Fangio, Fangio. Wasn't that the name of the greatest race driver of them all. It fits. A talk with Ihor is falling into a speed rap, most of his racing works are about Stanley Frank.

Stanley Frank is a reject. Frank’s is an incredible tale of frustration which strikes home for any artist fighting for acceptance for his work. But the most frightening part is the deafness of the record biz. The evidence is piled in a mound of we’ll call-yous, not just from the major labels but from the independents who ought to have heard better. What a way to treat a nice kid from Montreal.

Fu Fangio punches the button on his tape deck and hands over the stack of rejection letters Frank have received. "Now listen to this," he commands. To say the bloodcurdling screams which emerge are angry, it is necessary to amplify the intensity the work usually conveys by a factor of roughly 25 on the twist and shout conversion scale.

"Its ridiculous," says Fu Fangio who came across Frank’s songs of rejection when he was doing research for a book commissioned by the industry he has designed – 100 Years of Recorded Sound.

"Somebody put this tape on for me, you know – what do you think of this? That the first time I heard Frank and when the guy tells me Stanley is form Montreal, I'm about ready to look for a change of underwear. So we finally meet and we hate each other. We fight. I think he's a pompous jerk. Has that I'm a star thing. After a while we start to get along. We dislike each other still. But there is a mutual respect. Frank says to me you're a bigger vulture than the rest of them and I hate the other vultures."

Excerpt from the Montreal Star, November 12, 1977, written by Matt Radz