Ian Dewhirst

Still got most of my vinyl Barry, but since I've over 20,000 records it's not always possible to take even 500 of 'em to gigs - especially 12"'s! I should make the point here that after over 40 years of collecting, I now prefer to do sets which are very eclectic and necessarily demand a lot of choice. It's a practical issue rather than anything else. I like a lot of music and don't particularly like limiting my choices to what I can physically carry. So just to make it clear - I LOVE vinyl. However I love music more. Vinyl is a brilliant format but that's really all it is. If I can only get a great tune on MP3 or CD does that make it any less of a tune just because it doesn't happen to be on a 7" piece of plastic? I've also released more stuff on vinyl then virtually anyone else over the years. I was Head Of A&R for the world's largest vinyl re-issue company - Simply Vinyl from 1997 to 2002 where I put out over 400 albums and 125 12"'s on vinyl, so rest assured I love the format! Ian D

This in a way is an even nastier twist on the theme because you never really had the time to enjoy your extraordinary find! It reminds me of when I when to Cheyenne, Wyoming once to see an original Rodeo - I was frog-marched there by an American friend to 'get me away from record shops and see the real America' LOL. Naturally I found a record shop in town had a quick look and found an Al Wilson "Help Me" and a couple of other bits. Several hours later as we staggered out from yet another bar I realised I no longer had the records with me. We couldn't remember which bars we'd been in, so there's a nice Al Wilson promo still knocking around Cheyenne somewhere........... Keep 'em coming...... Ian D

More pain! Somehow I feel slightly better about my own mishaps now. But this confirms my theory that everytime you leave the house with a box of valuable records there's always the potential for disaster. Plenty of human error instances here too. Seems like the elation of a great gig or a great record find can cause momentary loss of normal controls LOL...... Ian D

Hey Joe, I meant to ask you - do you know whatever happened to the record library when Polygram (now UMG) took over Decca in the late 70's? The room used to be down at Albert Embankment and it had mint promo copies of every record both UK and US ever issued on London, Decca, Coral etc, etc. I just wondered whether the stuff went into storage when Polygram took over? Might be worth investigating....... I think we're coming down on Saturday although Champy's being a tad unpredictable at the moment.... Promise I won't mention laptops LOL..... Ian D

I'm just talking on the scale of records (Lord knows a lot worse things can happen as we can see on other threads) but would you say it's haunted you ever since? I'm being serious here. I cried when my Joe Mathews snapped because I knew I'd probably never get another. And I haven't since. But I couldn't keep the snapped one either. Too painful. I ended up taping it back together and ended up flogging it to Gary from Leeds........... Ian D

Cheers Cel - good job I checked. I remember him even though senility starts creeping in when you get to my age LOL..... RIP Dave. Ian D

Very painful! I've never had one so that would've killed me! Those styrene ones break too easily (like the Joe Mathews above). Did you claim for it by the way? And did you find another? Ian D

Go on. Tell! Please. I know Sam but I haven't heard this story......... Ian D

Ouch. Human error though! Good job he didn't do with Christine Cooper LOL...... Ian D

Are there any stories about terrible accidents which have resulted in the breakage or devaluation of a rare record? I'm thinking of the all-time classic example of when Dave Withers (I think it was Dave but please correct me if I'm wrong) borrowed Richard Searling's copy of the Jades "I'm Where It's At" after months of begging (so he could tape it), only to stop at a chippie on the way home where he layed the record on top of the metal thingy which keeps the fish and chips warm and WARPED THE RECORD!!! Cue one very pissed-off Richard the next day. I think it was the only copy at the time..... Also I did hear an unfortunate story about the 2nd or 3rd copy of the Invitations which was found and was destroyed in a car accident on the way to a gig. The worst for me was when my daughter stepped on my original Joe Mathews "Ain't Nothing You Can Do" and cracked it in half. Plus a Bobby Hutton on Phillips got totalled when I crashed the car coming back from Cleethorpes one morning. But there must be other stories which are equally as horrific, so anybody got any? Ian D

I spoke to Mike this morning and he's now aware of the problem. I think he's going to join-up to Soul Source so he can deal with people directly. He's a bit of a techy-phobe hence the reason he hasn't been on here to date. Hopefully all will be sorted shortly! He's the only magazine publisher I know that makes it difficult for people to subscribe LOL! Regards to Gail Spot! Ian D

Acetate. The album version will probably be too thin and result in horrible feedback if you jack the volume up! Ian D

LOL if she's anything like my daughter she's expect no less! Don't let 'em anywhere near your Northern though 'cos they'll use 'em as frisbees! That's how my Joe Mathews got cracked! Ian D

That could be me LOL! I've never deejayed using a laptop but two recent events have made me reconsider the whole thing:- 1) I caught Greg Wilson doing a set on laptop (and reel-to-reel tapes believe it or not) and he made his choices by judging the mood of the club and played records I haven't heard in a club for 30 odd years! When I raved about some of his choices he showed me how many tunes were on his laptop (about 8,000) and said he never does the same set EVER. That way he stays completely fresh and never knows what he's gonna play next. The sheer choice was unbelievable. Plus the gig was brilliant - mainly because he steered the music so beautifully because he had the CHOICE! For me to have done the same thing, I would have had to transport my entire record rooms to the gig - a physical impossibility! That made me think....... 2) I recently had to do a lecture in Toronto which required me to use music. My laptop has a couple of thousand tunes on it from all genres, so I took it with me. Thank God! When people wanted to know the differences in certain productions and producers I could play them loads of examples. When someone asked what Northern Soul was, I had a few hundred examples. When someone wanted to hear various mixes I had 'em all. When people were asking me if I had certain re-edits or rare productions I had 'em with me and could give them copies. When I did a 2 hour radio show I could play more or less whatever I wanted. I had CHOICE! So these two things made me re-think my views very seriously. I mainly DJ at Rare Disco gigs these days and I always need at least 2 crates or 400 records to feel comfortable and I ALWAYS wish that I'd have brought some other records which would have worked brilliantly. Now I can! I've just got to learn the bloody software and get a music-only laptop, so that's my project for the New Year. And that got me thinking that if acetates are acceptable on the Northern scene, then why not other formats? Interesting though innit? Best, Ian D

