Steve G

Tough one Chicago Pete and the Detroiters

Thank you for the explanation Ian.

It is great deep, indeed it is. Apart from mine - which is the one that has been all around the UK in it's time - I know of one in Germany.

Well let's face it Ian you have made a number of stories up for various reasons when you returned to the 'scene' and you may be surprised to know that I at least do understand the logic of why you made the 4 Vandals record and disguised it. Same thing with Venecia Wilson, though obviously I objected to your trying to hoodwink people by saying it was an original. I mean I understand you wanted to prove to the world that you could make an authentic "northern record" and didn't want people criticising it because it had your name on it etc. David Rhodes and the hyperbole over that? - unneccesary because everyone says it's a good record anyway, but we've done that to death already. What I don't understand is why you paid Adey Pierce 450 for a record that you made. I read somewhere that three copies were planted in the Wax Museum and Butch or someone found one etc.....but that still doesn't explain why you had to pay 450 for it. Don't answer if it's all too painful, but this is a chance for you to "come clean" and clear up any remaining myths.

Yes of course. Thought it was another vocal to R&B time - loosely based - and the other two have confirmed that, so my memory isn't failing. Cool.

Adey charged you £450 for a record that you yourself produced Ian? How does that work? Not having a dig just don't understand the logic of what you are saying

It was styrene and from memory the sound was pretty well gone on the first twenty seconds

....or as we say here the lights are on but there's no one home you two have restored my faith in my ailing memory

I am not 100% sure it was on Tomorrow. It was on one of those labels as an acetate, and it was def on Pye as Sam has also had it through his hands at some point, but hey Ian can tell us for sure.

Back on Venecia Wilson - it's actually a pleasant enough pop record. At the time I likened it to "Downtown" and that's not a put down at all. When I first heard it at the Rocket I was talking to Eddie Hubbard and his wife, and we all heard "programmed strings" in it so not everyone was fooled by the mystique and bravado......but then again you got to know a bit about music to detect that.

The Boot has a load of UK style copyright language / drivel around the edge. The original does not.

Yeah I do remember it as being pretty good. Will have to find my copy now. Oh no a trip to the lock up in the freezing cold!!!!

Absolutely correct Paul. Pressed up at Damont in Hayes a few years ago. In the 70s David Rhodes only existed on Pye or Tomorrow acetate. Which is a shame as I think it is the best of those productions of that era along with 24 hours a day and is a very good record. Was this "found in Danny Leake's basement" story one of yours Ian or did someone else say that? And whilst you might not have sold copies I do seem to recall someone who bore more than a striking resemblance to you trading a copy to a lad from Tewsksbury in exchange for a £120 O'Keh original at a Wembley record fair a few years ago? I am being very very very tolerant here but I am not going to sit back and watch while history is re-written for the sake of convenience and embarrasment. Stop the bullsh*t please!

Isn't it an early rap record - I thought it was the vocal to R&B time - I will have to go and check later

Yes Dave and that copy went to someone else on this thread.

Yes I have them both Chris. The Finess is fabulous. I also think the flip of Renee Williams is better. Steve

I believe Levine's copy ended up with Tim Brown. I still don't have an original of this..

As Jo says there was a crowd of us used to go from Kent on the train- a small crowd mind you! The first time I ever went - couldn't afford the train so went on the coach from London Victoria - Manchester then train from Manny Vic to Wigan Wallgate with Kim Styles. Oh was it fun coming back on the coach - I think I got back at 6.30 pm on Sunday night. From then on it was the train! I still have the times etched on my mind 20.25 or 20.30 from Euston, and then the 22.37 from Crewe - ouch!!!

If it is a manual system I think there is a moral obligation by the seller to keep the auction price current. Otherwise it's not really an auction is it. Sounds a bit poor to me but Tim also lost out by not getting as much for the record as he could.

No surprises there. Shops sellijg DVDs and CDs etc have been desimated by internet sales.

Well that's probably because I wrote it in Blackbeat . The info came from John Anderson who told me. Steve

I can confirm for what it is worth that Tutt was Jimmy Bo Horne's brother.

Yes he has a tremendous knowledge and built up an unenviable list of contacts in the US through sheer hard work and endless visits. He went every month for years and spent all day and night on the road meeting people, tracking people down etc. So yes sheer hard work and a good personality that meant that people remembered him. He also managed to get records that appealed to northern souL DJs. Because he wasn't just looking for northern though he managed to amass a huge stock of vinyl - when many of the major one stops and chains were closing down in the 70s. This investment obviously served him well when styles changed. He'll tell you no one wanted the slower records in the 70s, so things like "Just can't speak" JBH and "Channel 3" were "Soul pack" records - 100 for £4. But there are not many records he hasn't had over the years.

he already HAS. Steve

Agree with you Steve that double booking he CAN do. And also agree he is a LEGEND But Manchester and London on the same night - not possible. Not when he's booked in my local Chinese Restaurant at 7.15 pm