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

Win, I think they all define a moment in time.

Fior example the sound at the Mecca changed dramatically, three times (60s, 70s, jazz/funk)

Wigan 73 was different to Wigan 75 and different again to Wigan 80.

Hope that makes sense.

I don't think it limits anything, it's just how it is for a while.

It's funny because all of the places above have had solid oldies sets played there and plenty of sounds played that were played in many other places before and not specifically at those venues. I think it's a case of selective memory and rose-tinted specs in most cases.

Win, I think they all define a moment in time.

Fior example the sound at the Mecca changed dramatically, three times (60s, 70s, jazz/funk)

Wigan 73 was different to Wigan 75 and different again to Wigan 80.

Hope that makes sense.

I don't think it limits anything, it's just how it is for a while.

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?

It's funny because all of the places above have had solid oldies sets played there and plenty of sounds played that were played in many other places before and not specifically at those venues. I think it's a case of selective memory and rose-tinted specs in most cases.

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?

Without prolonging the Burnley incident,some people expectations are different from others.Some sounds fit a venue,while others don't.Doesn't mean these tunes aren't good.

Imagine playing xover at a hardcore r'n'b night.!! It wouldn't work.The limitations are set by the direction of venues at the time in question..and of course with the benefit of hindsight,we've all been "limited" at some stage during our soul careers.

Personally i'd rather know in advance what i'm being served up before i go to a venue.I suppose that in itself is limiting.

Without prolonging the Burnley incident,some people expectations are different from others.Some sounds fit a venue,while others don't.Doesn't mean these tunes aren't good.

Imagine playing xover at a hardcore r'n'b night.!! It wouldn't work.The limitations are set by the direction of venues at the time in question..and of course with the benefit of hindsight,we've all been "limited" at some stage during our soul careers.

Personally i'd rather know in advance what i'm being served up before i go to a venue.I suppose that in itself is limiting.

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?

See what you're getting at now Winnie.Burnley.Lets put this straight,not everyone was unhappy with a certain dj's set,just a couple.

Some people let it ride,some downright enjoyed the set.Some spoke out.9 hours or so of good music,and about 30 minutes not to one's taste?

No different from alot of nighters.

See what you're getting at now Winnie.Burnley.Lets put this straight,not everyone was unhappy with a certain dj's set,just a couple.

Some people let it ride,some downright enjoyed the set.Some spoke out.9 hours or so of good music,and about 30 minutes not to one's taste?

No different from alot of nighters.

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?

Yes,dont want to single out any venues................

Yes,dont want to single out any venues................

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

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

Plea accepted.

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

It is in my opinion, and the downfall of any venue could be the VERY sound (whatever that is) that made it " The Sound of x" If that makes sense

Edited January 29, 201213 yr by Alison H

It is in my opinion, and the downfall of any venue could be the VERY sound (whatever that is) that made it " The Sound of x" If that makes sense

To some extent,yes.But then again we wouldn't be able to sit here and say,thats a 100 club/Wigan/Stafford/Mecca sound.

a " sound" sorry not getting it ! Fast uptempo dance records = N S ?

As someone who came from the Wigan era i see the top 500 as a Benchmark in Northern Soul

i think at that time it was more popular than it had been previously , so in my mind set that was the northern soul era along with all the other clubs that were playing that music at that time

that is what i listened to then and now i accept the scene was moving on when i left it with "crossover" and more modern soul so why didn't the name change with this genre of music ? as like now i read on here about Modern soul R+B Progressive and other stuff

so my question is why not name the soul nights by a different name ?

if i go to a northern soul gig now , i don't know what the hell i'm going to hear because everybody is using northern soul as a marketing tool ,

when in reallity the scene has moved on past it

even back in my Wigan days there were people who didn't want to move on and didn't like the way the scene was going So an oldies allnighter was started for people who wanted to hear the top 500 and everything that preceeded it

the Friday oldies allnighter became so popular that the Saturday nights were almost empty for a while

So as i say call the soul gigs what they are and then people won't be disappointed

Just my opinion ! Andy

Edited January 30, 201213 yr by allnightandy

To some extent,yes.But then again we wouldn't be able to sit here and say,thats a 100 club/Wigan/Stafford/Mecca sound.

