Ian Dewhirst

That's why I vary where I go all the time so I don't get bored. The best night I've had all year was @ Egg in London listening to Deep House. I'd rather hear some inspiring Soul Music which I probably will this weekend with a bit of luck. Ian D

Well that's probably the most obvious one for our age group since we all got accustomed to the mistakes. I realised there was a mistake on the pressing and that something else was up with the edit but didn't know enough about it all back then. Now that I actually work with HDH these days, I now realise how bad that release actually was! Didn't stop it going Top 30 though. It still happens though. One of the all-time worse mixes I've ever heard is Shakira "Hips Don't Lie" and that was a No.1 record and grammy nomination! The public don't seem to mind.... Ian D

I know exactly what you mean. The UK copy of "Why Can't We Be Lovers" - Holland & Dozier I bought when it came out, not only had a TERRIBLE edit but also a pressing fault! Both faults became ingrained on my brain with the result that, some 40 years later, I still have problems listening to the full original. I'm not convinced that the actual problem is the term 're-edit' since most people's favorite records are re-edits anyway, but rather the potential for what some people might call 'lazy programming' by DJ's on the Modern scene. I guess re-edits give some DJ's the chance to slip some oldies in via the back door. There are clubs where re-edits are played more or less all night but to a totally different and younger audience and those nights are incredible and easily as energized as I remember the Northern and Modern scenes in the 70's. But a completely different crowd. As with all these things, it's horses for courses. If I want to hear some killer re-edit sets, then, frankly, the last place I'd go to would be a Modern do. Ian D

Depends what you want Pete. If you want a 3 minute edit of a track for radio, then fine. The version you're talking about was edited down from a full-length version. I prefer listening to the full versions because they're not governed by U.S. radio station formats. The funny thing is, the original single versions were virtually all re-edits of the album versions in the first place. So most people actually LIKE re-edits without even realising it! It's a weird old world out there... Ian D

How's it killing it? More people have had the opportunity to hear this song as a result of the remix. If that gets another 50 or 100 people into Aretha Franklin then I don't see what the problem is. I love the original and I love the remix...... Ian D

That happened to me yesterday Mark. 30 minutes of my life just erased. It's a bugger innit..... Ian D

The Moulton remixes are essentially Tom doing what he would have done to the 7" mixes of certain records had he had the opportunity and access to do them in the 1970's - in other words, supply a 'Tom Moulton Mix'. Whilst I love the original 7" mixes I now find myself playing Tom's new mixes as I've heard the originals a gazillion times and I now like to hear them lushly extended. A perfect example being this: New York City - I'm Doing Fine Now https://www.youtube.com/watch?v=sFNwcTDCcf4 Whoops, that's an edit of the remix LOL, but he's re-worked the intro and made it much better than the original mix IMO. They're not for everyone Chalky and the Northern scene especially tends to like short records, so I doubt that any more than 3% of the sales come from the Northern audience, if that. So no, the Tom Moulton remix projects are not aimed at the Northern audience at all really but rather to anyone who has an appetite for hearing great soul/dance records extended by the godfather of the remix. Philadelphia International Classics: The Tom Moulton Remixes is actually the best-selling Harmless album of the last 4 years, so there's a huge audience out there who obviously love this stuff thank god.... Ian D

A perfect example of a creative re-edit that really brings something to the equation. It brought all whole new audience to an Aretha song that could never have been played in any proper clubs WITHOUT the re-edit. And yes, that sped-up re-edit of Johnnie Taylor is tosh. I had an argument with a co DJ about playing that one at a gig recently.......so I tend to concur with Roger that it it's more about the DJ rather than the re-edit. Ian D

I just wrote a really long answer and then inexplicably somehow deleted it. But no, re-edits and mash-ups are not killing soul music. They're not even designed for the modern scene anyway so it's almost accidental if they find an audience there. There's plenty of places where the good, creative ones are played over a decent system and sound incredible but that's a long way from the modern scene believe me. The re-edit scene is a long way from the soul scene, so it's probably a bonus if the odd re-edit finds favour on the modern scene. I'd say 95% of the better re-edits would never be played on the modern scene anyway. They just wouldn't work for the audience. The re-edit scene is probably more about sonic dynamics rather than soulful vocals, so it's a bit chalk and cheese in my view. So no. Re-edits and mash-ups are not killing soul music, at least not for me. Ian D

