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Soul Source music magazine feature.

"Had news from up North that on Sundays Jazz FM radio show, Richard Searling had a right go at Internet Soul Chat Groups, as someone had sent in some postings off one particular chat group, think words such as "need to get a life " "old woman" and similar were used before he threw the post in the bin! etc etc"

Unfortunately I dont get show down here, but was told that basically the way it come over was he tarred all lists with the same brush. I feel disappointed at this, because where certain groups are based around idle chat, the list I help moderate, "Soul Talk" is 100% on-topic only and is a place to share knowledge and discuss Rare Soul related topics only all in a friendly no abuse way. I know for a fact that the World-wide membership and the moderators like nothing better than to "talk soul and nothing but soul" and enjoy sharing their collected knowledge. Im sure if Richard saw the posts from the top collectors, DJs and indeed by some of the artists themselves hed realise the internet can be a positive thing too for the scene. Anyway enough crap back to soul, and Jazz Fm, been told that the guest was Keith Money

fresh from doing a superb set at the 100 club, and heres some of the stuff he played, courtsey of Dave M, with finer details from some Soul Talk members David and Mark - which was all posted originally on Soul Talk!!!
Sounds like a right rare soul feast

George Hobbs - Let It Be Real - Sound City
Chris Bartley - My Heart Still Belongs To Only You -Acetate
This is actually a emi disc as Andy Dyson has the original copy as is infact
and is Timothy Wilson on April & Blackwood acetate.
Ann Byers - Im Not Going To Cry - Academy Acetate
Soul Incorporated - My Proposal - Coconut Groove
Bill Bush - Im Waiting - Ronn
Carl Hall - She Doesnt Love Me - Cover Up
Deon Jackson - Someday The Sun Will Shine - Unissued Carla/ALantic recording
Spidels - Dream Girl - Providence
Vicky Labatt - Got To Keep Hangin On - Shagg
New Sound - Dont Take Your Love - Turbo
New Sounds Turbo LP or Jap reissue LP
Embers - Someday Youll Be Aware Of Love -E
JJ Barnes - Gotta Get Rid Of You - Volt
Bobby Reed - Time Is Right For Love - Bell
Black & Blue - b side of What I got - Mercury
Joe Valentine - Ive Lost The Only Love I Ever Had - Val
Mark Lloyd - When Im Going To Find Her - Parlophone
Imperial Cs - Someone Tell Her - Phil L A Of Soul
Bob & Fred - Ill Be On My Way - Big Mack
Don Hysong - Soul Searcher - Bard
Linda Lloyd - Breakaway -Columbia

By Mike in News Archives · May 1, 200124 yr

Ok day 1 the doors are open! After revamping and moving everything across, I never want to see a bloody computer again........ Hopefully you agree with me when I say that the new format seems to be a vast improvement and has a lot of potential. As always appreciate any feedback, so let me know your thoughts.
The main thing that I like about the new format is that anyone can post up, you can
either post up news, reviews, events,etc into the soul vault, and it will automatically add them to front page or can just comment on some of the posts.Plus have sussed a lot of other new features and yeah theres more to come.

Apoligise if as busy over last couple of weeks have missed answering some emails, or contributions, ask to send again, know I lost a few, as you do and had no joy trying to get back to some.On site content ok as day one the order is a bit jumbled as it works on a date thing, and thats why some of the old sounds and articles have come up as latest news, it should sort it self out as stuff gets posted. Plus still a bit behind on putting up events and similar.

Anyway enough crap, gotta go as overdosed on pcs, just say if you got ought to spread just post it up!
Cheers
mike

By Mike in News Archives · April 29, 200124 yr

The next soul filled night at THE NEIGHBOURHOOD! takes place on Saturday 12th May from 7.30pm - midnight (by-law!!!!!!) at the Football Club in Hitchin, Herts. The last one saw around 100 brothers and sisters from across the UK ....
Jane Oppegaard
READ MORE FOR PLAYS CURRENT TIP TOP TUNES
Sue Ann Jones - Ill give you my love
Bonnie Bombshell Lee - My mans coming home
Allen Sisters - Im in with the Downtown Crowd
The Contours - Its growing
Teddy Pendergrass - I just called to say
Nolan - If I could only be sure (lp version)
Jimmy Beaumont - I pretend Im loving you
Carl Holmes - Soul dance No 3
Jimmy Ruffin - He who picks a rose
Gladys Knight - If you ever get your hands on love
John Wesley - Loves a funny thing
The Sequins - Take back all these things
Gloria Gaynor - Lets mend whats been broken
Judy Freeman - HOld On (lp version)
Bill Spoon - The one who really loves you
Mary Saxton - Losing Control
plus loads more you all know so I wont bother telling you! Nay! sas

By Mike in Event News · April 29, 200124 yr

Had word of what is a very unusual thing that's been set up on internet........
Yep believe it or not someone has had the audacity to set up a website that is northern related... but is funny as well, no theories here on why modern soul is etc etc but just one hell of a laugh, its well funny
Soul Patrols the name and its here
http://members.tripod.com/knipper3/
recommended big time

By Mike in News Archives · April 29, 200124 yr

Couple of big ones on ebay - Patrinell Staten - little love affair about 20 hours to go and at $2,325.00............

Just setting up me software to do last minute sniping on it... yeah in my dreams.
Word was springers were up at opening bid of $4000 but then mysterily the link went down and no sign of it in searches!

Noticed that theres been a few Oxford Knights knocking around.

Back to internet things, what is it with people, can you inagine standing up in front of 100s of people in the street or a pub and start slagging down someone you obvisouly dont know or havent met , nah dont do it meself, but give some people a keyboard and whooosh off they go, abuse, false facts and so on, ..... wonders of the internet, bet you crank phone calls have died down over last 5 years, they all went out and bought a computer !

By Mike in News Archives · April 29, 200124 yr

George Jackson, Al's Bar, London. April 7th, 2001
One of the regular highlights of the month for Dawn and me is our visit to the George Jackson club at Al's Bar in Farringdon, so for Dawn to be invited to play a spot there as part of the April line-up made our last visit there a particularly special one.
For those of you who haven't been, this place really is a must-go for anyone with an open mind and a sense of wonder at just how TASTEFUL great Soul music can be. Strict-tempo Northern Soul oldies-fascists would hate it, but if you can gasp at a record without needing to dance to it, if you can ignore the era, the tempo and the zip code on the record label and just marvel at the sheer Soul content, then this is a club you will thank the Lord for.
George Jackson is not a Northern Soul club - but they do play Northern Soul records. It's not a Southern Soul club - they play plenty of records from North of the Mason-Dixon line. It's not a Sixties Soul club - they play Soul from way before and way after the big Seven-Oh, and it's not a Deep 'n' Slow club - they play plenty of really danceable stuff, especially towards the end of the night. George Jackson is just...George Jackson, a club where great Soul gets played, no matter what.
For anyone used to scenes stifled by rules and regulations about 'correct' tempos and 'the way things used to be when people did it by the book', George Jackson is a breath of fresh air, a determined tearing up of all available rulebooks and a return to seeing both the wood AND the trees. Sixties Deep Soul ballads rub shoulders with 70s butt-shakers, harmonising Sweet Soul honeydrippers with mid-60s finger-clickers, and cracked-voiced country grinders with supercharged Big-City epics, the overriding factor in all cases being the Soul content. You don't get many Xylophone Oldies, but you do get virtually everything else. The one thing you'll never get is a Pop Stomper.
The quality of the sides played on Saturday was staggering, with tracks like Bill Brandon's "Rainbow Road" and Eddie Jones' Let's Stop Fooling Ourselves" standing out from a lorryload of devastating slowies, and selections by Willie Tee, Purple Mundi, Syl Johnson and Eddie Giles getting the feet shuffling later on. Connoisseurs and complete strangers to Rare Soul got swept up in the mood, and by the end the 'intimate' (ie tiny) floor was heaving with everything from Northern Soul die-hards to Southern Soul purists and 'just passing by' members of the general public just shaking it to the sounds on a Saturday night. Finally, the lights went up and one of the aforementioned complete strangers rushed breathlessly up to the DJs and gasped "That was fantastic - what WAS that stuff you were playing?" Now THAT's what I call a job well done.
As of next month, George Jackson will be moving to the Smersh bar at 5 Ravey Street, London EC1, which I think will be a much better place for them than the quarry-tiled, thru-lounge sized venue they've occupied up till now, and the Smersh regulars should be more in sympathy with what the club is trying to achieve than the sometimes rather hit-and-miss passers-by who have occasionally stumbled in on the club at Al's bar. I, for one, can't wait until May 19th for my next fix of rule-book-free Soul. Conveniently, it's the same night as May's 100 Club, so anyone from out of town can check out what it's about, too. See you there!
Nick Brown.