Kev

Will you upload me a "Burnley" sound, as I am honestly perplexed as to what a "Burnley" sound is, and how it is different to what I've been hearing the last 25 years

Cheers

Edit: or why I'm not likely to hear it elsewhere (if that's the case)

Apologies for bringing Burnley into it, but I truly want to learn what a "Burnley" sound is (I attended Burnley when Phil first started it, and when Sean & Karl took over & I still don't understand) People saying it's 100mph banging 60's doesn't help me, as lots of places play 100mph banging 6t's and have done so for a while. I'm not trying to be awkward here, I genuinely want to learn & understand

Edited January 29, 201213 yr by Alison H

A Burnley sound is usually distinguished by the sound of clogs .

Appologies could,nt help meself

A Burnley sound is usually distinguished by the sound of clogs .

Appologies could,nt help meself

And Flat Caps and barking of Whippets

Kev

Will you upload me a "Burnley" sound, as I am honestly perplexed as to what a "Burnley" sound is, and how it is different to what I've been hearing the last 25 years

Cheers

Edit: or why I'm not likely to hear it elsewhere (if that's the case)

Apologies for bringing Burnley into it, but I truly want to learn what a "Burnley" sound is (I attended Burnley when Phil first started it, and when Sean & Karl took over & I still don't understand) People saying it's 100mph banging 60's doesn't help me, as lots of places play 100mph banging 6t's and have done so for a while. I'm not trying to be awkward here, I genuinely want to learn & understand

Alison,nowhere have i said anything about a Burnley sound mi duck.There's nothing different that other venues have'nt done/tried in the past.Like i said earlier,some tunes fit a venue,others don't seem to work for whatever reasons.

Kev

Will you upload me a "Burnley" sound, as I am honestly perplexed as to what a "Burnley" sound is, and how it is different to what I've been hearing the last 25 years

Cheers

Edit: or why I'm not likely to hear it elsewhere (if that's the case)

Apologies for bringing Burnley into it, but I truly want to learn what a "Burnley" sound is (I attended Burnley when Phil first started it, and when Sean & Karl took over & I still don't understand) People saying it's 100mph banging 60's doesn't help me, as lots of places play 100mph banging 6t's and have done so for a while. I'm not trying to be awkward here, I genuinely want to learn & understand

When people say a 'Stafford' sound or wherever - to me that means that record was first played there and established there. As such I don't feel this is in anyway limiting.

I too have struggled with this 'Burnley sound' tag as there is nothing I have heard there that I haven't heard before, played elsewhere or that has established itself as being played there first and nowhere else.

When people say a 'Stafford' sound or wherever - to me that means that record was first played there and established there. As such I don't feel this is in anyway limiting.

I too have struggled with this 'Burnley sound' tag as there is nothing I have heard there that I haven't heard before, played elsewhere or that has established itself as being played there first and nowhere else.

Tell a lie, I first heard Foreign Blue Renaisance played at Burnley by Andy Killick but that is by no way a Burnley sound, I just heard it there first. To me that record is a Mick H, Andy Killick and Steve Green record as I first heard Andy play it, Steve Green told me what it was and then sold it to Mick who started playing it all over the shop.

So to me, records are just as much associated to people as they are to places.

So to me, records are just as much associated to people as they are to places.

I agree, more so if anything and that 'sound' becomes associated with a certain place because that person D.Jed there... Have I just stated the ble*ding obvious? - Sorry, I'm havin'g a bit of a 'Dumb Day' today.

All the best,

Len.

Edited January 30, 201213 yr by LEN

Win, I think they all define a moment in time.

Fior example the sound at the Mecca changed dramatically, three times (60s, 70s, jazz/funk)

Wigan 73 was different to Wigan 75 and different again to Wigan 80.

Hope that makes sense.

I don't think it limits anything, it's just how it is for a while.

That makes complete sense to me.... now

At the 2011 Blackpool Hilton Weekender, Colin Curtis did a fantastic "Mecca" spot. It was billed as a "Mecca" spot in the programme, but as I never went to the Mecca I didn't know how authentic it was. It was a 70's spot, and I enjoyed it regardless of its roots.

