Ian Dewhirst

There was also a significant group of independent producers who had their ears to the ground too. Mickie Most was one of the best at finding U.S. RnB songs and converting them to UK hits with a UK acts - Herman's Hermits cover of Earl Jean's "I'm Into Something Good", the Animals "We Gotta Get Out Of This Place" and "House Of The Rising Sun" etc, etc. There were some great ears around in the mid 60's, so the early birds got the worms! Often the UK versions were far better productions than the U.S. originals. Love Affair's "Everlasting Love" beats the hell out of Robert Knight's original IMO...... Ian D

Yep, I've heard it out a couple of times but I far prefer the original (which is weird 'cos I love Kenny Dope)..... Ian D

I don't recognise that particular live version, but as said above, THE definitive version of "There Was A Time" and the greatest live track ever recorded IMO, is on the jaw-dropping "Live At The Apollo Vol 2". He was unbeatable in his prime...... Ian D

"Falcon" by the Rah Band (aka great 70's UK arranger Richard Hewson)..... Ian D

1976 when I'd already got everything........ Ian D

I know exactly what you mean 'cos I have an 18 year old daughter who views music the same way as your son LOL. The terms of reference for kids have changed without a doubt. However, she came in my room this morning raving about a band she'd seen the previous night and then flipped me to You Tube to play me the stuff. Easy access hasn't necessarily diminished her appreciation of music, it's merely sped it up...... Mind you, they'll never know the pain of waiting 20 years for a record will they......? Ian D

True Russell. An in-depth article would have done everyone more favours I think...... Ian D

I see your point Jaco and no one likes finding an unknown physical record more than me, but your statement "once you have unlimited access to music for example in a convenient and painfree medium, it ceases to have substantive value on any level" is just wrong mate. Someone still has to find, discover and then champion a tune to spread it to the audience. So in my opinion it's more about taste rather than whether it's on a physical format or not. These days almost 50% of the tunes I love have never even been on a physical format - Melba Moore and Spencer Wiggins would never have had a shot under your rules! Purely sticking to a physical format merely limits your choices to whether someone could afford to have a record pressed up or not. Some of the best stuff I've heard in the last 10-20 years has never even made it to a pressing plant. However, it still takes the right person with the right taste to break it. For me the format is unimportant really. A great piece of music is still a great piece of music whether it's pressed on plastic, a 2" multi-track or a WAV file. Why limit the choice? Ian D

Good post Dave. I actually made a concious decision to to take some time out of the Northern scene and explore some other areas way back in 1975 following 5 years of hard-core duty because I was beginning to find it becoming slightly parochial for my own tastes. I never stopped loving the music but I was becoming bored with some of the attitudes and the fact that rarity was beginning to overshadow quality in my opinion. I also had a sneaking feeling that I would never experience the same level of intensity that I was lucky enough to experience between 1970-75. And I was right. The key musical period in many peoples lives is when then they're teenagers with a lust for life, endless energy and an almost pathological desire to learn. So I truly believe that I was lucky enough to move on to other areas before I became disillusioned with the scene and that seemed to work for me personally. What it meant, was that I could always dip my toe back in anytime, appreciate the great records but not get too bogged down with the politics or prevailing wisdom of particular eras. So in a way it's given me an overview plus the benefit of 35 years of experience dipping in and out at my leisure. I love Russ's enthusiam and his undiminished devotion for the scene, but as you say, 40 years is a long time and it would be crazy to think that the same ethics and outlook from the early 70's would manage to survive 3 or 4 generations down the line. Since I broadened my horizons some 37 years ago a lot has changed. These days EVERYONE is a DJ, EVERYONE has a half decent collection which they wear like a badge of honour and EVERYONE has an opinion which is cast in stone whichever side of the fence they sit on. But you make a good point about it should be fun! When I came on the scene the only barrier to instant brilliance was the Twisted Wheel guys and their intolerance of new divs entering the scene but, hey, they were only a few years older than me so there weren't really any other massive obstacles to a soul-loving youngster coming on the scene providing you could get through the first few months of elitism and intolerance. But these days, phew! Why would any kids want to come onto a scene dominated by 50 year old guys with entrenched attitudes, looking at records and dancing badly? The way of the future if this scene is going to survive will not be an 'either newies/or oldies' attitude but rather a smart combination of the two schools of thought which can unite the scene rather than divide it. Choose DJ's who have good taste in oldies, newies, raries, lesser-played, under played and who know how to rock a crowd and who won't alienate a wider audience. You know, make it fun and get the buzz back! Ian D

