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Goldbourne Niter Look back Sat 20 April
Sounds wise threw some quick and dirty words together on what caught, apologies if a bit brief and not feature all djs as kept getting side tracked .
Steve Thomas - Yeah its your man otherwise known as the Holyhead monkey, did a great set, again he varied flavour with strong 6ts feel this time
a off the top of head 5 plays were
Choke the monkey - San Remo Strings feat Junior Walker cover
(Caused a stir first time out at the last Monkey and did the same here when he started set off with it, and had so much interest and requests had to play it again at end of set. This is going to be massive, brief sound clip up here shortly)
Patti Austin -Someones Gonna Cry. *just 17 when she recorded this)
Johnnie Mae Matthews -Lonely youll be
Dee Dee Warwick - Worth Every Tear I Cry
Patrice Holloway Stolen Hours
Mick H followed and did the business with the likes of
Demanding Man -Sensations ..ouch
And also the likes of Anthony and Delsonics
Mick said will pass on plays later
Carl Willingham did more rare soul damage with a great set with fair bit of new stuff, top stuff and a few revivals
Isonics, Soundmasters, Itching Man ?? Tamala Lewis were just some that memory remembers
Kev Murphy started off with some rare revivals, also included two "cheapies" that dont get much outings but sounded great out loud and proud, Amazers "Without a doubt" and Cody Blacks "Going Going Gone". Course many big sounds included likes of Regents on Mad (someones pass on title as its all gone blank) got a outing
Time caught up with us, as always at the mercy of Stevie Ts work plans so had to leave early.
Odd bits:
Alan Barnes says the Easter Viaduct was a packer
He was dishing out some cracking 2k stuff in the "other" room, including an interesting 2003 mix of Flamin Kings Ho Happy Day
Laughs
The family tax credit mess up seems to have had dire effects in north wales, as we turned up with about 6 sales boxes, when you include Steves 50 play boxes our "entrance" must have seemed like a road crew for .......
Final word, most enjoyable niter, as said we always seem to have fun here! A very late bar, bit of a edge to nite, great dj policy and only a fiver in.
We enjoy it!
On every 3rd saturday of month
Golborne Catholic Club High Street,Golborne,NR Wigan
Cheap plug tie in:
Can catch Carl Willingham as special guest at Next Monkey at Springfield Friday 23 May
Can catch Steve T at every Monkey! ;-)
Quick Summary and Links about Recent Events
Prestatyn 2003 Lots of words have been written about this, and will just say for now had a most and I mean most, enjoyable time! (recently saw some well scary photos of going ons! Should have a report up, its half written so will hopefully be up soon.....ish) Dave Rimmer has written his views on the weekender and can be read at the SKM site
Also check out the Soul Weekender Web Site for a great review by Cal plus others at visit soul weekender site
Last of all check out one recent addition to sounds/download section which to me was the sound of the weekender Llandudno Connisseurs Weekender.
After one great weekend along come another! Again more words on this soonest and a great weekender of quality rare soul.
Other Events
DMSC guest bit on Wire Fms Sunday soul show was a laugh, especially as later on we got mistook for car thieves by Lancashires finest. Heard that Wilton 10th Annivesary last Friday was a cracking niter. DMSC Friday nite was a stormer, loads of great feedback. Report soon honest. Hardest rare soul nite ? ;-) Other Misc Stuff Check out North meets South new web site , updated link here
Proving the power of Soul Source Janet J just let me know she got that video she was after thanks to using the forum!
Think thats that, know was/is a lot of other events going on, feel free to spread the word by posting up
The sad death of Little Eva
Eva Narcissus Boyd (June 29, 1943 – April 10, 2003), known by the stage name of Little Eva, was an American pop singer. Although some sources claim that her stage name was inspired by a character from the novel Uncle Tom's Cabin, she stated in an interview that she was named after her aunt, which prompted her family to call her "Little Eva."
Biography
Born in Belhaven, North Carolina, she moved to the Brighton Beach section of Brooklyn, New York, at a young age. As a teenager, she worked as a maid and earned extra money as a babysitter for songwriters Carole King and Gerry Goffin.[1] It is often claimed that Goffin and King were amused by Boyd's particular dancing style, so they wrote "The Loco-Motion" for her and had her record it as a demo (the record was intended for Dee Dee Sharp).
However, as King said in an interview with NPR and in her "One to One" concert video, they knew she could sing when they met her, and it would be just a matter of time before they would have her record songs they wrote, the most successful being "The Loco-Motion."