event-reviews

By Mike in Articles · April 27, 200124 yr

Mary Love has now been active in the music business for almost thirty years and her recording career over much of this period has not been as prolific or successful as she deserved. However, she continues to produce new work and to her credit still retains a positive attitude to the possibility of future success.
Mary was born in Sacramento, Mary Ann Allen (Hal Davis came up with her stage surname in 1964), but her family moved to Los Angeles when she was still a young child. She sang in church and when she got out of High School she met and became friends with a guy from the group, The Vows (V.I.P. release later). Mary began rehearsing with the group and they worked together on one particular song in which Mary took a major vocal role. The groroguen_storiesup secured a booking at the California Club and Mary was asked to go along to perform the song they had worked on together. She did this and J.W. Alexander, Sam Cookes manager, happened to be in the club. He liked what he saw and asked her to come over to a studio on Hollywood Boulevard the next day to cut some demos. This she did and it resulted in her cutting a demo with Sam Cooke of "Talking Trash" a song destined for Betty Everett and Jerry Butler. They liked the way she worked and so she was used to cut numerous demos.
She eventually ended up cutting demos for Jobete, one song she was the first to cut being "A Touch Of Venus" which was produced by Marc Gordon. The demo version turned out so well that the song was much in demand with various artists wanting to release it. However, the winning version fumed out to be one of Marys friends, Sandy Wynns. Mary believes her demo version is still locked in the Jobete / Motown vaults, she certainly doesnt possess a copy of the cut or any other of her demo performances Her sterling efforts on demos were soon rewarded, as again with Marc Gordon producing a number of mainly Frank Wilson penned songs were cut with a view to landing Mary her own recording contract. Arthur Wright was the arranger on the work and although Mary was still very young and unschooled in studio techniques with the help and encouragement of the talented team around her the tracks that resulted were of a very high quality.
Marc Gordon secured Mary a deal with Modem Records and her 1st single "You Turned My Bitter Into Sweet / Im In Your Hands" (Modem 1006) was released in 1965. This was an instant hit, first locally and then nationally and its success led to it being released overseas. However, Mary wasnt aware of this or the fact that 2 of her later 60s singles were also released in the U.K. and was most intrigued when shown copies of her releases on U.K. King and Stateside. Mary really enjoyed this period of her life, work at Modern was undertaken in a family atmosphere. The studio personnel taught her a lot, taking time to explain the necessary studio techniques to her. Artists also helped out on each others recordings, Mary doing backups on Vernon Garrett, Lowell Fulsom and Ikettes tracks and these and other artists returning the favour. The Valentinoes (Bobby, Cecil, et al) also assisted on one of her sessions but although the Ikettes soon became Marys closest friends (Venetta Fields, Josie Joe Armstead, Robbie?) Ike and Tina themselves never used to help out in the studio, Mary only meeting them when their paths crossed on tour.
The Modern artists also swopped club names and addresses, if one artist obtained a booking at a new club within days every other outfit from the label would be on the phone pestering the booking agent for a spot. Because of this and also due to the high standard of her live performances she ended up touring extensively in the 60s and has made a good living. Her two year period with Modem Records resulted in six solo singles and one duet with Arthur Adams being released. "Bitter Into Sweet" and "Move A Little Closer" were the most commercially successful but all were very worthwhile releases and many have been reissued in the 80s/90s in the U.K. on the Kent label. "Bitter Into Sweet", "Hey Stoney Face", "LetMe Know" and "Lay This Burden Down" have all become popular with U.K. soul club crowds, however one of Marys personal favourites is the Ashford and Simpson written Dance Children Dance. "Satisfied Feeling" the flip side of her 5th release.. was her 1st self writtentrack but more soon followed.
The duet with Arthur Adams her last release on Modern is quite interesting as only one side of the record features ,Mary.The A side "Is That You"was cut first timeand by the time the decision to release the track Mary was out on tour so her friend Sandy Wynns took her place and recorded "Lets Get Together" with Arthur although the track was still credited to Mary on the label. No one would have been any the wiser if Mary herself had not given the credit due to Sandy. Marys least favourite track is surprisingly "Hey Stoney Face", she cant relate to the Iyrics at all and it took her all night to lay the track down in the studio as she kept breaking out into fits of laughter and she has never sung the track live in her life.
In 1968 Mary left Modem and signed to Josie (Jubilee) for a one record deal. This was the single "The Hurt Is Just Beginning / If you Change Your Mind", both songs being self written. Both sides of the record have stories attached to them "If You Change..." was written on tour after a show, its theme being a one night stand and how the couples feelings for each other can already have changed by the next morning The A side "Hurt Is Beginning" was Being played on the radio in California at the same time Huey Newton of the Black Panthers was on trial in San Francisco. The protectors outside the court house took their lines from the song "…Don’t let it Happen…" and built it into a chant, so a lot of people know the song by this title. Her next single is on a rare label "There’s someone for me" on ELCO, again its self written and it was released in 1971. Marys grandmother still lived in Sacramento, next door to the Elco Drugstore. The store owner, a Mr Cole heard Mary sing the song and decided to start the label as a hobby. The tracks were recorded at Ray Charles studio in L.A. with Ray engineering the session himself It proved to be the only record on the label
Next up is the Magic Disc single Joy in 1977. This was taken from the movie Peady Wheatshaw and a soundtrack albulm was also released at the timewhich included 5 tracks from the film on which Mary was the featured vocalist A single on the T K distributed label Inphasion " Turn me Turn me" followed in 1979 and also around the same time on a visit to Japan Mary cut a record with part Japenese / part English1 Iyrics, extolling the virtues of the Sweet Taste Bamboo Inn. Next| came her U- Tone single "Tit For Tat" in the early 80s and this is one of the songs which has benefited from the changes in musical styles since those days of the disco boom as it sounded much better when performed live by Mary at the Cleethorpes Weekender. Mary acknowledged the input of her U.K.backing band at the event and said they had been influential in the way it ended up sounding when she had performed it. She also expressed her pleasure in having the opportunity toperform with live back-up when compared to her last UK visit when she had to sing over backing tapes.
In 1984 another single was released, this being Save Me" which was recorded for Eddie Garons Golden Boy Records in L. A. although it was released on the Mirage label. Shortly after this Mary began to collaborate with Brad Comer who was soon to be her husband. In 1986 while I was helping Move Records of Edinburgh I was forwarded tapes of a number of tracks that had been submitted to them for possible release One of these contained a number of tracks by a group known as Co-Love The best of these being a male / female duet "Be Baby", a mid tempo number "Never Gonna Break It Up" and a ballad "Mr Man". It transpires that these were the last secular songs recorded by Mary and Brad however I dont believe they gained release anywhere (Move Records went out of business shortly afterwards).
Mary and Brad decided to move into the gospel field and recorded and released on their own Co-Love label "Come Out Of The Sandbox" in 1987. The words to the song have significant meaning to Mary as to deal with the mentality of believing in failure and disappointment and explain how everyone can shrug this off as all good things are within us. The record proved very popular in the U.K. and led to further gospel releases, an L. P. "His Servant Am 1" and a 12" "Caught Up / Standing On The Edge Of Time" on a Voices limited edition in 1988.
Then in 1990 another 12", this time featuring three tracks "Understanding / In My Life / Morethan Enouglh Love" was released, the later track being a duet with Marys son Derrick Versey. The couple are currently working on a new L.P., they continue to write new songs and Mary performs in churches in the Los Angeles area. They are both very open, friendly people, down to earth in attitude and talented. With their outlook on life they can only prosper in the future.
Marys ethos that you should never succumb to the mentality of failure should ensure that we receive new product from her well into her fourth decade of involvement in the music business.
written by John Smith
from a interview conducted by John Smith / Paul Dunn
Background info by Paul Dunn Oxford 1993