Cheers mate! It's really where the vinyl-only argument kinda comes a cropper if you see what I mean. If an unreleased brilliant Frank Wilson was found tomorrow would people really ignore just 'cos it's not on vinyl? Don't think so..... So then what? Do you have to invent a new set of rules which says that unreleased stuff is only allowed to be played on acetates only? Actually, on this scene that's probably exactly what would happen since it's essentially a vinyl-only scene but it will be a problem when you can no longer cut acetates....... Ian D

Listen, if Sam's confined to a hospital bed in his 90's that's EXACTLY what he'll do LOL!

I think you've misread me Dave. Remember I started on the Northern scene back in 1970 long before I joined the Music Biz. I was merely pointing out that I have an overview which is different to many regulars on here because I've enjoyed a few different scenes and worked 'on the other side' as well. Let's not forget that the 45rpm record was the main format for the mass market in the 60's and 70's and when Northern Soul artists released the records originally they were all looking for big sales and a hit in the commercial market. Which I guess gives me a bit of a problem with your statement - "The main point (or ethos, the word that many people band about), of the scene in the first place was/is to find our own route and AVOID the mainstream 'music biz" surely". Surely Northern Soul was founded on the Motown principal originally wasn't it? And Motown WAS the mainstream in the mid 60's - Berry Gordy basically invented a lot of the 'production line' principals as you well know. So, no, I don't think we were necessarily finding our own route - we EMBRACED what was a mainstream sound and kept embracing it long past it's commercial sell-by date for everyone else. I guess that's the beauty of Northern Soul! Also I guess I'm saying that it's only us that puts the emphasis on the format. The artists are seldom bothered how their music is heard as long as it finds an audience. By the way, how's the mag going? Loved all the issues I've read to date. Do you have a decent U.S, audience? Best, Ian D

Nah it's not void Davie. You have a very bespoke system by the sound of it. Standard decks are SL1200's which only have the option of 331/3 and 45rpm. I've done thousands of gigs and you seldom see 78 as an option - at least not in the gigs I play...... However, whilst we're on the subject I did go to a brilliant outdoor Summer gig last year where a guy was playing 78's on an original HMV type player, you know, the one with the horn loudspeaker with the dog looking in it...... Ian D

Agreed! I had a feeling the thread would touch a nerve - I almost didn't post it but then I thought why not? What's to be afraid of really? In fact, it's making me wonder something else now: If for instance, Don Davis found a load of unreleased but brilliant J.J. Barnes material in his loft, would it prohibit them being played out because they've never existed on vinyl? I guess the same thing happened years back with the unreleased Motown stuff didn't it? In cases like this, does the format really matter? Surely a great tune is a great tune whatever the source isn't it? I've opened a can of worms here LOL.....Can I get safe entry to Yate? Ian D

I had the best hit of my life in a small town outside of Denver, Colorado - a truly unbelievable haul. Dave Raistrick arrived a couple of months later and still found stuff. Also had good hits in Oklahoma, Iowa, L.A. and even Florida back in the 70's and 80's. I've always wondered about Salt Lake City though. It's too far from anywhere to get there easily and I know it's full of Mormons but I just have a gut feeling LOL........ Any youngsters out there? Ian D

Now there's an idea.......fancy financing it Dave? Ian D

I wasn't suggesting that anyone could just hit a play button Neil - far from it. I was actually suggesting that some DJ's would benefit by having a choice of several thousand tunes to choose from rather than being confined to what they can physically carry. There could be that special moment where a DJ wished he had brought a certain tune because the circumstances could be exactly right to play that tune - maybe for the first time ever. I can't tell you the amount of times I wished I could have brought my whole collection to a (none Northern) venue and kicked myself because I couldn't. But I can now! Also I'm not sure how 'rated' a DJ with no records worth more than £25 each would be in this day and age. I think the scene necessarily has to have the huge rarities and one-off unknowns to provide the excitement and anticipation doesn't it? I guess it's more down to the taste of the person who has either great records or a laptop, or possibly in the future, both! Best, Ian D

Hence the thread Billy! I suppose a lot of people are saying how will the scene mutate and survive into the future unless new technology is embraced at some point. I'm probably one of the few people who could ask the question because I'm not really on the scene on a regular basis these days, I work in the music biz which is dying on it's arse and I can take an overview on things which may not be possible for people who are more involved in the scene. Some really interesting viewpoints coming out though and definitely food for thought..... Ian D

There isn't a music biz left - I reckon the CD is on it's last Xmas this year. Hip-Hop/RnB and a few dinosaur acts acts are keeping it running but the physical format, namely CD's and Vinyl will almost be gone by the end of next year IMHO. The biggest vinyl distributor in the world went down last Thursday and you can now get most back-cat CD titles for less than £3.00 now. I'm trying to sell some good CD titles @ 30p each with difficulty right now so you can see how bad it is. Hence the thread! Ian D

That wonderful cue-burn effect cost me a couple of grand back in the day! Ian D