Now this year at Blackpool Hilton Weekender he did another great spot, completely different to the previous year, but I enjoyed it just a much. When speaking to a friend about it, they commented on how they wish they had heard his "Mecca" spot. I was puzzled as it was nothing like the previous "Mecca" spot I had heard, this one was a bit more commercial, still good, but completely different, so I checked the programme out and yep it was billed as a "Mecca" spot ! (The Mecca meets the Ritz)

Thanks for helping out a very confused little lady who never went to The Mecca, nor Wigan, nor The Torch

Alison,nowhere have i said anything about a Burnley sound mi duck.There's nothing different that other venues have'nt done/tried in the past.Like i said earlier,some tunes fit a venue,others don't seem to work for whatever reasons.

Hi Kev

You personally have not mentioned a "Burnley" sound in this thread, but others have mentioned it in the past, and I was hoping that as you frequented the "Bat Cave" more than I, you were better placed to guide me as to what a "Burnley" sound is/was, but if you're saying there isn't one, then that answers my query

Cheers darling

Edited January 30, 201213 yr by Alison H

When people say a 'Stafford' sound or wherever - to me that means that record was first played there and established there. As such I don't feel this is in anyway limiting.

I too have struggled with this 'Burnley sound' tag as there is nothing I have heard there that I haven't heard before, played elsewhere or that has established itself as being played there first and nowhere else.

Cheers Joan, it's nice to know that I wasn't the only one trying to grasp what "some" were calling a "Burnley" sound when to me it was no different to what I could hear or have heard elsewhere

Tell a lie, I first heard Foreign Blue Renaisance played at Burnley by Andy Killick but that is by no way a Burnley sound, I just heard it there first. To me that record is a Mick H, Andy Killick and Steve Green record as I first heard Andy play it, Steve Green told me what it was and then sold it to Mick who started playing it all over the shop.

So to me, records are just as much associated to people as they are to places.

For me I do associate records to places, but not in relation to it (possibly) being a "such & such sound" because I do not know enough about who broke what & where. My first nighter was 1987 at the Bradford Queens Hall, and certain records remind me of that place, so I'd often say to pals "ooh this reminds me of Bradford" but I'd never be so bold as to say this is a "Bradford" sound as I know there were venues before BQH who did break records. If someone can tell me of a tune that did get discovered at "Bradford" and that I could label a "Bradford" Sound I'd be over the moon Bradford was MY Wigan/Mecca/Torch/Stafford all rolled into one, I think

I just love it all

Edited January 30, 201213 yr by Alison H

Cheers Joan, it's nice to know that I wasn't the only one trying to grasp what "some" were calling a "Burnley" sound when to me it was no different to what I could hear or have heard elsewhere

For me I do associate records to places, but not in relation to it (possibly) being a "such & such sound" because I do not know enough about who broke what & where. My first nighter was 1987 at the Bradford Queens Hall, and certain records remind me of that place, so I'd often say to pals "ooh this reminds me of Bradford" but I'd never be so bold as to say this is a "Bradford" sound as I know there were venues before BQH who did break records. If someone can tell me of a tune that did get discovered at "Bradford" and that I could label a "Bradford" Sound I'd be over the moon Bradford was MY Wigan/Mecca/Torch/Stafford all rolled into one, I think

I just love it all

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 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.

Yeah I hear what you're saying Win, I guess I also do that, I associate Karl Frierson's "10 minutes" with Bob Hinsley, and Hayes Cotton Black Wings have my Angel with Mark Wilson, as they were the ones who I first heard play them (at various venues), yet some-one else in another part of the country maybe heard another deejay spin those tunes, so they would mean something different to them, be it about the venue, or the deejay

Edited January 30, 201213 yr by Alison H

I find it difficult to entirely accept it when people label 45s as being a Wigan/Mecca/Stafford/My Living Room sound. If records must be "Sound of...", make it Chicago, Detroit, Philly, etc, etc, and not the name of the disco it got played in.

It's a very parochial perspective and give continued credence to the cult of the DJ (blah, blah played this one first) when the spotlight should instead be on artists and those associated with making the tune.