video added
Mary love - lay this burden down by mickeynold

artists

By Mike in Articles · April 25, 200124 yr

Dome Friday 30 Mar 01 - New playlists added at end
Here's one that cased a bit of discussion, with a soul fan posting up a few complaints of the nite, and the promoters answer, as well you get a few views of the nite, plus full detailed playlists - value for money or what??
Ok a quick brief on what went on last friday at what is said to be the UK's leading and best rare Soul nite, plus a few other views from people out there. Well after the last dome, it seems that this event is now firmly regarded as the leading rare soul nite in uk, not just my view but plenty of others have said the same. So how did the March one go down, well each one seems to throw up something new, this time arriving a hour before it starts, we were took back to see a queue outside about a hour before the doors open, which told us it was going to be a packer. Matt J had said that they have had about 150 new membership applications, so after the last ones one in one out, seems that people were determined to beat the crowd.
Inside, with a few of the regular supporting staff away, a quick bit of juggling was done, before doors open, and by this time the queue had grown resulting in a almost non-stop regular flow of people. Doing the warm up spot, was Ady Lupton, now a regular feature this warm up spot is designed to give the chance for up and coming local djs to show us what they're made of, and Ady L delivered a fine set of some cracking sounds. Word going around was that along with guest appearance of Sidney Barnes, it was rumored there would be a few other surprise guests. With Ady l's spot the nite was well under way, quickly filling up, and thus giving the place a great buzz, the record room was a well busy place with a fair few dealers and dealing.
Come about midnight it was time for Sidney Barnes to do his stuff, now this was a off the cuff thing, originally he was planned just to sign autographs and so on, but with a bit of sorting out from the venues technical staff, plans where made quickly for him to deliver a quick performance on the main stage, and what a performance it turned out, giving us not just one go but coming back for another, featuring two of his classics tracks - I hurt on other side and You always be in style, and he sounded great! Two of the Flirtations turned up, who Sidney used to manage in their Old town days and gave a quick allright to all, the other rumoured guests unfortunately didn't show, but tell you don't think anyone noticed after Sidney's great performance.
He was being looked after by Mark Hanson Ian Levine and Andy Dyson and watch out for some more news regarding that soon, Ady C was guest dj and no prizes for guessing he delivered a great spot, as did all the normal crew, David Flynn, Irish Greg, Alan H, Carl f, of course we were given a helping of the normal Dome flavour of one offs, rarities and classy revivals, This ones for you my love, Downtown crowd, famous tumbleweed classic Barbara Redd, Fran Oliver, to pull a few quickly off top of me head, hopefully more full detailed plays to follow, ending with David f doing the close down 30 mins.
Sidney and two of the Flirtations (photo in gallery now)
Crowd wise, usual bunch of suspects there, including some Germans who made the trip special from southern Germany just for the nite, a long ride home next day or what!
Have heard complaints of too many non soul fans which seems to have spoiled it for some (see posts below), but had no hassle myself.
End of nite, well as said it seems to be a case of saying after each one "best one yet" and unfortunately even though sounding like a vg of ebays -as in a scratched record, gotta have to say it again, end of nite the feeling was.... yeah best one yet!!

paparazzi a go go
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Always after views from out there, in past have put a couple of negative views sent in from soul fans of a couple of events and received a few critical emails off people for posting them, well always after a easy life, but if people take time and effort to send in will always try and post up views , know people are not always going to agree with what they say including myself, but not going to go down road of white washing, ask if you have views, send them in and will post them,
So here's some views on nite...
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Highlight of the night - meeting Sidney Barnes. What an absolute gent. When
Ian Levine was making the SWONS video I was trying to help Ian out with a
bit of editing and effects on a couple of tracks. One of them was the Sidney
Barnes - I hurt on the other side. So after looking at the man on the screen
for hours and hours it was nice to meet him and discuss it with him. I
mentioned how good he looked in the film on the top of that building (in
Chicago I think). "Thank you" he said, "That's were I work - I'm the doorman
at that building". It's a real pleasure to meet a person with such talent
who's down to earth and approachable about it all.
Best sounds of the night , Dirty hearts - Benny Curtis brilliant choice Mr
Flynn but can you not play it anymore till I can get a copy of it. Mayfield
players - love this, is this obtainable in any form cos I'd love a copy?,
Downtown Crowd - Allen Sisters , and pretty much everything Alan Hanscombe
played. Although the record which I thought got the biggest response of the
night was Impressions - You Been Cheatin. You couldn't get on the dancefloor
most of the night but when this was played they we're stacking them 3 high.
What more can I say. If you haven't been to the Dome before you've got to
go.
Cheers Al
ald@globalnet.co.uk
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Originally had posted here a cut email of which I received today regarding friday nite at dome, passed on the original to Matt J as parts of it made certain remarks which I felt he may want to reply, he asked me to post up his reply and whole of the email, so here you go, first the email from soulful bob, and then reply from the promoter Matt J
This is gonna be short, sharp and sweet. We were expecting a fantastic night
at the temple of rare soul in London with the bonus of Sidney Barnes to boot.
What we got was an utter disappointment and an early night!
Sidney Barnes was great and it was nice to see the Flirtations as well. The
first dj played a great set of rare r&b and Ady C. (get your hair cut you
hippie! You look like a Shakespearean actor) didn't disappointment with one
of his best sets for years. The others were OK but Jesus! If the Impressions
'You've been cheating' is now considered rare soul then the scene is in real
trouble. I was half expecting to hear 'out on the floor' and 'ghost in my
house' at any minute! If this is what your gonna be playing in the future
then do not advertise yourselves as the temple of rare 60's soul!
The sounds I can live with, the crowd however I cannot. I don't know which
night Matt was at but it was not as he commented a fantastic atmosphere or
crowd! I'm not the only one who commented on this (and I'm sure Winston will
be passing the same comments later) but we had those that were there taking
the p***, those that were drunk to the point where they spilt their beer over
the floor and us, and those that were so far smashed out of their heads they
could have been at the local nightclub for all they cared! It caused major
problems with our lot and several others sat by the stage. It was annoying at
best and causing a lot of friction and tension. If they were all members Matt
then 1) I'm a dutchman, 2) the scene's in a hell of a state and 3) I'm
stupid! It used to be that soul preceded the payroll but after this night I
now very much doubt it! It seems the cash is more important than the soul.
There is no way these people were soul brothers and sisters. I even had one
twat say to me 'what's this crap playing then? Don't they have any garage?'
Laugh, I almost nutted the **** there and then.
I and many of my friends from all over the UK will not be attending the Dome
again until this is sorted out. I'm not happy as I've always considered the
club to be fantastic and a real credit to the scene. I urge Matt to sort it
out for the next night B4 it's too late.
Soulful Bob
Soulfulbob@aol.com
Matt j's reply in blue
This is gonna be short, sharp and sweet. We were expecting a fantastic night at the temple of rare soul in London with the bonus of Sidney Barnes to boot.
What we got was an utter disappointment and an early night!
Sorry to hear this Bob, our aim is that everybody has a good night
Sidney Barnes was great and it was nice to see the Flirtations as well. The first dj played a great set of rare r&b and Ady C. (get your hair cut you hippie! You look like a Shakespearean actor) didn't disappointment with one of his best sets for years. The others were OK but Jesus! If the Impressions 'You've been cheating' is now considered rare soul then the scene is in real trouble. I was half expecting to hear 'out on the floor' and 'ghost in my house' at any minute! If this is what your gonna be playing in the future then do not advertise yourselves as the temple of rare 60's soul!
I must say that the music policy at the Dome is a mix of rare and underplayed tracks mixed in with 'suitable' oldies. This I believe works well, the dancefloor reflects this. As I've said many times before, people vote with their feet. Until the dancefloor starts to dwindle there is no need to alter the policy. The Impressions was reported in one review to have caused the most fervour on the dancefloor all night. Try telling those rushing to the dancefloor that the track shouldn't have been played?
Tracks played are skillfully chosen by the DJs in my opinion, but everyone is different so we cannot be expected to please everybody all of the time. I'm happy if the dancefloor is buzzing with the enjoyment of the majority of the crowd.
I must caution you not to put words in my mouth, falsely quoting me. Never once have I described the CSC as a "temple of rare 60's soul", your words not mine. Simply it is what it is, everybody makes their own opinions on that, I cannot tell you what to think.
The sounds I can live with, the crowd however I cannot. I don't know which night Matt was at but it was not as he commented a fantastic atmosphere or crowd! I'm not the only one who commented on this (and I'm sure Winston will be passing the same comments later) but we had those that were there taking the p***, those that were drunk to the point where they spilt their beer over the floor and us, and those that were so far smashed out of their heads they could have been at the local nightclub for all they cared! It caused major problems with our lot and several others sat by the stage. It was annoying at best and causing a lot of friction and tension.
'Fantastic atmosphere', that is a personal opinion and it was from where I was standing, but you are entitled to your opinion. Others that I have spoken to and emails from members, whom I do not even know, all seemed to enjoy the atmosphere, which is great to hear. Again we can't always please everybody. We will be releasing over an hour of film footage from the night very soon, so people who didn't attend can judge for themselves.
Troublesome people that you witnessed is another matter entirely, you are right to be annoyed. I'm glad that you have brought it to my attention. There will always be the odd isolated incident, the only way to deal with this is to report it at the time. I cannot solve problems that I know nothing about. In the past I had one or two cases of people who had one too many to drink or are not respectful on the dancefloor. Usually a quiet word from me (after someone has brought it my attention) sorts it out with a friendly "sorry mate, I didn't realise" reply and no further trouble. On the second night this wasn't enough and I had to throw two people out (and went membership only the following month to avoid people walking in off the street). I also post signs saying "Do not take drinks on the dancefloor", to keep the floor dry. I've ejected people from the club before and I have no qualms about doing it again. But you must tell us on the night, or we can do nothing.
If they were all members Matt then 1) I'm a dutchman, 2) the scene's in a hell of a state and 3) I'm stupid! It used to be that soul preceded the payroll but after this night now very much doubt it! It seems the cash is more important than the soul. There is no way these people were soul brothers and sisters. I even had one twat say to me 'what's this crap playing then? Don't they have any garage?' Laugh, I almost nutted the **** there and then.
I'll go with option 3.
The security on the night (usually also supervised by Jo Wallace) are given strict instructions that only members or those on the guestlist can gain entry. The guests are all personally known by ourselves and are no trouble, so they are not an issue. All members have to do is send off for a card, that's it - therefore it is not possible to vet people any further. Again any problems can only be dealt with on the night. If it is clear that someone is in the wrong place and is misbehaving, tell me! and I can address it - if it's not reported what can I do??? The rest of the CSC team along with myself are all friendly people and very approachable, so please come over and tell one of us
"Cash is more important than the soul"??? This I take as a personal insult and if you knew anything about me or knew me then you would know this not to be the case. On the night I personally turned away 10+ hopefulls for not having membership, and we close the door early so that the venue doesn't get too full, so where's the greed there? Unknown to the paying soulie we were hit with a price increase from the venue management at Christmas and have for two months already tightened our belts and accepted the loss from our own pockets, greedy? I think not. We offer as much as we can to the paying soulie - Website, regular mail out of flyers to 700+ members, free tapes, anniversary keyrings. these things all cost money, a lot of money! And for £5 for a London venue this is surely not too much to ask. We have lots more freebies and ideas that cost money, so even if a slight increase was needed to cover it in the future, we still wouldn't see any of it.
I take great pride in the fact that I promote the Dome sheerly for the love of the scene, it's people and it's music, not for money. Ask anyone who knows me! Those saying otherwise are full of shit and should have the balls to talk to me and find out what I'm like before wrongly judging my character!
I and many of my friends from all over the UK will not be attending the Dome again until this is sorted out. I'm not happy as I've always considered the club to be fantastic and a real credit to the scene. I urge Matt to sort it out for the next night B4 it's too late.
Soulful Bob
Soulfulbob@aol.com
That's your choice Bob and it's sad to hear but please read what I have said above. Also think twice on your choice of words next time when judging someone who you clearly know nothing about.
This night has a much younger age spread than any other but they 'are' a great crowd and well behaved. We must not deter new blood, but educate and encourage them: This is the future of the scene we are talking about.
In future, as I've mentioned above I urge anyone with a complaint to see me on the night and I'll happily sort it out. Also I set up, months ago, a comments page on the web site where members can raise any issues. Alternativly pick up the phone, my number is on the flyer, always happy to chat about things.
Please contact me with your views, I'm genuinly interested what people think on ths matter
To sum up we're prepared to take the rough with the smooth, good reviews and bad reviews but please make complaints constructive (so we can address them properly) and not just an unnecessary personal attack.
Regards
Matt Jahans
ok since both posts, both bob and matt have been back in touch, to cut a long story short and draw a line under this, bob has said that he wrote it straight after event, takes in what matt says and withdraws the cash comments, and end of day was trying to get point over that these non-soul fans spoilt their nite. Matt has said he will take steps to hopefully ensure problem doesn't occur again, and feels now his reply may have been a bit over the top, but the cash thing gave him the hump
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Here's the ones that bolted from the Flynny stable.........a right
mish-mash mixed and blended together in a manner that Jamie Oliver would be
proud of.....maybe?!
11.30 12.00
SIDNEY BARNES -I HURT ON THE OTHER SIDE -BLUE CAT
FLUFFY FALANA -MY LITTLE COTTAGE (BY THE SEA) -ALPHA
EDDIE CARLTON- IT WILL BE DONE -SWAN
OZZ & THE SPERLINGS -CAN YOU QUALIFY -GOLDENWAY
WADE & JAMIE -DON'T PUT OFF UNTIL TOMORROW -PALOMAR
LITTLE DOOLEY- PITY FOR THE LONELY -KO KO
INFORMERS -BABY SET ME FREE -BLACKJACK
SOUL COMMUNICATERS -THOSE LONELY NIGHTS- FEE BEE
BENNY SPELLMAN -THIS ONES FOR YOU MY LOVE -ALON
SIDNEY BARNES -SAFETY ZONE -JOBETE ACETATE
SEPTEMBER JONES -GIVE ME ALL OF YOUR LOVE -UNISSUED
JIMMIE & ENTERTAINERS- NEW GIRL -TODDLIN TOWN
2.30 3.15
BENNY CURTIS -DIRTY HEARTS -RESIST
SUPREMES -LOVE IS LIKE AN ITCHING IN MY HEART -MOTOWN
COOKIE JACKSON -DO YOU STILL LOVE ME -PROGRESS
FRAN OLIVER -SEARCHIN' FOR MY MAN -C/UP
DON RAY -BORN A LOSER -R.C.A.
TWO PEOPLE -STOP LEAVE ME HEART ALONE- REVUE
HYTONES -BIGGER AND BETTER -ABET
SPARKELS -TRY LOVE (JUST ONE MORE TIME) -OLD TOWN
BOBBY REED -THE TIME IS RIGHT FOR LOVE- BELL
SOUL INC. -MY PROPOSAL -COCONUT GROOVE
TONY GALLA -IN LOVE - SWAN
IVORYS -PLEASE STAY- DESPENZA
CHANDLERS -YOUR LOVE MAKES ME LONELY -COL SOUL
VALENTINOS -SWEETER THAN THE DAY BEFORE -CHESS
CHARADES -THE KEY TO MY HAPPINESS -M.G.M.
BENNY SPELLMAN -THIS ONES FOR YOU MY LOVE -ALON
MONIQUE -IF YOU LOVE ME (SHOW ME)- MAURCI
JOHNNY MAESTRO & CRESTS- I'M STEPPING OUT OF THE PICTURE- SCEPTER
Was my turn to do the closing half hour, so a few more oldies than usual
from me, and quite a few requests to be played.....kept the dancers happy,
which is a major priority, naturally!
David
Irish Greg just passed on his plays so here you go
Irish Greg - Sounds List
Blenders - Your love has got me Down - Marvlus
Little Ann - Long lanky daddy - kent
4 Tops - Lonely Lover - Unissued
Fascinators - In other words - Bombay
Bogus Chimes - I think you'll find - Champ
Duke Baxter - Don't let it down - C/up (B.J Thomas)
Sonatas - Going on down the road - Hot-Line
Gerri Hall - Who can I run to - Hot-Line
Flash Mc Kinley - I'll rescue you - Bombay
Magnificent Men - I'll keep climbing - Capitol LP
Willie & The Mighty Magnificents - Check it Baby - All-Platnum
Rocky Gill & Bishops - its not the end - Tear-Drop
Dee & flo - This & then - Dee Wolf Prod.
Gene Toones - What more do you want - Simco
Charles Sheffield - Its your Voo-doo working - Excello
Judy freeman - Hold On - Unissued lp version
Conquistadors - Can't stop lovin you - Act IV
Larry Allen - Can't we talk it over - Green Dolphin
Ree Flores - Look into my heart - M&H
Jimmy Armstrong - I would believe it til I see it - Jet Set
Brand new faces - Brand new faces - Lu-juna
Curley Moore - You don't mean - Sansu