Music producer Don Kirshner of Dimension Records was impressed by the song and Boyd's voice and had it released.[1] The song reached #1 in the United States in 1962. It sold over one million copies, and was awarded a gold disc.[1] After the success of "The Loco-Motion," Boyd was stereotyped as a dance-craze singer and was given limited material.
The same year, Goffin and King wrote "He Hit Me (And It Felt Like A Kiss)" (performed by the Crystals) after discovering that Boyd was being regularly beaten by her boyfriend.[2] When they inquired why she tolerated such treatment, Eva replied without batting an eyelid that her boyfriend's actions were motivated by his love for her.[2]
Phil Spector's arrangement of the song was ominous and ambiguous.[2]
It was a brutal song, as any attempt to justify such violence must be, and Spector's arrangement only amplified its savagery, framing Barbara Alston's lone vocal amid a sea of caustic strings and funereal drums, while the backing vocals almost trilled their own belief that the boy had done nothing wrong. In more ironic hands (and a more understanding age), 'He Hit Me' might have passed at least as satire. But Spector showed no sign of appreciating that, nor did he feel any need to. No less than the song's writers, he was not preaching, he was merely documenting.
Boyd's other single recordings were "Keep Your Hands Off My Baby," "Let's Turkey Trot," and a remake of the Bing Crosby standard "Swinging on a Star," recorded with Big Dee Irwin (though Boyd was not credited on the label).[3] Boyd also recorded the song "Makin' With the Magilla" for an episode of the 1964 Hanna-Barbera cartoon series The Magilla Gorilla Show.
In 1963, American Bandstand signed her with Dick Clark's Caravan of Stars national U.S. tour and she was set to perform for the tour's 15th show scheduled for the night of November 22, 1963 at the Memorial Auditorium in Dallas, Texas when suddenly the Friday evening event was cancelled moments after U.S. President John F. Kennedy was assassinated while touring Dallas in an open car caravan.
She continued to tour and record throughout the sixties, but her commercial potential plummeted after 1964. She retired from the music industry in 1971. She never owned the rights to her recordings. Although the prevailing rumor in the 1970s was that she had received only $50 for "The Loco-Motion," it seems $50 was actually her weekly salary at the time she made her records (an increase of $15 from what Goffin and King had been paying her as nanny). Penniless, she returned with her three young children to North Carolina, where they lived in obscurity
The sad death of Nina Simone
Death of Nina Simone aged 70 By A Correspondent
THE American jazz and blues singer Nina Simone has died at her home near Marseille at the age of 70, her manager announced yesterday. Her death was from natural causes. “It is with great regret and sadness that we announce the death of the legendary jazz singer, the great Nina Simone, this morning at her home in Carry-le-Rouet,” Clifton Henderson said in a statement. Simone, whose raw, smokey voice was known to millions, was born Eunice Waymon in 1933 in Tryon, North Carolina, the sixth of seven children of a poor family.
She began playing piano at the age of four and trained as a classical pianist at the Juilliard School of Music in New York. She began singing while working in a bar in Atlantic City and recorded her first records in the late 1950s, going on to earn the nickname the “High Priestess of Soul”.
Her first hit in Britain was Ain’t Got No . . . I Got Life in 1968 but she is perhaps best known for her interpretation of My Baby Just Cares for Me and her only Top 40 hit in the United States, George Gershwin’s I Loves You Porgy. Check out the tribute posted by kolla, pictures, scans and article just hit read more.
Broughton 20 Apr and 5 Current Soul Sam Plays
It was case of get down expressway to Broughton on Saturday, famous for British Aerospace and also as the home of Soul Sams and Brian Ellis monthly soul nites. Have missed the last few so was looking forward to this one as with its own unique feel, crowd and atmosphere its always an enjoyable nite out. With a door tax of £2.50 and pints at £1.50 also a cheap nite out!! Venue is in the aerospace place, its held in the Silver Wings social club which is very plush, nice layout and gives place a uptown feel. Anyway fair few of us were doing the Saturday, plans were Broughton and then Goldbourne Niter afterwards, so Stevie T sussed out minibus and yet again it was case of get down that A55. Turned up well early to get max use of £1.50 pints, caught Brian Ellis warming up with nice thoughtful selection of 70s+ stuff.. Usual North Wales suspects started showing up , many from surrounding areas and places close by like Wrexham, crowd wise usually well mixed, ranging all types from local events only types to the ones who will travel at drop of a hat. As may expect with any event Sam is involved with, its a fairly well up for anything crowd, with 70-2ks+ very popular and always a good reaction. Dont get to hear much r&b or early soul usually, if at all, but depends on the guests. Chico was the first guest up, and dished out a great mixed set that fitted the Broughton style.