No. The Jades only. Ian D

It was a monster Casino record in it's time and I'm sure Richard had the only one for a long time. And yes, I remember the warp it acquired after the unfortunate Fish and Chip shop incident. I wasn't over keen on it but that intro riff was very infectious so it was like a magnet to the dance floor at the time. I always thought it was pretty rare. I've never found one and it was always on my search list........ Ian D

That slipped under my radar for sure. Don't think I've ever seen it although the cover looks familiar. Obviously compiled by a Soul enthusiast but who? Ian D

Richard Domar was fine with me. I think I got a few things off him. Mind you, I didn't dick around shooting the breeze with him. I told him what I wanted and he came up with a few over the years I seem to recall. But record dealers by the nature of the business probably need to be a bit hard-bitten. They've seen everything a zillion times, so it's probably a natural by-product of the business for them to be more cynical then the rest of us. Get most of 'em in a none business situation and they're generally nice as pie - Val Shively being a prime example. The only example of pure hatred I ever got was from some guy in Texas - it could be one of the people mentioned earlier. Les Harris springs to mind. I remember walking into his shop and I started looking through the cheap boxes when he asked me what I was looking for. I just said, "anything that I like the look of that I don't know". The second he heard my accent, he went into an incredible rant about how we British come over and rape their heritage etc, etc. I could tell he was probably capable of continuing indefinitely, so I just said, 'hey. No problem. I'll leave" and I left. There was no point in even continuing. He was an extreme example though. In the 70's and 80's I seemed to get on OK with most US dealers. Terry Geston from Terre Haute was pretty paranoid but once I got past his shotgun welcome he was fine. Ian D

That was Voodoo Frank's African warehouse hit Pete. I'm wondering if the French place could be the MPO plant? If so, there wouldn't be much in the way of Soul and it would mostly be 80's onwards...... Ian D

Yep, I guess so. To be fair I had it on my shelves for 30 odd years but it always sounded not quite right somehow. I've forgotten what the flip of this was....."I Feel She Doesn't Want To Do It" or something? For me, that was the better side..... Ian D

Ouch! Looks like I sold the UK Grover Mitchell too cheap a while back...... Ian D

How about Fontella Bass on Checker:- https://www.independent.co.uk/news/obituaries/fontella-bass-singer-famed-for-her-powerful-interpretation-of-the-millionseller-rescue-me-8432763.html Or Barbara George on A.F.O.? Or Chubby Checker and Dee Dee Sharp on Parkway? Or the Chiffons on Laurie? Or Aaron Neville on Parlo? Or Bettye Swan on Money. Or Barbara Mason on Arctic. Or Gene Chandler on Vee Jay.Or John Fred & The Playboy Band on Paula. etc, etc, etc..... This is not such a weird phenomenon. Indie labels like Profile (Run DMC, Rob Base And DH EZ-Rock), Streetwise (New Edition), Philly World (Eugene Wilde), Two Jay (Timex Social Club) were still scoring million-sellers throughout the 80's and the same for the indie Rap labels in the 90's. Whilst America may not dwell on it's past too much, it certainly supports indie labels when they get hot records........ Ian D

I'm sure I've got some CD's which have one-off million-sellers on 'em but here's a list of one-off hits from the 60's from which you'll probably find a few........... https://en.wikipedia.org/wiki/List_of_1960s_one-hit_wonders_in_the_United_States Ian D

Actually it's happened loads of times. I don't have time to list 'em all, but there's plenty of one-off million-sellers on small labels, especially from the 60's...... Ian D

Some things just fell outside my field of knowledge mate. I cover a lot of areas. However, I know if I'd have ever seen either of them I would have picked 'em up for sure. I learn something new every day Pete... Ian D

Known to aficionados but, alas, not to surface scanners like me or even the people who control the catalog Steve...... Par for the course mate. That's why we have Johnny M's and Steve G's around to catch what falls through the gaps..... Ian D

Unfortunately I can't actually confirm that. He could be a tree. I actually signed "Turn My World Back Around" on HMI to London in the mid 70's but sadly never actually met him. So can't confirm either way. Sorry. Ian D

Well I have to hand it to Johnny for the wealth of new info these auctions provide for me personally. I consider myself well-versed on most 70's and 80's releases but I have never come across either the Tom Green or Eddie Horan records and I definitely would have grabbed them both if I'd have even seen 'em. Both seriously rare IMO. I have access to the WMOT catalogue and that Eddie Horan isn't even logged! Ian D

Brilliant. Had to post that on Facebook! Ian

And of course you can also get the 100% legal version on Philadelphia International: The Re-Edits. Personally approved by Kenny Gamble and Leon Huff. Ian D