By Mike in Articles · March 31, 200124 yr

Shrine - info by ANDY RIX
First Published on Soul Source
Heres a rare one for you, still talking bout original versions here, but this time not about vinyl, but the published word, the original draft full length sleeve notes for kents shrines cd, mmmmmm ... you might be mmmming, so whats so special about that, well hang on, the final published sleeve notes were derived from this original draft , but approx 1300 words were edited out of this "first" cut, and thus some of the info, plus style changes and a few more drafts So could say that this is the "full" version and as with other stuff by andy r, its well researched, informative and best of all enjoyable, so all you info fiends get your eyes on this and suck that info in, and for the average soul fan, read a fascinating story of a once-little known label which has now achieved the status of a soul "legend".......thanks again to andy r for a fascinating insight on the 60s us soul scene
SHRINE LINER NOTES draft 1
Theres an old saying that goes "its not simply if you win or lose, its how you play the game that you will be remembered for in the long run." Little did I know, when that bit of philosophy was laid on me as a child, that in my life and time I would come to know the true import of those words. In that spirit, on behalf of the Shrine Records family, I wish to dedicate this Volume One Issue to the keepers of the flame that reside in the UK, namely Adrian Croasdell and Soul Music historian extraordinaire Andrew Rix, in our sincere appreciation for their non-wavering dedication expressed through their ongoing commitment to honour the effort and the music that is the legacy of Shrine Records and their respect of how we played the game. Eddie Singleton 1998
In the spring of 1965 a flame began to flicker and grow in the heart of Washington D.C.; within two years the flame was extinguished and those present believed it would never cast its light on them again. Ten years later, and thousands of miles away, the flame was rekindled by British devotees of the 60s soul sound who would spend their nights dancing to, and collecting, music from a forgotten era. This is the story of Shrine Records - the rarest soul label in the world whose flame now burns brighter than ever.
EDDIE SINGLETON - THE EARLY YEARS
William Edward Singletary always knew he was going to be somebody in the music industry. His mother Mary, a gospel singer, actively encouraged Eddies musical abilities from an early age. He took his first tentative steps into the world of show business, from his home in Asbury Park, New Jersey, whilst still in his teens by organising concerts at the local army base. During this time he met many talented artists and subsequently felt that there was no reason why he could not join their ranks. A move to New York, in 1956, brought him into contact with Hy Weiss, the owner of Old Town records, and before too long a recording contract was signed. Eddie cut a few solo sides, that remain unreleased, and then moved on to Brunswick Records with a group he had assembled called The Chromatics. Their only release Too Late/My Heart Let Me Be Free (Brunswick 55080), issued in 58, enjoyed moderate sales and remains a collectors item for followers of that genre. The group did a number of shows and dates out of town but Eddie, who was by now composing his own material, decided that he didnt really enjoy being in the limelight as a performer feeling that his talents would be put to better use elsewhere. By 1959 Eddie had his own office at 1650 Broadway. Despite having been in New York for less than three years he had built up an impressive roster of associates and was well connected with all of the major players in the city; Eddie had finally found a home.
Always fiercely independent Eddie was the master of his own destiny; he never sought a position with a major, although he was made numerous offers, preferring to choose who he worked for and on what terms. Over the next few years Eddie explored all of the avenues that were open to him. As a songwriter he was prolific, preferring to write by himself, but happy to collaborate with others when the need arose. The list of writers he worked with bears testament to how widely he travelled and how warmly he was welcomed by his peers; Ahmet Ertegun, Chris Towns, Lockie Edwards, Horace Ott, Donald Height, Wes Farrel, Arthur Brooks, Art Kaplan, Bob Elgin and Frank Augustus (with whom he co-wrote Come Tomorrow for Marie Knight (Okeh 7141), using the name of his first wife Dolores Phillips; Bob and Frank were similarly disguised as they are actually Stanley Kahan and George Butcher).
As an independent producer Eddie was able to place his songs, arrange and supervise sessions for, numerous labels and artists; those who benefited included Etta James, Esther Phillips, Jimmy Jones, Pat Lundy, Joe Bragg, Lloyd Price, Billy Bland, Titus Turner, Dorothy Collins, Lenny Welch, Jerry Williams, Sonny Til, Jimmy Charles, Billy Stewart, The Moments and Doris Troy. In addition to his Sila Productions for other companies Eddie had his own group of artists and record labels. He managed the early careers of Flip Wilson and Tony Orlando, who upon achieving international success with Dawn in the 70s, cited Eddie as one of his major influences. His first record label Keith, named after his son, was the first black owned label distributed through the prestigious London Records Group headed by Lee Heartstone in the UK. The label began issuing records in the summer of 62 and became home to the Matadors, a local group, that featured a young Harold Bass and Richard Tenryck. Harry remained with Eddie for the next five years whilst Richard Tee became Paul Simons lifelong pianist after they were introduced to each other during one of Pauls frequent visits to the Broadway office. In addition to releasing tracks by the Matadors, and Oberia Martin, on Keith Eddie recorded numerous others placing the product with equally as many labels; these included The Elites and The Foxes for ABC, Tommy Knight and The Persians for Gold Eagle, Chuck Leonard for Crackerjack, Billy Frazier for Symbol and Linda & The Pretenders for Assault. The songs were usually published by one of Eddies companies, Nu-Lenora or Kim, named after his daughter, and this is sometimes the only indication that Eddie was involved as he never concerned himself greatly with credits on a record label. Although Eddie had decided sometime before that he didnt want to be a performer there were a couple of occasions when he couldnt resist. Henry Glover, who was a good friend, persuaded him to cut some tracks for his recently established label. The result was Do Your Number/Let Me Know (Glover 211) which when issued sank without trace.
His other trip into the recording studio was through personal choice. He had heard God Bless The Child on the Ed Sullivan Show, being performed by Harry Belafonte, and decided he really wanted to do the song on himself. He booked the studio, arranged the session musicians and fulfilled his wish. Releasing it on his own label Joker (1001), flipped with an original composition called Its Not My Fault, the record, whilst only given a local release, became very popular and remains as Eddies favourite personal performance .
By 63 Eddie Singleton was an integral, and important, part of the New York musical establishment. When he wasnt in the studio cutting tracks he would hang out at Billy Dawn Smiths Brooklyn bar, the Colonial Inn, with Jimmie Steward and Tony Middleton or he could be found buying the latest European suits and Italian shoes. Eddie Singleton was a major success and there was nothing on the horizon to suggest that life would ever be any different.
MISS RAY ARRIVES
The summer of 63 saw the opening of the first Motown office outside of Detroit with Mrs Gordy coming to New York to head up the organisation. Eddie heard that she was in town and, as he already knew some of the Gordy family, decided to visit the Brill Building, to extend the hand of friendship, and offer his services as her "knight in shining armour". Unbeknown to them, at the time, their meeting set in motion a chain of events that would impact on peoples lives for years to come. Raynoma Mayberry was a gifted child, By the time she graduated she had developed an ear for arranging and possessed an enviable knowledge of music theory. Her dream of becoming a singer were set aside when she married Charles Liles, a local musician, in 1955. When the marriage failed Ray returned to the real love of her life - music. She formed a duo with her sister and they entered a talent contest at Detroits infamous Twenty Grand nightclub. Alice & Ray won outright and impressed Winehead Willie, the emcee, enough for him to suggest they call a guy he knew who was managing some groups.
Their audition for Berry Gordy Jnr., the following day, resulted in Ray becoming an integral part of Gordys fledgling empire. By early 1958 Berry was doing fairly well as a songwriter having had his co-compositions recorded, and released, by artists such as Jackie Wilson, The Five Stars, Malcolm Dodds, The Del Vikings, Eddie Holland, The Gaylords, Dorisetta Clark, The Solitaires, Bobby Darin, The Moonglows and Lavern Baker to name but a few. Berry was the creator, the businessman and the leader but Miss Ray was the one with the musical expertise; the partnership they formed took them a step closer towards what would become The Sound of Young America.
Ray initially took charge of coaching the groups, refining their vocal style, teaching musical theory and arranging sessions. Before too long she was writing out songs, and lead sheets, both for the session musicians and for copyright registration purposes.
The following months proved to be hectic ones with frequent house moves needed to facilitate the growing number of rehearsals that often continued through the night. Berrys deals with the majors were not proving to be financially rewarding and money was constantly in short supply. Forming an independent label, to give them the autonomy they desired, was out of the question so Raynoma suggested a compromise - the formation of a music company.
THE BIRTH OF MOTOWN
The Rayber Music Writing Company, registered at the City-County Building, in the summer of 58, as a 50/50 partnership between herself and Berry, was an instant success with aspiring artists queuing at the door to get their own vocals, or lyrics, recorded as a finished demo. Mabel John, Louvain Demps, Mickey Stevenson, Freda Payne, Freddie Gorman and Eugene Remus were just a few of the future Motown signings who cut their first tracks at Rayber with the Holland brothers, Miracles, Satintones, Five Stars or Rayber Voices assisting. At $100 per song there was soon enough money in the pot to move to 1719 Gladstone, home of the first Tamla release.