Ginger was next guest up, first time caught him for a while, suppose hard with what a fairly mixed crowd but seemed to us a very safe set, no "what is that" moments or raging desires to run to deck and find out more, which is what we were after, but he kept the crowd who were after good time northern happy with popular spins. Brian Ellis up and then Soul Sam, both giving out more Broughton style sets, R J Kelly new un being just one of many caught. Had to leave early ish to get to next destination, but night was going strong when left, and was a good one. As said its got its own unique feel and style, cause of this and venue, can have many different style nites be it a nite out with partner, or 8 of you out for the crack In between necking £1.50 pints, catch ups, and all the rest managed to grab a few words from Sam, notes are from well crumpled flyers, hopefully all details 100%
Asked for a selection of some current plays and Sam took time to give us details along with a bit of info, added stuff I picked up along the way.
Hamilton Movement Shes Gone Look Out 007
A lot ot of interest in this recently and looks like its taking off, Sam says been playing it for last 18 months. Misc info the flip in demand on deep funk scene. 800-1000 quid recent value given? Though more copies than you would think as some are securly in deep funk collectors hands.
Tolbert – I’ve Got It – Rojac
Sam said this 80s track which has a very soulful vocal is well big in modern rooms through out uk
Beres Hammond - Do This World a Favour -Rocky Gibbs
From a 90s lp, this track by highly regarded reggae artist is popular as a main hall play and massive at Yarmouth and Broughton Stream sample here
Margaret Little -Love Finds A Way- Genbro
(Info from David Flynn posted on Soul talk - Both penned by Wylie & Hestor A La King pub. Listed under BMI, but Popcorn has no recollection of the songs or her. The label is a division of A Go-Go records.) Extremely popular floorfiller , well catchy real thing 60s Detroit , recent one off acquisition by Sam from Adey Pierce (I think) and surely one the best new sounds around at moment. The flip "I Need Some Loving" was said by some to have been played out, but Sam states hasnt played it out anywhere, and imo the lesser and nowhere near as strong side
The Three Prophets - I Think I Really Love You - Together
Sam described this one as 70s cross over track with a great bass, delivered at a just above mid-tempo pace and great soul!! From 1974 Thanks to Sam for giving above comments, we had a bit of talk about things and his support for venues like Yarmouth and the tent at Fleetwood as they feature the style of soul he enjoys so much.
Locarno - This Sunday The big event
Once Upon A Time in Wigan Update
Gamble-Huff, Thom Bell and the Philly Groove
Originally published in "Let It Rock"
Date of publication: January 1973
On a balmy night in the late summer of ’67, while the world was wearing flowers in its hair, I was sinking into my seat, trying to look inconspicuous amid hordes of black schoolkids and young mums in the middle of the stalls at the Uptown Theatre, Philadelphia Pa., two hours from the Big Apple by the mighty Greyhound. Philly, Doo Wop City: and the four young guys slithered around the stage, processes glistening as bright as their patent leathers, wearing orange suits with navel-length jackets and tapered bottoms so superthin that, embarrassingly, their underwear showed through and ominous dark patches were appearing in the armpit region. They were direct descendants of those early, unwitting acapella pioneers, and were second on the bill (the Tempts were on top), riding high on a national hit with ‘Cowboys To Girls’ — I think — and they were singing it unerringly at the Uptown five times a day, seven days a week. The group was called the Intruders. In winter of ’72, the wheel has turned full circle. The Intruders have created another monster, ‘She’s A Winner’, and it’s on the same label, Gamble. Both songs, and all the hits in between, were produced and composed by two men, Kenny Gamble and Leon Huff, at one studio, Sigma Sound, 212 N.12th St. Now, some forty million singles since they kicked off together, the duo and their associates have made the City of Brotherly Love shine stronger than ever before on the musical map. Not that it’s ever been exactly dim. In ’56, local entrepreneur Dick Clark started a lip-sync TV show, soon networked through A.B.C., which enjoyed a heyday in the late fifties/early sixties, allowing Philly talent a golden opportunity for nationwide exposure, offering Dick Clark a golden opportunity for managers’ backhanders, and ensuring that the city was always represented in force on the Hot 100 — at least until the English takeover in ‘64/’65. (Amazingly, American Bandstand survives to this day).
