Barry

I'm absolutely positive that he didn't mean anything but I think it was an unnecessary addition.

So! If Rod Stewart wrote a completely new Soul album, you'd buy it?

The blonde?

Tony! Do we really listen to Radio 4? When did that happen mate?

So he's crap cos he likes women now is he?

"Dad!? Why are your socks under the grill?" "Cos de Cooker ain't workin'!"

I think it puts a bit of a slant on Imbers post mate.

Just to clarify, I was agreeing not with your post as a whole, just your final point mate. Each to their own.

Correct, if you don't like the programme, then you don't have to watch it.

Could go back to the 60's and 70's when the scene was forming and integration wasn't at where it is now. Maybe a scene with a massive white following wasn't as nice a place to be hanging around in back then.

Good point mate. It's a job at the end of the day, done most of the time for money - and why not bang a compilation of dodgy Soul covers if you can, he's worked to be in that position. I for one would rather have Rod Stewart on the musical tapestry than not, I think he has made and sang some belting tracks. Does he deserve someone minuteising a part of his life and maybe reading into it - well, that comes with the territory - but that piece seems to demonise more than illuminate. David Ruffin and his hammer or Rod and his covers?

We used to mail order him records and he'd reply by letter in character which was hilarious (Delbert Wilkins etc), but I know what you mean - them bloody Travelodge (?) adverts are terrible and his harping on of late about his Shakespearian role has been pure 'luvvy' cringe-worthy. That said he's playing a part in a Radio 4 black-family comedy at the moment on Wednesdays about 6 o'clock called 'Reggies Rare Records', a kinda 'Desmonds'-a-like which has turned him back round a bit in my estimations, it's very funny.

I just think the colour of the piece is a little odd and he may be looking into his conspiracy theory a tad too deeply for truth's sake. And who, in fifty years time, would give that much of a hoot if they found out that craggy owd Rod had done a number on or two on another artist(es) be they black or white (odd!)? Wouldn't be the first time that someone has, in any sphere would it? Next week: Frankie Howard vs Lenny Henry

Keep it up young Soul rebel.

Don't forget his daughter: There's two sides to every story ay Lenny!?

Good answer son.

Firstly apologies if this is old news but I've just had it posted on my site and would like the boards views, my response from the site follows the piece: WHO OWNS HISTORY? It is often said that one should never pick a fight with someone who "order's ink by the barrel." That is of course a reference to picking a fight with the press, because you simply can't win. They will overwhelm you with written documentation. The same concept can also be applied to individuals who would like to adjust their historical legacy in whatever way that would make their legacy somehow different for people who don't have first hand knowledge, than what the reality of the memories of the people who did have first hand knowledge of what that individual's actual legacy was. Individuals who control the written (including text, graphics, video, audio) documentation about their own historical legacy are in a position to frame that legacy in whatever manner they would like to. These individuals know that their written documentation will outlast the "opinions" of people who have firsthand knowledge of the truth. Thus they are in a position to create their own version of history with the full knowledge that 100 years after the fact, it will be their version of history that will be regarded as the factual truth as opposed to the "opinions" of other people, who are now dead. THOSE WHO TAKE THE TIME TO DOCUMENT IT I say all of this to let you know that is exactly what is occurring in the case of Rod Stewart and that it was predicted by Soul-Patrol many years ago, when we analyzed the 1 hour broadcast on VH-1 of "Rod Stewart: Behind the Music." In that episode of VH-1's Behind the Music it was made quite clear that one of the highlights of Rod Stewart's career (from Rod Stewart's perspective) was the "kinship" between himself and singers such as Sam Cooke, David Ruffin, and others. He talked at length about his desire to not only emulate their singing styles, but to be remembered as primarily a "soul singer" himself. Of course many pictures were shown of Rod Stewart with these artists, both onstage and in social situations. The implication of this was to imply that Rod Stewart was somehow a "peer" of artists like Sam Cooke, David Ruffin, and others. To many people at that time, this was regarded as nothing serious, simply an obscure television program about an average artist, who made more headlines in his career because of wild partying, failed marriages and illegitimate children, than for any musical accomplishments. However, we took that documentary to task, suggesting that Rod Stewart was trying to utilize that one hour piece of filmed documentation, that would not only be seen by millions of people on TV, but also archived in museums, libraries, schools, etc as the single piece of authoritative documentation about the career of Rod Stewart. Over time as there are fewer people alive with first hand knowledge of Rod Stewart's actual performances, this documentation moves closer to being "fact". VALIDATION BY THE NEGRO "Rod Stewart is the greatest blue eyed soul singer of all time" --James Brown Rod Stewart's latest album is entitled "Soulbook," an album of classic soul cover songs, including several duets with artists like Mary J. Blige, Jennifer Hudson, and Stevie Wonder. Most folks won't give it more than a passing thought. The issue of "validation" has been an ongoing part of the long saga of "culture banditry." It means getting the "victim" to become an active co-conspirator in their own victimization. This willingness on the part of the victim to be an active co-conspirator in their own victimization, in exchange for short term economic gain, is literally the very definition of "culture banditry." In fact the very notion of "selling your own down the river," has been a part of the legacy of Black Americans right from the start, when they were often sold into slavey in the first place by their own brethren. However in the case of Rod Stewart, it goes well beyond simple/traditional "culture banditry" for the sake of economic gain. This isn't just about selling an album or a series of shows. This is more about trying to swindle Black folks quite literally of their own history and a legacy that should be inherited by their children, not inherited by the children of Rod Stewart. That is what the name of this game is, and right now, Rod Stewart holds all of the cards in his hand. That is because he has the ability to document all of this in such a manner, that at the end of the day, the "truth" that he documents, will be the only "truth" that matters. What will be documented as a result of this album will be that "the negro will have validated the greatness of Rod Stewart of creating Black culture that is greater than that created by any Black person in history." And of course this greatness of Rod Stewart will all be validated by the negro: --No doubt there will be press events featuring Rod Stewart standing next to various R&B performers. --No doubt there will be TV appearances featuring Rod Stewart singing duets with some of these performances. --No doubt there will be concerts at venues like the Apollo Theatre & perhaps Black churches around the United States. --No doubt there will be quotes by negro spokespersons/organizations about Rod Stewart "saving soul music." --No doubt there will be a Grammy award nomination and presentation by a negro artist of distinction, thanking Rod Stewart for "saving soul music." All of this will be carefully documented and packaged along with the previous documentation. INFORMATION USAGE This validation by the negro, combined with the pre-existing documentation on Rod Stewart's "soul singing" will be archived and kept in a safe place for east future retrieval/distribution, thus insuring that the children of Rod Stewart will inherit that legacy. Then 50 years from now that documentation will be retrieved and distributed around the world, to people who have no first hand knowledge of Rod Stewart's actual performances. And the truth that Rod Stewart has documented will be the ONLY truth that matters. My response: Now I have a lot more to say about this but don't have the time right now; my response above is a little abrupt and I can see whoever wrote the piece has thought about it; and I would like to give a better reply than the one above - I haven't the time right now, so I thought I'd ask you your thoughts!?