With business booming Raynoma, and Smokey, finally convinced Berry that it was time to start their own label and break free from the majors who had been lining their own pockets for too long. As winter approached they began to calculate the cost of recording, pressing and promoting a record; $800 was the bottom line. All they needed now was the $800, the right song, and a singer. The money eventually came from the Gordy family, in the form of a loan, on January 12th 1959; Come To Me was the song and Marv Johnson the singer. Berry negotiated a $3 000 advance, for the master, from United Artists plus the right to distribute locally on his own label.
By the end of January Tamla Records, and Jobete Music, were legally inaugurated as a partnership between Raynoma and Berry; the 45 had been issued as Tamla 101 and a second label, Rayber, was started. Rayber only released one local single, by Wade Jones, before being replaced by their third label - Motown. The arrival of the first royalty cheque paid for a move, in July 1959, to new premises Raynoma had found at 2648 West Grand Boulevard Despite having been persuaded by Berry to remove her name from the legal papers "for tax reasons", and giving birth to their first child the previous month, she threw herself into getting the house ready to become a legend - the house was christened Hitsville USA.
Prior to the move Raynomas new group, the Teen Queens, consisting of Alice and Ray with Marlene Nero and an old flame of Berrys called Mamie, had recorded their first single; From This Day Forward/When My Teenage Days Are Over was issued on Aladdin 3458 credited to the Cute-Teens to avoid confusion with the Modern girl-duo who were already well established on the West Coast. After a false start Berry married Raynoma in the spring of 1960 and the following years were filled with creativity, hope, and excitement.
In addition to being Executive Vice President, of Tamla Records, Ray was responsible for managing Jobete and supervised most of the day-to-day administration of the company including the organisation of the infamous Monday morning meetings. Her second outing on vinyl was issued (maybe) on the recently formed Miracle label in April 1961; credited to Little Iva and Her Band When I Needed You had been written, by Raynoma, more than two years previously following the loss of their second child. The lyrical proclamation of her love for Berry would soon begin to turn to tears as his infidelity, detailed in Raynomas book Berry, Me and Motown (1990), caused the marriage to deteriorate. Unable to tolerate the fighting anymore the decision was made to breakup; a Mexican divorce, by mail, was quickly executed. Hurt, and humiliated, Ray started dating in order to seek some sort of revenge.
The relationships were always short lived as none of her new boyfriends were able to tolerate the constant barrage of phone calls, made by Berry, who did not want his ex-wife dating other men. Ray, who still needed to be part of the company, wanted to get away from Berry and Detroit. As Berry recalled in his autobiography To Be Loved (1994) Ray suggested they open a Jobete office in New York; He agreed.
THE MOVE EAST
Raynoma had always been able to count on her half-brother Stanley Mike Ossman. He had stuck by her side during the Motown days and had been employed to assist Ray in administration and the running of Jobete. As a gifted songwriter he co-wrote many tunes that were recorded at Hitsville; these included I Can Take A Hint by the Miracles (Tamla 54078), Just Be Yourself by LaBrenda Ben (Gordy 7021) and The Day Will Come by Freddie Gorman (Miracle 11). When Miss Ray arrived at the Brill Building, in the summer of 1963, Mike was by her side. With Mike handling accounts and administration Miss Ray moved into creative gear. She quickly signed George Kerr and Sidney Barnes as Jobete songwriters who, together with her future brother-in-law, Timothy Andre Wilson, were known as the Serenaders. Their solitary release If Your Heart Says Yes, on V.I.P. (25002), in January 1964, bombed.
Miss Ray was only able to get one other act accepted by Motown; Sammy Turner, whose one-off release Right Now (Motown 1055) again from January 1964, written by Harry Bass and Alice Ossman followed the same path to obscurity. Despite being surrounded by talented individuals, who had submitted at least 100 songs, Ray was unable to make any headway with head office. George Clinton had come on board, with the Parliaments, and Eddie Singleton, who had started publishing some of his songs through Jobete, introduced Miss Ray to a group of musicians he had put together to be his studio band. As a result Eric Gale, Bernard Purdie, Jimmy Tyrell, Richard Tee and arranger Bert DeCoteaux were used on all of the New York sessions.
Financially things were getting desperate. Miss Ray had been able to place a number of Jobete tunes with other companies but had only achieved one chart placing, with the Chiffons A Love So Fine (Laurie 3195), in August 1963. As the cash flow diminished she turned to Berry for help totally unprepared for the response she received. Ray expected a cash injection instead, as she recalled in her autobiography, he replied "Thats your problem....you either come up with a way to do it or close the office"; that was a step she was not prepared to make.
Over the last few months Rays relationship, with Eddie, had continued to develop. Their friendship soon turned into a romance and before long they were living together. Even though Berry had another woman in his life he, again, was unable to tolerate the thought of Raynoma with another man. Eddie was fully aware of their history but thought that, as they were divorced, Ray was a free agent. When the calls started Eddie was confused. He had never "had any conversation, dialogue or confrontation with Berry Gordy Jnr." and couldnt believe "this was really taking place". Miss Ray was aware that Berry was trying to ruin her relationship and was dismayed when he "offered Ed $50 000 to leave". Ed and Ray stayed true to each other but started to feel the strain.
In the April of 1964 Miss Ray had had enough. Her final plea to Berry for money had been rejected and she felt she had no option but to try and get some money whichever way she could. Research conducted by J. Randy Taraborrelli for his book Michael Jackson - The Magic And The Madness (1991) unearthed the "Motown Record Corporations articles of incorporation, dated March 25, 1960" which confirmed Miss Rays position as "a member of the companys original board of directors". Given this scenario Miss Ray felt fully justified in pressing up 5000 copies of My Guy by Mary Wells (Motown 1056), then riding high in the charts, for sale to the local record stores at 50 cents apiece.
Within a week Berry had found out and Ray, with Eddie, were arrested by the FBI for bootlegging and thrown into jail. Miss Ray was given two choices; either to be prosecuted for bootlegging, and face a prison term of up to twenty years, or sign a general release from Motown and all its entities. Following legal advice she chose the latter and was given a non-negotiable settlement of $10 000 plus a monthly allowance and child support. During the legal wrangling it was discovered that the Mexican divorce was not valid so the marriage was once again, and finally, dissolved.
WASHINGTON D. C.
Knowing she had finally been defeated and that they had no real future in New York Eddie suggested that they make a fresh start and remove themselves from "the bitterness created by Berry"; "Lets just take the settlement and go. We can start our own label. Washington D.C. has a big market, a lot of music, and nobody is down there recording". Berry would claim, in his book, many years later that he and Miss Ray "parted amicably. So amicably that after she later married Eddie Singleton I loaned them money to start their own record label in Washington D.C.". The marriage Berry referred to did not take place until some nine months after the release of their first record on their own label. Eddie had often visited Washington D.C., on his business travels, and knew the city had a rich vein of untapped talent. but had never had a label of any significance. Its large black population, and proximity to Baltimore, made it the ideal location for the type of label they envisaged. He visited Ziadora Savin, an executive at BMI, and told her of their plans; she liked his proposal and agreed to assist with operating costs for the first six months. Pooling all of their resources they boarded a plane to start, what they hoped would be, a new life.
During the latter half of 1964, and in preparation for the move, they had already set some wheels in motion. The company needed a name so Eddie, and Ray, who had been staunch admirers of John F. Kennedy, and had been devastated by his senseless death, decided that their record label would reflect the hope and aspirations that Kennedy had held so dear. Upon hearing of Kennedys assassination Eddie had tried to vent his feelings by composing a song; originally called He Went Away he recorded the track with Linda Tate, in November 1963, and after the deal, to issue it, fell through he decided to keep it in reserve. When the decision about the name for their new label had been made it seemed only fitting, given the circumstances of the songs origins and their rationale for choosing the labels name , that this song should become their first release.
They called their label Shrine Records, both as a sign of their respect for John F. Kennedy and because the ethos of their company would mirror that of the man whose dreams for the future they both shared. The next move was to establish their publishing company and, as had so often been done in the past, an amalgamation of names took place. Miss Ray, Mike Ossman and Eddie Singletary, the three owners of Shrine, chipped in a few letters each to create Ramitary; all of the songs written, in the months prior to, and during their Washington stay would be registered, and copyrighted, under this name.
The first Ramitary recipient was Jackie Wilson who recorded the Eddie composed, and Matadors backed, Shes All Right (Brunswick 55273), in August 1964. A recording studio that would allow open access was essential; Eddie had been through the phone book and visited a few establishments before deciding that the Edgewood Studio, owned by Ed Green, was the one that could offer all they would need. The studio was small, not too sophisticated, but state of the art; Green had, up until now, not been heavily involved with the music industry as his main source of business had come from recording the Rose Garden speeches, for the President, and serving the audio needs of the local community. A productive partnership was developed and Green became a valued friend. Arrangements had also been made to have the records pressed at an East Coast plant that was owned by Johnsons Wax; their X mark would appear on the run-out groove of all of the 45s