The situation spawned outfits like Bob Marcucci’s dreaded Chancellor Records, happily inflicting handsome non-talents like Fabian and Frankie Avalon on an eager public; such influential D.J.s as Jerry Blovat ‘the creator with the heater’, and Georgie Woods, ‘the guy with the goods’; and the vastly successful Cameo-Parkway label, home of the dance crazes, whose boss Bernie Loewe gave us Ernest Jenkins, alias Chubby Checker (did he really marry a Miss World?), the Orlons, (‘South Street’, ‘Don’t Hang Up’), the Dovells (‘Bristol Stomp’), Bobby Rydell (‘We Got Love; ‘Wild One’), all of whom had some measure of chart action in the U.K., and Dee Dee Sharp, (‘Mashed Potato Time’, ‘Gravy’). Dee Dee, born Dionne LaRue, is Mrs. Kenny Gamble now; he’d written and produced a song or two for her on Cameo in 1960. Leon Huff, a pianist from across the bridge in Camden, New Jersey, with work for Quincy Jones in N.Y. and a one-off national hit by home-town group Patti and the Emblems under his belt, met Gamble, from South Philly, when the latter was working on and off for renowned shrewd operator Jerry Ross (recently of Bill Deal and the Rhondells fame). Pooling their experience and hope, Gamble and Huff set about going for themselves. Kenny had already laid a foundation for success to come by forming a group, Kenny and the Romeos; himself on vocals, Roland Chambers, from Marvin Gaye’s band, on guitar, session organist Thom Bell and Earl Young, who’d played drums for Stevie Wonder.
It’s these very guys that now form the backbone of the city’s music industry, for they and a few others take care of the vital rhythm track on virtually every Philly-made hit. The Intruders (naturally!) sang on the first independent Gamble-Huff creation, ‘Gonna Be Strong’ on Excel, but the G-H sound really dates from their second, the same group’s ‘United’, Gamble Records’ initial release. It was a respectable hit — even came out here, on London — with a trendsetting production, unusual for its time, employing swirling strings, cascading harps, and above all, vibes. As bells are to Spector, so are vibes (usually handled by one Vince Montana) to Gamble and Huff. Since then, the sound has been polished to a fine art, but the seeds were right there in ‘United’. Later, less successful singles bore no resemblance to all this — the Madmen (Gamble 212) had an obscure goodie with lunatic sax on ‘African Twist’ and Bobby Marchan, of all people, lead singer on the classic Huey Smith New Orleans rockers, did a comical funky rap about the make-up — ‘Ain’t No Reason For Girls To Be Lonely’ (Gamble 216); but G-H’s trump card lay with the Intruders trite but endearing odes to city teenery: ‘Me Tarzan, You Jane’… ‘Love Is Like A Baseball Game’... ‘Who’s Your Favourite Candidate’. The titles speak for themselves.
As well as taking care of Gamble Records, the duo was working on a production company basis for major labels. Atlantic, hot with a master from Houston by Archie Bell and the Drells, forestalled the group’s certain destiny as one-hit wonders by handing them over to Gamble and Huff, who obliged with a near-unbroken string of hits over the ’67-’69 period (one of their oldies is, even as I write, in the British Twenty!); and Mercury got 2 1/2 albums’ worth from G-H’s collaboration with "the Iceman", Jerry Butler: gems like ‘Only The Strong Survive’, ‘Never Give You Up’, and ‘Brand New Me’, just kept on a-coming, till Gamble and Huff got to carping over royalty percentages. For many, the Butler material marks a creative peak in G-H’s output thus far. Floundering after the demise of his previous label, Vee-Jay, and sliding reluctantly into a second-rate supperclub act, Jerry found the ideal complement for his relaxed vocals in the duo’s sparkling production, and sophisticated yet hip arrangements furnished by regulars Bobby Martin and Thom Bell. Such was the success of the team who, like Motown, relied on staff writers for strong original material, that a set of sessions at Sigma Sound became a kind of refresher course for artists in a musical or commercial rut. Atlantic sent Wilson Pickett (whose first G-H single, ‘Don’t Let The Green Grass Fool You’, earned his first certified gold disc), the Sweet Inspirations, even Dusty Springfield.