I find it difficult to entirely accept it when people label 45s as being a Wigan/Mecca/Stafford/My Living Room sound. If records must be "Sound of...", make it Chicago, Detroit, Philly, etc, etc, and not the name of the disco it got played in.

It's a very parochial perspective and give continued credence to the cult of the DJ (blah, blah played this one first) when the spotlight should instead be on artists and those associated with making the tune.

I agree, but as an innocent 18 year old, who'd hardly been out of the county never mind the country that's all I could relate it to. It's only with time, and hearing the wide variety on offer that you then associate it to Detroit, Chicago, Philly etc

Credit DOES have to go the deejay, especially the ones who broke a record, as most would put the effort & hard work in to find these tunes so without these guys & gals (or the people behind the scenes finding them records in some cases) we'd all be listening to ski-ing in the snow lolol You obviously can't take anything away from the artist, but like a deejay can't survive without a tune to play, an artist can't survive without the deejay. I think I've digressed, it's late, & I'll probably regret posting this in the morning

All the above is just my view, I'm no expert, so I'm going to leave the posting to others, & will try not read this thread again, or at least keep my thoughts to myself.

Regards

Ali x

Hi Kev

You personally have not mentioned a "Burnley" sound in this thread, but others have mentioned it in the past, and I was hoping that as you frequented the "Bat Cave" more than I, you were better placed to guide me as to what a "Burnley" sound is/was, but if you're saying there isn't one, then that answers my query

Cheers darling

Your'e right - there isn't one,in particular.Maybe the "Burnley" sound quote means a collective feel, or tunes, from the 60's,mainly uptempo,mainly in a NS vein with a penchant for NS funk.......(i can hear the keyboards starting up.....),one after the other of tunes that work.Maybe that's what's meant?....No, there's no "Burnley" sound,any more than there's a "sound" connected with any niter or soul nite.

My learned friend is correct, for me the "Burnley sound" is more to do with the ethos of the venue than particular records.

Some venues can play a variety of styles and tempos but Burnley has (mostly) been about up-tempo, driving dance music, mainly 60s soul but some with a funky edge.

I agree, but as an innocent 18 year old, who'd hardly been out of the county never mind the country that's all I could relate it to. It's only with time, and hearing the wide variety on offer that you then associate it to Detroit, Chicago, Philly etc

Credit DOES have to go the deejay, especially the ones who broke a record, as most would put the effort & hard work in to find these tunes so without these guys & gals (or the people behind the scenes finding them records in some cases) we'd all be listening to ski-ing in the snow lolol You obviously can't take anything away from the artist, but like a deejay can't survive without a tune to play, an artist can't survive without the deejay. I think I've digressed, it's late, & I'll probably regret posting this in the morning

All the above is just my view, I'm no expert, so I'm going to leave the posting to others, & will try not read this thread again, or at least keep my thoughts to myself.

Regards

Ali x

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

Don't most venues that run for a reasonable amount of time with a steady resident DJ line up build their own sound? I remember the London venues I used to go to 10-14 years ago like Capitol Soul Club, These Old Shoes and Scenesville all having their own sound (all be it quite similar to each other but each had their own big tunes too). It's just a reflection of the resident's styles.

Edited January 31, 201213 yr by daved

Don't most venues that run for a reasonable amount of time with a steady resident DJ line up build their own sound? I remember the London venues I used to go to 10-14 years ago like Capitol Soul Club, THese Old Shoes and Scenesville all having their own sound (all be it quite similar to each other but eachha dtheir own big tunes too). It's just a reflection of the resident's styles.

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

Kev

Will you upload me a "Burnley" sound, as I am honestly perplexed as to what a "Burnley" sound is, and how it is different to what I've been hearing the last 25 years

Cheers

Edit: or why I'm not likely to hear it elsewhere (if that's the case)

Apologies for bringing Burnley into it, but I truly want to learn what a "Burnley" sound is (I attended Burnley when Phil first started it, and when Sean & Karl took over & I still don't understand) People saying it's 100mph banging 60's doesn't help me, as lots of places play 100mph banging 6t's and have done so for a while. I'm not trying to be awkward here, I genuinely want to learn & understand