They finally arrived, filled with hope and optimism, in the spring of 1965. Having quickly settled into their townhouse on G Street they were soon joined by Mike Ossman, Harry Bass and their respective families. The game plan, devised in New York, was to establish a company that could tap in to the rich pool of potential, that existed in the city, who had, up until now, no real outlet for their talent. This company would provide a complete musical service; from finding and fostering the artists, to recording them and getting their records on the radio and in the shops. They wanted to start off at a local level and then gradually build the company into a national one. With the combination of Raynomas Detroit dealings, Eddies New York know how and Harry and Mikes support nobody could envisage anything other than success. Eddie rented office space in a large townhouse situated on the Thomas Circle and from here started to execute the plan. As word began to spread around the city, that there were some new players in town, the Shrine family were busy organising last minute details before launching themselves into the public domain.
Their first 45, Shrine 100, the aforementioned Linda Tate, dubbed Linda & The Vistas, hit the streets almost immediately with distribution being carried out from the back of a van by Harry and Mike. Eddie had already secured a cash-on-delivery arrangement with the local stores not wanting to wait for payment, from a distributor, which could often take months. Local airplay was further spreading the word about Shrine and before too long the local talent, that Eddie knew existed, was queuing at the door hoping to get an opportunity to be involved in the action. The following three releases were already being organised; a local singer called Leroy Taylor had been one of the first arrivals and he had gone into the studio almost immediately to cut two tracks that Eddie had already prepared. Eddie knew it would take some time to assemble a team of new singers, songwriters, producers and arrangers but, not wanting to lose any momentum, continued to utilise the talents of the people who were already in place. Miss Ray, Mike, Harry and Eddie would then become mentors to the new recruits helping them to learn the tricks of the trade.
The next three arrivals were Kenny Lewis, Sidney Hall and Carl Lomax Kidd who had all been group-members of the Enjoyables. They had previously met Miss Ray, in New York, when auditioning for Motown; unable to sign them she had pointed them in the direction of Robert Bateman, an ex-Rayber Voice, who was in charge of A&R at Capitol Records. He signed them on the spot. Kenny and Carl were hired as singers, songwriters and producers and would be at the helm as Shrine moved into second gear the following year. Sidney, who possessed great vocal talent, was hired as a solo act. The last essential team-member to arrive was, the now legendary, Dale Ossman Warren. Dale was Miss Rays nephew and had worked alongside her, at Hitsville, where she had taught him all there was to know about arranging.
With Dale in place Miss Ray was able to take a back seat and, from January 66, he arranged all of the Shrine sessions. After the Leroy Taylor 45 was issued Eddie decided to change the appearance of the Shrine label. He had made a sketch, sometime before, which was representative of the eternal flame on John F. Kennedys gravestone. He gave his sketch to an artist who transformed it into the logo that would become the Shrine symbol from the third release onwards. Everything was going according to plan. Eddie had persuaded Jimmy Armstrong and Ray Pollard to come down from New York to cut some tracks and these would become the next two releases. The records were selling well and had started to make an impression on the local charts.
At this point a local group arrived for their first recording session; Watch Your Step, by the Cautions, became a huge local hit and heralded a change in the distribution arrangement that had, up until now, coped with the demand. Eddie received a call from Jim Schwartz, head of the Schwartz Brothers Distribution Company based in Maryland, as Eddie recalled he said "You are missing so much in the market, you really need to be with us". A deal was struck and Schwartz became the official distributors of the Shrine catalogue. The words Distributed by Shrine Record Dist. Corp." would no longer appear on the label. The Shrine operation had also attracted the attention of a group of New York socialites who, were eager to start their own record label, but lacked experience in the music industry. The group consisted of Lewis DeYoung, Christopher Cerf, Dimitri Villard and Blair Butterfield, all Harvard graduates who had dabbled with recording during their University days. Their families owned successful commercial operations that included Random House Publishing, a chain of stores, a merchant bank and an aviation company. They called on Eddie and suggested a partnership should be established; in return for the Shrine musical know-how they would use their contacts to set up an investment group that could give Shrine a large cash injection.
Within weeks Eddie had been visited by a party from Wall Street; impressed by what they saw they put together a limited partnership which provided the funds Shrine needed to move into the second phase of the plan. With the deal in place Jet Set Records, a name inspired by their mode of transport, came into being. Eddie, Miss Ray and Dale provided assistance with all aspects associated with running a record company as well as songs and artists for their sister label.
The pace of life was becoming hectic; Eddie had maintained contact with Jackie Wilson, and his manager Nat Tarnopol, and had flown back to New York to play them some of the Shrine material. Jackie particularly liked a Jimmy Armstrong track, recorded on July 19th 1965, that Eddie was planning to release; never one to miss an opportunity Eddie agreed to let Jackie put his vocal on the band track and I Believe Ill Love On (Brunswick 55283), recorded in August, heralded the start of Eddies time at Brunswick as A&R Director. Eddie, along with Miss Ray and Dale, would spend the next ten months regularly commuting to New York to work with Wilson. They had a hand in virtually all of Wilsons product until he relocated to Chicago; by this time Eddie, whose relationship with Tarnopol was frequently turbulent, had left after a heated exchange.
January 1966 was a time of frantic activity at the Edgewood studios as tracks by Eddie Daye, Les Chansonettes, Sidney Hall, The D.C. Blossoms and The Epsilons, amongst others, were recorded. Shrine was moving into its second phase; new distributors, the Jet Set investment, an established team of writers, producers and arrangers and a huge group of talented artists were all in place ready for the big push. Surrounded by happiness Eddie and Ray finally got married; nine months later their first child, William Edward Jnr., was born. By April Eddie was ready to start releasing the first batch of the new product onto the market. Although he wasnt 100% satisfied with how some of the tracks sounded he was under pressure from his investors to "come up with the goods" so that they could tidy up their financial portfolios. He arranged for the records to be pressed en masse, planning to release them at set intervals over the following months, thus keeping Shrine at the forefront of peoples minds.
The initial run was 2 500 copies of each record, from Shrine 106 to 119, on receipt of the 45s he sent some over to the Schwartz brothers, stored some in the basement of his house on Argyle Terrace and placed the rest in the office to allow people to take copies home with them. The first release came from the Epsilons; Mad At The World (Shrine 106) was a huge hit all over the tri-state area with a second pressing needed to meet the demand. It seemed that all of their dreams had finally been realised but then a figure from the past stepped back into the picture and things began to go wrong.
THE DECLINE
Berry Gordy was none too pleased that his bootlegging ex-wife was becoming successful in her own right. As Miss Ray recalled "we were hearing reports from various DJs that Berry had been campaigning against us. Apparently he had put the word out that his troublemaking ex-wife was trying to run him out of business.
Whatever Berry was or wasnt saying, all we knew was that the distributors, who didnt want to lose Motown affiliations, wouldnt help Shrine". As time progressed it became increasingly difficult to get any of the future releases played on the radio and so a vicious circle began. Without airplay and media exposure no demand was being created; without demand the stores werent willing to take the product and, starved of commercial outlets, the distributors werent interested in trying to push the product. Gordy had effectively demolished their promotional network Eddie was becoming exhausted finding it more and more difficult to cope with all of the external pressures that were bearing down on him. By the summer of 66 he felt as if he was being attacked from all sides; Tarnopol had created problems, Gordy was campaigning against Shrine, and regularly phoning Eddie, and then the investors, aware of the problems, pulled out leaving Shrine in a financially unstable, and vulnerable, position.
The stress of it all was taking its toll with Eddies physician warning him to slow down. Eddie and Ray werent prepared to go down without a fight but they needed money, and quickly, to try and turn things around. They pinned their hopes on Florence Greenberg, head of Scepter/Wand, who had been trying to get Eddie on board for a long time. They flew down to New York, for a meeting, and Eddie was hired as head of A&R with Miss Ray, now heavily pregnant, as his assistant. Despite a fresh source of income things back in Washington didnt improve. The Singletons were still commuting to New York for three days a week and then returning to Shrine to try and keep it afloat. Eddie was still recording at Shrine as late as November when he took some tracks by the Cautions, Fall Guy and Take A Look At Your Baby, to Scepter to try and bring some fresh investment in.
The deal didnt work out and to all intents and purposes Shrine was finished. Back in Washington Eddie called a meeting to inform everyone of the decision that had been made. As Eddie recalled "we were out of money and I was out of energy...the blackest day in my life was when I called the meeting and had them all in my office. I couldnt continue on...I walked away and didnt want to look back, it was too painful" Miss Ray wanted to go home, back to Detroit and Motown, she made a call and Eddie, at the request of Ray and Berrys sisters, went with her. He felt it would be an opportunity "to develop a relationship with Berry so he could relax". Eddies wish would never be fulfilled.
Upon vacating D.C. Eddie left behind all of his material possessions. His tapes remained at Edgewood and his stock of Shrine 45s were left at his home, in the office, and at the Schwartz Brothers. Dale Warren recalled that the Schwartz stock was moved to Waxie Maxys which was burnt down, the following year, during the race riots. The remaining stock, of no interest to the new occupiers of the house, or office, was obviously discarded.
All of these acts contributed to the eventual scarcity of the records. Although it would be many years before anybody realised the worlds rarest soul label had just been born.
Andrew Rix 1998