With the Intruders and Gamble Records temporarily quiet in ’69, G-H launched a new logo, Neptune, distributed through Chess and the GRT corporation, which before collapsing the following year put out some great sides by Sigler, the Vibrations, and the oft-recorded O’Jays — as well as a couple of killers by the late Linda Jones with George Kerr producing. Annoyed at Neptune’s relative failure, and sure that the music was all there in the grooves, Gamble and Huff started yet another company, Philadelphia International, this time through CBS/Columbia, which, with good distribution, scored straight off with the Ebonys’ ‘You’re The Reason Why’ and hasn’t looked back since. The past year has brought two million-sellers ‘Back Stabbers’, from the O’Jays, returning to the G-H fold, and Harold Melvin and the Bluenotes’ ‘I Miss You’. So what’s the secret? After all, Sigma Sound has no special assets. The sleeve notes to the Neptune LP O’Jays In Philadelphia describe it as ‘unhiplooking’ and the horn and strings are invariably local union dads. No, its’ the rhythm section — the erstwhile Romeos, plus Ronnia Baker on bass, Leon Huff himself of piano, additional guitarist Bobby Eli and Norman Harris, and sometimes Len Pakula on organ, that have the magic musically. Earl Young, for instance, will often lay off everything but hi-hat pedal and bass-drum till the first ‘hook’ chorus, say a third of the way through a track, giving it a characteristic lift when he finally bursts in. Huff has an interesting percussive style with a tasty line in boogie left hand (check out the O’Jays’ ‘Looky Looky’). Roland Chambers, if indeed it is him, leans on light, octave-based, Wes Montgomery-esque lines to convey an impression of effortless swing. Meanwhile back in the control room, Kenny G. and engineer Joe Tarsia put their individual touch on what’s coming through the monitors: punchy horns against smooth strings, imaginative percussion — claves, woodblocks, etc. — to beef things up, and that great drum sound, copiously spiced with echo. (And hell, a good gimmick always comes in useful — like the traffic noises that herald the Soul Survivors’ ‘Expressway To Your Heart’, or the race track effects at the start of the new Intruders, ‘She’s A Winner’). What comes out of all this is an airy, bouncy kind of a sound; tight, but not in the sense of clean and compact, as one might apply the word to Southern funk from Memphis or Muscle Shoals. And, like Motown again, custom-made for car radios.
Way down the bill that night in ’67 at the Uptown was a local trio, lisping slightly and resplendent in rose pink, the high-voiced lead singer mildly camping it up, to the audience’s delight. By a year after that show, the Delfonics were Philly’s hottest act. This was largely thanks to one man — composer, arranger, and producer for the group Thom (Tommy) Bell, the third of the mighty triumvirate that now rules Philadelphia. While still working often for G-H and associates as arranger (he did those absurd ‘Back Stabbers’ charts), Bell created his own label, Philly Groove, distributed (confusingly) through Bell Records, exclusively for the Delfonics, notching up a run of hits that only stopped a few months ago when the group split with him, lamely carrying on under his partner, manager Stan Watson. Thom’s songs are intricate and satisfying. He often will plant rich, moody intros only to change to a different key and tempo when the song comes in; or lay out the verse in an unrelated key to the chorus. ‘I’m Sorry’, ‘Break Your Promise’, ‘Ready Or Not, Here I Come’, ‘You Get Yours And I’ll Get Mine’, and for my money the best record of its type ever to emerge from Philly — the cataclysmic ‘Didn’t I Blow Your Mind This Time’. Every one was a short but grandiose epic, hugely commercial but at the same time ambitious and unarguably solid in musical conception. William Hart, lead singer with the group, would come up with the lyrics. Slight and unimportant in themselves, it was the soulful whine he delivered them in that mattered. But Thom Bell took care of biz on everything else: panoramic arrangements leaning heavily on instruments traditionally not used in R&B, like shimmering celli and Wagnerian French horns.
A lost LP track — ‘How Could You’ on the Didn’t I album, is surely one of T.B.’s great moments. Beautiful, spinetingling self-indulgence as a series of changes is repeated hypnotically, with increasing intensity, for five minutes, electric sitar in the lead over a hefty backbeat, with the voices coming in, softly, on the fourth minute. In 1971, on the Delfonics departure, Thom Bell didn’t blink an eyelid. Guided by Hugo and Luigi’s Avco Records to a local Philly group, the Stylistics, just off a minor hit on a small label with ‘You’re A Big Girl Now’, he moved to even greater heights both artistically and in terms of success proportionate to product, for the Stylistics’ album yielded no less than four single gold records. It was the Delfonics revisited, and more. Russell Thompkins Jnr., lead singer, has perhaps an even finer falsetto than Hart (this time out one Linda Creed does the words): he explained to me on a recent U.K. visit that Thom Bell goes through each song round a piano with the group, sketching out harmonics and topline, cuts a basic track with rhythm section, brings the group into the studio briefly for a few hours to add the vocal, then gets to work himself on the ‘sweetening’. Next thing the Stylistics themselves know, the record is out! One could well criticize such a process, on grounds of ‘conveyor-belt soul’. But Lord, I’m not about to complain when the end result is so exquisite. Bell’s work on his own songs has the edge for me over the Gamble-Huff stuff. He goes for a different sound. Though using the same musicians, studio, and engineer, he somehow contrives to make the final mix more integrated, with less sense of overdubbing and a greater corporate identity. He’s as capable at the board as with the baton, churning out ingenious, even moving arrangements that are creamy but never sickly. Totally committed until recently to the fly-by-night 3-minute single, designed for saturation AM airplay and swift obscurity, men like Gamble, Huff and Bell have turned handicap to advantage by making almost every master a complete, concise statement in itself. But up to the last few months G-H and cohorts remained to the rock consumer remote, unfashionable figures. Happily, though, all three men are riding their current crest of a wave on singles without compromise.