Pleasure mate. We've only had the site back up about a week and we've been low key as it is nowhere near finished, just a space for friends to chat at the mo. It should have more to offer soon.

Errrr.....I'll come back to this thread when I've got enough ale in me.

ps Yours, Baz May - soon to be Hotbox Compiler. (my kinda Hotbox though - bought once and staying there)

If it's all about the music and the ownership of what you love, then why do we all not own a copy of (whatever the feck) the classic tracks we all go on about being 'classic tracks' then? I don't own a copy anymore of (for many an example) Ann Sexton, or Jimmy Radcliffe, or Yvonne Baker. Which ARE bottom line Northern classics to me -pour eg. Now, if I were to be put in a Desert Island Disc scenario I would bin me Al Mason's, me Jewels, me whatevers (I'm not just picking on Modern stuff per se - I'm talking about stuff that is worth a bob or two comparitively to stuff I should own but don't and I can't be arsed digging through my messed up mind any further than that right now) - in favour of Doris Troys', Bobby Paris' and Tobi Legends. (Am I dating myself here?) Are you with me? Now I've always been a staunch H Squared kinda bloke - an H2......a 'Hotbox Hater', you know!? But in hindsight I believe that I have bought like many others; what I could afford when I could, bought something when I was out that I liked but didn't LOVE, bought summat to try and fill a gap or maybe slot in a memory; or even bought a track just simply to go home with something at any given time.....rather than actually do right by my loves and convictions and buy what I should - what I really love, you know when you're girly-pisssed? I looked at my stuff tonight, which has what has brought this sh*t on, and thought - 'Why've you got them three and not got Sammy Gaha?', or whatever. Get me? I know the answer to this sad diatribe already, as I think we are all guilty of doing the same. Which leaves the question: "Am I truly a Soul Boy when I don't own an Ann Sexton anymore?" Am I bollox.

To sum up: Stop w*nking the bloke you think is cooler than you off by buying records for a £100 that you knida like when you never actually bought 'Young Hearts Run Free' which you like better but daren't say. Northern Soul is the nightmare you never truly awaken from - unless you're at a wedding.

If I hadn't have embarked on that fateful first night at the Casino back in 79 I could (say - WOULD brother) have been a Milkman in Haydock by now. Gutted.