In Volume Two we will take an in-depth look at the contribution that Harry Bass, Carl Kidd and Kenny Lewis made to Shrine. Additionally we will look at the artists, songs and musicians who created the music. The musical treats lined up for Volume Two include a batch of never before heard songs, recently discovered, from Bobby Reed, Tippie & The Wisemen and The D.C. Blossoms
This CD is dedicated to the memory of Stanley Mike Ossman and Dale Warren. With thanks to Eddie Singleton, Miss Ray, Adrian Croasdell, Rob Thomas, Steve Bryant, Rob Hughes, Keith Hughes, Chris Jenner

comments from old feature
1 Comments

Claudiadp
Jan 20 2011 08:28 PM
I am from South Africa where Eddie Singleton spent his last years and I had the privilege to meet him and became his friend - he was my mentor, my friend and he taught me more about the music industry than one can learn in a lifetime, he told me about his life in America (that is why I am living here now) his love and his experiences. I would love to meet someone that new him, or cared for him, as he made such a difference in so many peoples lives in South Africa, and everybody should know it - he should never be forgotten. He was my friend and mentor and a remarkable man.

labels

By Andy Rix in Articles · February 22, 200124 yr

Tonys - Blackburn -Sat 03 Feb 01
Beginning of the month , a bit of cash in my pocket so thought time to get back on the road, over last few months have been hearing a fair bit about Tonys new format, and as this weekend the niter featured Irish Greg, Dave Flynn, and Carl f all from the capitol soul club as guest djs, seemed like a good excuse to leave Chatham town and get up to north west. Myself and Andy d met up with Julie g, who recently moved back up there, she had sorted it so that while we were having a quick brew at her house, a request was played on the local soul radio programe welcoming us to the north-west, nice touch or what!
Bit of confusion for us over warm-ups as where we thought it was, it wasnt, no great shakes though. Nite itself, well crowd wise bit slow to start, there were a couple of events on earlier elsewhere, noticed that the amount of events to choose from up there is un-believable, though by 2 ish there was a fair few in. It was good to see there was about 20 to 30 of us who had made the trek up from the deepest south, and it was good to meet a fair few up-northers who have just known from email before, though found out later missed a few, such as Howard, should have clicked that the guy with a stack of soul up norths under his arm was him!
Dj wise, missed some the early spots as doing the rounds, vague details of nite as memory allows, Carl f was on one of the early spots, followed by Greg, who delivered a fine set including sonatas- going down the road, judy freeman -ext version, duke browner cover, to name a few, then Terry Davis popped up with a great set, with stuff like soul sound, Johnnie Taylor- the blues and more, Dave Flynn followed with some of his current biggies, my proposal, Benny spellmans - this ones for you my love, his Fran Oliver cover - searchin for my man, greatest story ever told - Bernard Harper, then think Paul Baldwin took over starting off with some great r+b - have love will travel-Richard Berry and more, then onto some decent oldies.