It,s not banging 100 mph tunes all night ,that just suits the argument of those that do not care for the place as does it,s just oldies!!...........it,s a particular sound which is hard to define save to say...ask rosemary,cogy,kev soulbarner and they may help you.......generally a burnley regular will tell you in an instant at any venue what,s a burnley sound.It does not have to be a tune that has been played there or even one that is yet known.......bit like a lady shopping for a new outfit....she'll know it when she sees it/know one when you hear one.......this sound goes for me as well....with the add on it,s all about maintaining a certain vibe for the entire night something they generally do at this venue.....that is why people probably get so uptight when a guest dj breaks that vibe (they usually know themselves when they've done it). Lastly there are tunes that were played at the torch,that are torch sounds the same for wigan the wheel ect ect....that is not the same as the burnley sound...you may be lost at this,but l and plenty of others know exactly what l mean.........this is the only club that has ever done this. this is why this club evokes such passion among it,s followers....whilst we go out for a social....it,s the music and how it,s put together that makes it very special terry

Edited January 31, 201213 yr by gordon russell

Don't most venues that run for a reasonable amount of time with a steady resident DJ line up build their own sound? I remember the London venues I used to go to 10-14 years ago like Capitol Soul Club, These Old Shoes and Scenesville all having their own sound (all be it quite similar to each other but each had their own big tunes too). It's just a reflection of the resident's styles.

Yes, agree entirely & thats the point, its not about a particular record, but about the vibe that is created within the said night as a whole by all the records played, it might be instigated by the vision, if they had, one of the promoter & resident DJ's, if it works the 'sound' becomes asscotiated with that venue......most long running venues have a particular sound, the 100 Club for instance has evolved through many phases & sounds over the years. It isnt even intentional a lot of the time...only with hind sight.......the whole 'sound' thing is pretty indefinable to be honest.....you just know & feel it.........

Some DJ's have thier own sound too, Karl Heard for example.

Russ

Edited January 31, 201213 yr by Russ Vickers

It,s not banging 100 mph tunes all night ,that just suits the argument of those that do not care for the place as does it,s just oldies!!...........it,s a particular sound which is hard to define save to say...ask rosemary,cogy,kev soulbarner and they may help you.......generally a burnley regular will tell you in an instant at any venue what,s a burnley sound.It does not have to be a tune that has been played there or even one that is yet known.......bit like a lady shopping for a new outfit....she'll know it when she sees it/know one when you hear one.......this sound goes for me as well....with the add on it,s all about maintaining a certain vibe for the entire night something they generally do at this venue.....that is why people probably get so uptight when a guest dj breaks that vibe (they usually know themselves when they've done it). Lastly there are tunes that were played at the torch,that are torch sounds the same for wigan the wheel ect ect....that is not the same as the burnley sound...you may be lost at this,but l and plenty of others know exactly what l mean.........this is the only club that has ever done this. this is why this club evokes such passion among it,s followers....whilst we go out for a social....it,s the music and how it,s put together that makes it very special terry

Maybe we should just call it the Phil Kowalski sound.

Being a friday night regular I agree with everything Terry says, it's something you felt and it's something that will always stay with you.

when I walked up them stairs and into that room I just felt I belonged and that the music that was playing was my music and at last i'd fooking found it.

I think we have all at some point found that feeling, for me it was Burnley, for others wigan, Stafford etc

S&F

dekka

Maybe we should just call it the Phil Kowalski sound.

Being a friday night regular I agree with everything Terry says, it's something you felt and it's something that will always stay with you.

when I walked up them stairs and into that room I just felt I belonged and that the music that was playing was my music and at last i'd fooking found it.

I think we have all at some point found that feeling, for me it was Burnley, for others wigan, Stafford etc

S&F

dekka

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?

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 promoter should be hiring DJ;s that fit the clubs sound.

Russ

The promoter should be hiring DJ;s that fit the clubs sound.

Russ

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?

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?

Yeah & I think you can have a sound within that, it doesnt have to be specific, its very difficult to define Win......I think we're trying to explain something that cant really be defined.

Russ

Edited January 31, 201213 yr by Russ Vickers

Yeah & I think you can have a sound within that, it doesnt have to be specific, its very difficult to define Win......I think we're trying to explain something that cant really be defined.

Russ

And on that note, I'll close the thread, because you could be right