Ian Dewhirst

That's where the incredible Bostocks Bradford Market load came from in the early 70's, which was apparently several million 45's. They bought up all the MGM/Verve warehouse overstocks which also included many other major labels and thousands of independents. They used to sell to travelling fairs and lots of other none-traditional accounts which is why you'd often see some some interesting looking records whenever the local fair came to town. In fact I won a Don Gardner "I Can't Help Myself" on Spectacular at a local fair! Ian D

Probably LOL. The original is such a mess I can't really tell....... Ian D

The best book about that bar none, was "Stiffed"....... https://www.amazon.com/Stiffed-Story-Music-Business-Mafia/dp/0060167459 Ian D

Smartest thing he ever did....... Ian D

And the South Suburban Rhythm Section "Libra's Really Do Run It"......... Ian D

Also with the indie labels that had to go through independent distribution it was always necessary to have more records in the pipeline, in order to make sure you got paid for the current ones, as getting money from the indie distributors was always a chore by the sound of it. This continued even into the 80's where I'd hear arguements between labels and regional distributors all the time with the implied threat that unless they got paid for the current biggies they wouldn't ship the new releases. There's some brilliant stories I think in Charle Gillett's "The Sound Of The City". I'll have to try and dig 'em out...... Ian D

Cochise - Paul Humphrey You Sexy Sugar Plum - Rodger Collins Overture - The Miracles Broadway Cissy - Roscoe & Co All monsters in their time but seldom heard these days..... Ian D

And weirdly enough I've just done the label copy for this as it's on one of the next 10 Backbeats CD's - BACKB029 "Lost In Time - More Northern Soul Treasures" coming up soon folks........ Ian D

Most of the ones that I sold very cheaply 'blind' in the 70's and 80's are the crossover monsters of today! Ian D

My record room is upstairs so no chance of letting loose up there at this time of night! That's why the lappy option suits me just fine these days..... Ian D

Oh I'm not bored of playing music by any means. I'm bored of the pulling out and re-filing records all the time LOL. It's the physical labour part of maintaining a record collection that I don't have time for these days. I seem to spend most of my time staring into my laptop and listening on cans whilst reclining on the sofa if the truth's known which means that I don't have to spend several hours re-filing stuff like I've done for the last 40 odd years...... Listening to the L.J. Reynolds album as I type this in fact...... Ian D

I still maintain a huge collection but simply don't have the available time to enjoy it anymore. For me to enjoy it, I need a dedicated few days where I can go through the shelves at leisure and remind myself of what's there without being bothered by anything or anyone, which simply doesn't happen these days. I'm in the process of whittling it all down apart from a thousand or so that I'll be keeping. I started listing with UK 12"'s and albums over 3 years ago and I still haven't listed 'em all plus I keep buying stuff for some reason...... I'll be starting on U.S. and U.K. 7"'s this year hopefully. My philosophy is that I'd rather pass 'em on to people who can use 'em rather than let 'em keep gathering dust on my shelves which is boring. Also, I think age, circumstances, domestic conditions and other responsibilities have a huge bearing on whether you can spend the time to maintain a huge collection. Space is becoming a real issue these days too. Plus, to manage a huge collection properly is almost a full-time occupation these days what with filing, maintainance, space, shelving etc, etc. And the dust mites are annoying too...... Ridiculous pastime! Ian D

OK download links now back to normal. Many thanks to all who joined this Sunday’s show in the Starpoint chatroom. The show is dedicated to the memory of Tony “T.C.” Coleby who sadly passed away at the weekend. Our thoughts are with Rani and all who knew Tony. Six Million Steps Presents The Original Mastercuts Show LIVE with Ian Dewhirst between 2.00-4.00pm on Sunday 9th October 2011 on everyone’s favourite Soul station www.starpointradio.com. Featuring…… 1st Hour Barry White & The Love Unlimited Orchestra – Always Thinking Of You – Pinky Velazquez Re-Edit Sly & The Family Stone – Family Affair – BP’s Twisted Family Re-Edit Jestofunk – For Your Precious Love Donny Hathaway – The Ghetto – Suonho Reloved Re-Edit Pleasure – Let Me Be The One Main Ingredient – Work To Do Leroy Hutson – Lucky Fellow The Spinners – Could It Be I’m Falling In Love – Womack Re-Edit The Chi-Lites – Stoned Out Of My Mind – Scratchnsniff Re-Edit 2nd Hour Freddy Chavez – They’ll Never Know Why Len Jewell – Bettin’ On Love Aldora Britton – Do It With Soul Lou Ragland – I Travel Alone Otis Smith – Let Her Go Little Johnny Blair – Momma’s Gone Bobby Patterson – I’m In Love With You J.C. Brooks & The Uptown Sound – To Love Someone (That Don’t Love You) The Lovelites – You’ve Lost That Loving Feeling Blue Mink – Stay With Me The Sons Of Champlin – Here Is Where Your Love Belongs Des’ree – You Gotta Be The Human League - Human Change – Let’s Go Together Alexander O’Neal feat Cherrelle – Never Knew Love Like This https://www.sixmillionsteps.com/6MS-2011-10-09-Starpoint.mp3 Al is back next week and I’ll hopefully catch everyone on the 23/10/11 @ 2.00pm LIVE! Ian D

