment as I owe so much to him - but you can't argue with youthful ego can you? Paddy is better than he ever was - salt - mate. He was down ours last week, he's just bought himself a mid-life crisis Mustang - and I love him all the more for it. Fancy a pint between us? I would love to arrange it.

You're right to a degree malc, no other propmoter would have let the likes of me and Dave free at a Nighter after all, but he did have a tendency to dip a little too heavily into 'real' house territory on occassion.

I love it! I can see where my crap tit-bit of misinformation began with your more than adequate response Malc. Thanks for that, I am truly filled in.

Malc, the last coherent memory I have is between the hours of 7.46pm and 10.33pm supping Tetleys in The General Elliot in Croft in 1987 mate - you have no idea how bang on you are.

The original 'Fireside Soulie' Malc.

Chocolate City's label - black man in a gangster hat. Early Casablanca label - white man in a gangster hat. I've just recalled a tit-bit of info from my dim and distant that the reasoning behind the 'gangster' thread on the label's graphics was due to the fact the they were owned by Humphrey Bogart's son, possibly 'Neil' Bogart. You couldn't write it could you? A truth or simply a rumour?

The first and only (hopefully) time you will see 'Modern/Rave' on a NS flyer ha ha. It was the jumper that did it wi' Crofty I think.

Barney! I give you your 120th post and you treat me like that? I'm afraid to say that I believe you have missed my point - don't always read literally mate.

I'll not force the issue Mike, you know I'm generally straight and I did attempt not to put too fine a point on it.

Tip top thank you Malcolm!

You should knock some T shirts up with that on it, I'd buy one.

Seeing Robins EWF listing reminded me of the only EWF record (or any record for that matter) that brought tears to my eyes upon first listening - 'Departure' - a simple, yet beautiful instrumental arrangement.