Bell’s output with the Stylistics (he’s also started to work with the Spinners) has got to be his best ever, track for track, whilst the O’Jays and H. Melvin smashes are among the most soulful sides put together by Gamble and Huff. No way are any of them flagging. (An attempt by G-H in 1970 to broaden their market via a 5th-Dimension type ‘class’ group, the New Direction, was a dismal flop. Similarly, for example, Stax’s pop product is notoriously unsuccessful. Moral: do what you do do good!). You won’t find any blues, not much country either, in Philadelphia; but it’s the acknowledged center for Northern black gospel and birthplace with N.Y., of corner-boy vocal groups. So it annoys me when rock experts seeking ‘roots’ should dismiss the things coming out of Sigma Sound as being too ephemeral and superficial, when the Philly men’s respect for an inspiration from these origins is undoubted. Why the Intruders had a hit in ’69 with a faithful revival of the Dreamlovers’ ‘We’re Gonna Get Married’! Outsiders, unfamiliar with the idiom, can bypass it as not "hard" enough, or laugh at the piercing falsetto, originated by the old ‘bird’ groups like the Flamingoes and used by artists like Hart and Thompkins. But it is part of a living tradition, adopted without self-consciousness and as absorbing as anything in blues or country music. The records stand up by any contemporary standard in pop as a whole. To my mind at least, today’s lush backdrops and technologically perfect productions extend, rather than smother, that tradition. I know, in these enlightened times, the black original still remains unnoticed until and unless copied in the white market — how else are the Osmonds as big as the Jackson Five?
But the dwindling mass of punters who still wear blinkers making them blind to uptown soul, are missing the point, and a lot of wonderful music.
© Pete Wingfield, 1973
Just how rare is Don Gardner 45?
http://www.topica.com/lists/ModernSoul
Someone asked ... "Don Gardner Cheatin Kind ....... I was just interested to know how rare it is >" Johns reply: I talked at length with Don at this years Prestatyn Weekender. He was either on the road or in the studio throughout the 60s (in the 70s he got fed up, quit performing himself & became Curtis Mayfields road manager -- doin all the management / bookin tasks !!!!) He (to this day) had no idea that he had anything released on the Sedgrick / Cedric label. HE was never based in Chicago & never recorded there. He would however give / send his FRIEND Jimmy Vanleer copies of new tracks he had cut to listen to (Jimmy ran this label !!!). So I guess Jimmy just pressed up limited copies of Dons cuts & send em around to the local radio DJs. Then if any took off, he could have negotiated a good licensing deal & split the money with Don. None were picked up for major local radio play & so no licensing action occured. The Tru-Glo-Town situation was similar. Don cut lots for them but was told the studio / warehouse burnt down & so the company was bust & couldnt pay him anything. Yet they continued to lease his stuff out (to the likes of Verve Records AND maybe Sack / Cedric ????). I guess someone knew the fire was gonna happen & took the master tapes home with them beforehand !!!!!!! The Sack releases are even stranger. In the 60s Monk Higgins used Sack to release stuff (limited press to supply Chicago radio stn DJs only) he was tryin to win a licensing deal on (thus getting a decent advance payment from a major label - he could then keep all this for himself I guess, rather than pass some along to the artist & producer who would probably be happy enough to learn that they now had a deal to record for a major). Again Sack was Chicago based BUT Don never even knew Monk & never sent tapes thru to him in the Windy city. I guess Jimmy Vanleer was once again involved as the middleman. Needless to say, Don now things a lot less of his old friend Jimmy. None of the above really helps in identifying just how many of each 45 were pressed up, but suffice to say is was a limited number.
JRS
KFC (AGAIN)
Seen in London last night, latest KFC ad featuring the Easter Bunny & Roadrunner followed by Laura Green Moonlight,Music & You.