I find it significant that he didn't manage to mention a single act or a specific title throughout the whole interview. It may just have been a bad interview but you would have thought that a bit more passion may have come across. Mind you, over the years, I've seen many examples of 'completists' who just like amassing a collection because it's a challenge including many who don't seem particularly bothered about the music but more bothered about showing off their shelves - a similar mentality to train-spotters who simply collect the numbers of trains. I've never really understood the label completist thing to be honest. Very few labels have 100% great records. I can't see the point of picking up Soupy Sales, Tom Clay, Bruce Willis or Charlene records on a classic label 'cos frankly I'd never play 'em. They'd just be taking up space for me personally..... Ian D

And, before anyone else asks, yes Acid Jazz are now sponsored by Ben Sherman! Ian D

Promo Video for the Acid Jazz 25th Anniversary Box Set..... https://youtu.be/dWd9GQg_wuE Ian D

Some fantastic early floor-clearers:- Stubborn Heart - Ernest Mosely Send Him Back - Pointer Sisters Job Opening - The Del Larks Please Give Me One More Chance - Clyde McPhatter Ain't Nothing You Can Do - Joe Mathews Gee Baby - The Malibus That's Why I Love You - The Professionals Your Love Makes Me Lonely - The Chandlers My Heart's Not In It Anymore - The Steinways The list is endless really. They all had to start somewhere....... Ian D

Yep. From the "Sophisticated Soul" album.... Ian D

Actually it's well over 40 years now Russ, since the 'Northern' scene actually started in the late 1960's.......... Ian D

You'd have thought he'd have known better than! Bloody artists......... Ian D

Talking of which, who owns Beverly Glen these days then? I don't think any of that stuff has resurfaced has it....? Ian D

Last hour jobbie with a handful of spins I reckon Dave............ "Watch Out Girl" was pretty immediate - I remember a bunch of us singing it in the car between Blackpool and Wigan when it first broke.... Ian D

I remember "Watch Out Girl" from the Mecca (Curtis) circa '75. However, I don't think Colin was first on it. I sure Pep or Sam had the first one but someone else would need to confirm......... Ian D

No probs Davie. I can see you're a busy guy. Those pics are amazing by the way - that's some of the most beautiful country on these shores. I may go up there for a nice peaceful driving trip to get away from the madness down here..... Where was the club out of interest? I ask that 'cos one of the best gigs I did (with Paul Schofield) was in the middle of Scotland (for a guy called Tony Cochrane) sometime in the late 70's where he ferried coachloads of customers from all parts of Scotland in. I actually have an early VHS film of some of the gig with a HUGE crowd doing a line-dance to "Shante" by Mass Production. Has to be seen to be believed......... Ian D

Also, our PR guy just found this cracking 'lil film from circa 21 years ago featuring a very young looking Gilles P...... https://vimeo.com/27940835 Ian D

And it just gets better and better...... Amazon Bestsellers Rank: #430 in Music (See Top 100 in Music) #6 in Music > Jazz #6 in Music > R&B and Soul > Soul #14 in Music > Dance & Electronic https://www.amazon.co.uk/Acid-Jazz-25th-Anniversary-Box/dp/B009DW5Z2Y/ref=sr_1_1?s=music&ie=UTF8&qid=1349970481&sr=1-1 Ian D

Yay! With 4 weeks to go........ 1,920 in Music #28 in Music > R&B and Soul > Soul #72 in Music > Jazz #72 in Music > Dance & Electronic https://www.amazon.co.uk/gp/product/B009DW5Z2Y/ref=s9_simh_bw_p15_d0_i1?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=10796YA8XA9KXBC4RCQ6&pf_rd_t=101&pf_rd_p=323735287&pf_rd_i=229816 Ian D

Yep, for sure. Gilles Peterson went from Acid Jazz to Talkin' Loud. We tried for around 4 Talkin' Loud tracks and got 2. The other two got refused for inexplicable reasons. With projects like this, the main obstacle is always the licensing. We were lucky to get what we did as everything that cleared was on the original wish-list! Ian D

Que? I take it Groove Thing was a club in the far North Davie....? Ian D