Yep. Same elsewhere Marc. I've been having these arguments with the majors for the last 20 odd years. Quite often the company isn't even aware of the catalogues they own or the paperwork isn't there anymore. I have these conversations with Ralph Tee all the time. Just last week he was tearing his hair out about an album that a major owns that he wants to license but that the major refuses to believe that they own it, even though they do. This company simply won't clear anything unless it's 'on their system'. It doesn't go on their system at all unless they have the original paperwork and have checked all the legals. If it's not there, then it doesn't exist in their eyes! Ian D

I just checked my Deon Jackson CD and it's a bloody bootleg! How ironic. I'm pretty sure I bought it from a reputable dealer too. Who owns these tapes anyway? I'm not sure what the deal is Carla, or Karen, for that matter since the stuff seems to be all over the place. Maybe Ady or Rouncy know....? Ian D

Nail hit precisely on head Chalky. The problem usually turns up when someone decides to use the track on an ad which could trigger a £60K synch payment, which is happening a lot lately. Where there's a hit, there's a writ. Ian D

Times have changed Chalky. Universal will not license tracks anymore unless they have access to the original contracts. That's why you won't see Rubin on any Northern compilations anymore even though it was on a UK cat food ad in the 90's! They've obviously junked the original contracts of all flops from the 60's and so they're scared stiff of getting embroiled in old contract disputes. The artist or managers and/or their estates could well have access to the original paperwork and could easily get 'em on a clause! So it's just easier to say no. I wonder how much of the synch fee for the Felix ad went to Rubin..........? In fact does anyone even know who Rubin is anyway I ask myself? Ian D

Yeah but that's 'cos they either bought or licensed the rights surely? My point is basically whoever legally owns or has legally licensed the masters is the only entity that can authorise carvers. I take Simsy and Wiggyflat's views that the scene could be deprived of some great sounds if carvers were outlawed though BUT (and it's a big but), the owner may have their own valid reasons for not wishing the recordings to be heard or exploited. Both myself and Ralph Tee have recently had situations where we both wanted to license certain material and were happy to pay the advances and royalties but the owners did not wish for the recordings to ever be available in any way. They also don't have to give a reason why. I've just had exactly the same situation for some 70's and 80's recordings which we wanted to license for the Disco Discharge series and we were given a straight 'no, not interested under any circumstances' answer. Quite often the exploitation of unreleased recordings can trigger certain clauses in the original contracts and creat legal problems for the copyright owners. I currently have one situation where there is a wealth of incredible unissued stuff but the owners are rich enough that they're not bothered about opening a potential can of worms legally. It's not worth their time, money or stress levels. So those recordings will probably always remain unheard. Sad but true. For instance (and I don't know the ins and outs of the Deon Jackson/Carla situation), but if Deon Jackson's estate (assuming he has one) decided to appoint a red hot lawyer to investigate this record 'that's huge in the UK', it could trigger $1000's of dollars in legal and accountant fees to investigate the situation. Which will probably be more than any earnings from the legal re-release of the record! Bummer ay? So, in a worst case scenario, Simsy could have U.S. lawyers on his ass enquiring as to how he got hold of the acetate and where from. Can 'o worms I tell thee....... Ian D

Will also be on the forthcoming "Mod Life Crisis" Backbeats CD compiled by Dean Rudland. Ian D

Totally. I think most acetates are only good for about 30 plays aren't they? Also, as I've said a zillion times before, anyone with a major league rarity can only ruin the record by playing it on a variety of different decks, many of which will be shockingly maintained. I learnt the hard way. Ian D

The answer is: the person/company who financed and paid for the original recording session owns the rights. Easy. Ian D

Surely "Footsee" by the Chosen Few was the first Northern Soul re-edit wasn't it? Didn't S.S. slow it down a tad and add the car horns? Ian D

Thanks all. By the way, here's the tracklist which is a bit like a list of my most played records at the time but the whole thing was really designed to explain what Northern Soul was all about to people who don't understand what it was all about...... Four Tops - I Can't Help Myself Bobby Treetop - Wait Til I Get To Know You Salvadors - Stick By Me Baby Alexander Patton - A Little Lovin' Sometimes Lou Pride - I'm Com'un Home In The Morn'un Tobi Legend - Time Will Pass You By Tomangoes - I Really Love You Detroit Executives - Cool Off Frankie Beverly & The Butlers - If That's What You Wanted Bob Relf - Blowing My Mind To Pieces Invitations - Skiing In The Snow Mel Britt - She'll Come Running Back Duke Browner - Crying Over You Kenny Smith - Lord What's Happening To Your People Jodie Mathis - Don't You Care Anymore Patrice Holloway - Stolen Hours Billy Woods - Let Me Make You Happy Frankie Crocker - Ton Of Dynamite Carstairs - It Really Hurts Me Girl Richard Popcorn Wylie - Rosemary What Happened (instrumental version) Timi Yuro - It'll Never Be Over For Me Jimmy Radcliffe - Long After Tonight Is Over Ian D

I think Morning Star (aka the veteran DJ Lary Sanders from San Francisco) is a genius when it comes to tasteful re-edits of the PIR stuff. He always seems to be musically bang on the money. I always wanted a 12" of "If You Wanna Go Back" and now I've got one! Also Kenny Gamble and Leon Huff listened to this album in full and authrorised it's release so hey, if it's OK with them, then who are we to argue? Ian D

Not grinning at the moment Jocko. I have to get in a flu incubator every day just to get to work so suffering right now. Toothy grin should be back by the weekend touch wood..... Ian D