Not sure but think there was a football match being played at night?
Only caught the end after dashing in from the kitchen from cooking chicken ( honest I kid you not!)
Union Club Nottingham Friday April 4th.Sidney Barnes.
Low down on Fridays Lowton
Very Odd Bits of Stuff
Review: 6Ts @ The 100 Club - 12 April [Part 2]
Playlist 1st Set
1 Soul Incorporated "My Proposal"
2 Ree Flores "Look into My Heart"
3 Chris Bartley "My Heart Still Belongs To You"
4 T.S.U. Toronadoes "A Thousand Wonders"
5 Imperial C`s "Someone Tell Her"
6 Deon Jackson "Someday The Sun Will Shine"
7 Choice of Colour "Your Love"
8 Bobby Reed "The Time Is Right For Love"
9 Andrea Hendry "I Need You Like A Baby"
10 Spiedels "Dream Girl"
11 Flash McKinley "Ill Rescue You"
12 Bob and Fred "Ill Be On My Way"
13 T.J. Williams "Baby I Need You"
14 Embers "First Time"
2nd Set
1 Esther Phillips "Just Say Goodbye"
2 Karmello Brooks "Tell Me Baby"
3 Bill Bush "I`m Waiting"
4 The Eptones "A Love Thats Real"
5 De-Lites "Lover"
6 The Nomads "Somethin`s Bad"
7 Phonetics "Just A Boy`s Dream"
8 Ray Pollard "This Time"
9 Ster-phonics "Don`t Leave Me"
10 Fifth Avenue Band "One Way Or The Other"
11 Mel Britt "She`ll Come Running Back"
12 The Minors "Lonely Boy"
13 The Pearls "Shooting High"
14 Bobby Kline "Say Something Nice To Me"
15 The Startones "Lovin` You Baby" 1
6 Don Hysong "Soul Searcher"
![cover for Review: 6Ts @ The 100 Club - 12 April [Part 2] article](https://www.soul-source.co.uk/uploads/monthly_2015_09/100-club.jpg.5d5d36cc47817789228af622fb24aa6c.jpg)
Review: 6Ts @ The 100 Club -12 April 2003
DJs: Mick Smith, Butch and Ady Croasdell plus guests Kenny Burrell and Keith Money.
Another sound night with the DJs particularly excelling. Kenny played his male version of Sweet Temptation (very different to Martha Starr) and gave airings to a lot of sounds we dont get to hear enough of.
Keith shone with a great deal of thought going into his set, changing the moods and tempos at just the appropriate times, he more than justified his recent signing for the 6Ts Cleethorpes weekender.
Mick enjoyed himself far too much (stitching Ady up over the mike several times), he let the rare boys have their moments and pleased the crowd with whatever it took throughout.
Butch was on top form and opened his second set with a girly acetate that sounded like the Sapphires at their best.
Ady, in his own words, had his moments and was particularly pleased with the first outing of The Themes "Do Yourself A Favour" and the crowds response to The Devonnes "Doin The Gettin Up".
There were great turn outs from the West Midlands, Nottingham and even the Bar Italia Scooter Club - but we dont seem to get the far flung Northerners any more, theyre either getting old or too lazy . (Ady's comments.... Not mine!)
Kenny Burrell kindly forwarded the playlist for his two sets which went as follows:-
1ST SET
Stompers to kick off
1 Admirations You left me
2 Jackie Day Naughty boy
3 William Powell Heartache Souvenirs
4 Intentions Feel so good
5 Tranells Blessed with a love
Easing up the pace
6 Marilyn Barbarin Just a teenager
7 Appreciations Its better to cry
8 Sensations Demanding man
9 Ward Burton Sweet temptation
Mid Tempo to finish
10 Tobbi Bowe I can feel him slipping away
11 Nurons All of my life
12 Gerri Shivers Lets try it again
2ND SET
Stompers most of the way
1 Magnetics I have a girl
2 Eddie Parker Im gone
3 Mello Souls We can make it
4 Don Gardner Cheatin kind
5 Joey Delorenzo "Sunshine girl"
6 Jesse James Loves alright
7 Ty Karim You just dont know
8 Peggy Byres World of happiness
9 Yvonne Vernee Just like you did me
10 Lester Tipton This wont change
11 Inspirations No one else etc
Nudging back the pace now
12 Mr Soul What happened to yesterday
13 Magnetics Lady in green
14 Magnetics Count the days
15 Magnetics (lee mckinney) Ill keep holding on
If you missed out get down to the Sid Barnes Experience on Friday 25th April 9pm-2am with Djs Irish Greg, Adam and Harboror Horace himself.
Reserved Plinston Tickets (New Service)
JM Auction and news
SOME BIG TOONS FOR SALE
Current monster just pushed out
G2K 45-134 THE CHESTERFIELDS -Think it over - a previously unreleased Philly 60s Northern dancer - being played out by Butch from acetate.
G2K 45-135 CYNTHIA SHEELER - Ill cry over you / NORMA JEAN - Ive taken over - a strong 70s New Orleans Modern Soul/Crossover coupling
Order from your usual source.......
or direct from Grapevine at £10.00 each inc postage - 01924.299461 or www.grapevine-soul.com
Latest Plinston Rare Soul Trading Cards out There!
LOWTON CIVIC HALL Friday 11th April 2003
100 Club Apr 12 Details
Theme Park Update (part 3) and reply
funny the event has not even started and somone who failed to put their name to the comment has already started to have a go a little, tell you what if that person would like to email me direct bicknellmark@aol.com I will see what I can do as a gesture of good faith to him or her infact Ill pay for your ticket myself ok. See we are not all bad, funny a number of folk seem to think Im behind this event but again this is not the case, yes Im very involved with the DJ side of things etc. but it stops there, we should welcome a new event of this scale with open arms and to be honest £10.00/£12.00 on the door is hardly the kings ransome is it in this day and age, what i can promise is a state of the art venue with easy access from all points of the compass, first class sound system, good music and the promoters hope its going to be a regular monthly Allnighter as its booked for the last Saturday in the month throughout 2004.
A ten hour Allnighter from 9pm through 7am which is a £1.00 an hour...seems ok to me. I dont wish to get into a debate with someone I dont know nor do I want to fall out with anyone but your comment has been noted.
Keep it real - Mark Bicknell.
100% Right Big Daddy. I just wish to show my support for what mark has said in his above article. There are some people on this Scene who expect to still pay £5 into a major venue. These Tw*ts live in dreamland and may i suggest they wake up and get with the real world. How much work do you think promoters go through to provide you lot with somewhere to go and listen to the music you love and be surrounded by like minded people of all ages. These moaners dont think of all the hassle re venue owners, decks,lighting,bar staff,flyers,adverts,djs,door staff,security etc etc. I remember people going ....oh the CSC boys must be doing alright money wise....i just F*cking Laughed and said little do they know the full extent of running a night and the cost involved. Last xmas Alan and I was £170 down and some nights made £40 (the djs get £80/£100 each). All i can say mark is F*ck them let them moan on the grave of the Northern scene cause if this underlining crap continues we will lose young promoters and dJs. People listen to me...a nightclub will cost you £15 with a bottle of beer £3+ and the music will be chart sh*t and maybe a fight or witness someone getting glassed etc. If you dont wish to pay £10 for a nighter then F*ck off somewhere else.
People have to be paid a decent wage (door staff,djs etc) and venues are not cheap...may i suggest your local old mans/womens club where you can sit and moan allnight to like minded people (not fair on the workers club really i know), Good luck a say to all Promoters except the real con artists. I cant wait for the return of the rare soul scene to return to the pub basement to be honest with ya. Then itll be back to £5 and youll have something else to moan about.
Give it up to the Bicknell whos Dad drove the greatest band ever! The Beatles.
Respect
Greg
ps We be giving out over 100 free cds at the 4th anniversary of the CSC and im sure some people will find something wrong with that also . Put them up against a wall and shot the lotta them i say LOL
Breakaway - Toni Basil a video to catch?
Check this write up out below, havent seen it but apparently its all to the backing of breakaway. Anyone caught it ?
In the five-minute-long "Breakaway," Conner lifts the formula of pop music and garishly overworked images that is Kenneth Angers private domain into a new realm of dazzling slickness--and makes it clear that, for five minutes at least, Conner is a one-woman man. (Anger covers the waterfront; Conner is a serial monogamist.)
The film consists of a young pop singer-cum-dancer named Antonia Christina Basilotta (thats Toni Basil to you) frugging, shimmying, and Isadora Duncaning her way naked around a black-on-black photographers studio while Conner smacks her with a series of frenetic zoom-ins that mime the coarse sexuality of slam-dancing.
The mix of manic editing, collision-oriented zoomage, Basils own dreamy kinda-black voice, and 78 costume changes make this the most freakily un-tender Valentine ever written to a female movie star.
The piece startlingly approximates the quality of a rough but totally awestruck fuck.
Youll rewind it again and again.