Had to leave round 6-ish as lift was ready to go Overall my view on it all, was had a great night out, good to get back up to the north west and see whats happening there, place wasnt packed but still had a great friendly atmosphere, with a great nite of great rare sounds, well worth the journey and will definitely get back up there again. Credit to Steve Thompson for making it all worthwhile, think Andy Rix is up on the next one in march so should be a cracker!
Big thanks to Julie for looking after us,
A great nite!
mike h

By Mike in Articles · February 5, 200124 yr

First time I've visited this night, so there was that extra degree of anticipation, on my journey. I arranged to meet a friend (Toby Cole) at London Bridge station, this has to do with both my intense dislike of walking and the fact its nice to go somewhere new with someone you know.
Due to some technical failure the train wasn't able to stop at the London Bridge, so I had to get off at the previous stop, Blackfriars. I rang Toby and top bloke that he is, he came and got me. Not the ideal start to a night, to put you in a good mood, but as we arrived at the venue I was back in good spirits. At the entrance we were met by Jo Wallace and Paul Thomas Peter, two of the co promoters and DJs, the third promoter Martin Thomson, was doing his first stint behind the decks.
After a quick chat Toby and myself made our way downstairs where the festivities actually take place. The first thing that hit both of us was the immense heat, it's a compact venue, and considering the early time that we arrived (it was still only 8:30) was already filling up. This was particularly impressive for me, because I haven't been to a mid week venue (Thursday night) anywhere for years and wasn't sure what the attendance would be like. All I can say is I'm glad I started dancing early, because the small dance floor rapidly became packed. The dance floor by the way had thoughtfully already had talc placed on it, probably because us denizens of the older soul fraternity are getting increasingly forgetful.
Now where was I. Something that has become increasingly obvious to me (and probably hasn't been overlooked by others) on my visits to soul events in London are the crowds that are attracted. Firstly, in general they are a much younger crowd and contrary to popular belief, very friendly. Secondly the dancers are "up for it" right from the first record, and usually once on the floor, don't leave it. Thirdly and most importantly in my opinion, they treat "classics" and unknown sounds with equal deference, there are no petty politics.
For me, the scene has always been about dancing and hearing quality music, including new sounds, or rediscovered oldies, because without this content, the scene can't survive. I believe this ethic is more than provided for by the current London soul scene and These Old Shoes is no exception to the rule. T.O.S has a tremendous atmosphere, there are people who prefer R&B, some who prefer the classic 6Ts type sound, all are catered for, consequently the dancing never stops. I firmly believe that an "up for it crowd" will in turn create "up for it DJs" who will respond accordingly.
I think the DJs recognised the potential of the evening very early tonight, as a result when I eventually left, I was one very satisfied customer. Some of the sounds played tonight:
MARTIN THOMSON
CHRISTINE KITTRELL- Call his name (KING)
YVONNE GOMEZ- My man a go go (HAWAII)
DOUG BANKS- I just kept on dancing (ARGO)
THE LITTLE FOXES- So glad your love don't change (OKEH)
NOLAN PORTER- If I could only be sure (ABC)
THE CHARADES- You better believe it (HARLEM HIT PARADE)
MARVIN GAYE- Change what you can (TAMLA)
MIKE VICKERS- On the brink (UK COLUMBIA)
BOBBY LEE TIMBERLAKE- You hurt me (MIRWOOD)
FOUR TOPS- Wonderful baby (MOTOWN)
ENCHANTMENTS- I'm in love with your daughter pt.1 (FARO)
SHUFFLERS- Always be mine (CRACKERJACK)
SHIRELLES - Too much of a good thing (SCEPTER)
JACK MONTGOMERY - Dearly beloved (SCEPTER)
CHARADES - The key to my happiness (MGM)
MOUSIE AND THE TRAPS - How about you (TODDLIN' TOWN)
TYN TYMES - Baby I love you (THE MUSIC BOX)
BETTY EVERETT - Please love me (ONEDERFUL)
MARVELOWS - Your little sister (ABC)
CLIFF NOBLES - My love is getting stronger (ATLANTIC)
JIMMY HUGHES - It ain't what you got (ATLANTIC)
CHARLES SHEFFIELD - It's your voodoo working (EXCELLO)
GINO - It's only a paper moon (GOLDEN CREST)
BRILLIANT KORNERS - Three lonely guys (MODERN)
HESITATIONS - I'm not built that way (KAPP)
MIKE VICKERS - On the brink (UK COLUMBIA)
LONNIE LESTER - You can't go (NUTONE)
OTIS LEAVIL - Nobody (SMASH)
PAUL THOMAS-PETER
CONTOURS - Just A Little Misunderstanding - UK TAMLA
EDWIN STARR - I Want My Baby Back - GORDY
BRENDA HOLLOWAY - Reconsider - TEST
VOLUMES - My Kind Of Girl - INFERNO DEMO
JOCK MITCHELL - Not A Chance In A Million - IMPACT DEMO
EMANUEL LASKY - Don't Lead Me On Baby - THELMA
THE PROFILES - Take A Giant Step - GOLDIE
ANITA HULMES AND THE ESSEX - What Did I Do - ROULETTE
BETTY SWANN - Lonely Love - MONEY
RINGLEADERS - Baby What Has Happened - M-PAC
DARROW FLETCHER - What Have You Got Now - JACKLYN
LORRAINE CHANDLER - Tell Me Your Mine - GIANT
TEDDY RANDAZZO - You Don't Need A Heart - DCP
ROY HAMILTON - The Panic is On - MGM
PORGY AND THE MONARCHS - That's My Girl - SYLVES DEMO
MAXINE BROWN - Let Me Give You My Loving - WAND
JJ BARNES - Please Let Me In - RIC TIC
HOWARD GUYTON - I watched You Slowly Slip Away - VERVE DEMO
KIM WESTON - A Thrill A Moment - GORDY
BABY WASHINGTON - It'll Never Be Over For Me - SUE
MARVIN GAYE - Little Darling - TAMLA
HAROLD MELVIN - Get Out - ROUTE!
BENJI
FRANKIE AND THE DAMIONS - Man from Soul - JCP
DELLS - Thinking about you - CADET
MELVIN ELLING - Lonely eyes - STRETCH DYNAMICS - I need your love - RCA FOUR PERFECTIONS - I'm not strong enough - PARTYTIME
YOUTH OPPORTUNITY PROGRAM - Of hopes, dreams and tombstones - COLUMBIA
JOE DOUGLAS - Crazy things - PLAYHOUSE
DANNY MOORE - Something new - ALLRITE
TONY HESTOR - Just can't leave you - KARATE
ARABIANS - Please take a chance - LE MANN
CHUBBY AND THE TURNPIKES - I didn't try - CAPITOL
RANDY HOBBS - Waiting and Watching - EMBER
DANNY WHITE - Keep my woman home - ATLAS
LARRY ALLEN - Can't we talk it over - GREEN DOLPHIN
VALENTINOS - Sweeter than the day before - CHESS
BOBBY HUTTON - Come see what's left of me - PHILIPS
TOBI LARK - Challenge my love - TOPPER
JOHNNIE MAE MATTHEWS - Lovely you'll be - ATCO
FREDDIE HOUSTON - If I had known - OLD TOWN
TOYS - Deserted - FRENCH COLUMBIA
LILIAN DUPREE - Hide and seek - D-TOWN
CONSTELLATIONS - I didn't know how to - GEMINI STAR
BOBBY SHEEN - Something new to do - WARNER BROS
EARTHA KITT - There comes a time - MUSICOR
MITTY COLLIER - Pain - CHESS
DON RAY SAMPSON - Baby come back - E
JIMMY RICKS - Oh what a feeling - FESTIVAL
GEORGE FREEMAN - Down and out - VALIANT
JO WALLACE. FALCONS - I'm a fool - BIG WHEEL
EMMANUEL LASKY - Sweet lies - THELMA JUNIOR
VAL & NICK - I found you - GLOVER
BETTYE SWANN - Heartache is gone - ABET
CURTIS GRIFFIN - I gotta lump - JEWEL
GEORGE WYDELL - From out of nowhere - TANGERINE
DOTTIE AND MILLIE - Nothing in this world - TOPPER
BARBARA MERCER - Call on me - SIDRA
YVONNE BAKER - Mend the torn pieces -
JOHNNY MOORE - Lonely heart in the city - BLUE ROCK
BOBBY ADAMS - You got next to me baby - PILMA
DOTTIE AND MILLIE - Talking 'bout my baby - TOPPER
EMMANUEL LASKY - Peace Loving man - THELMA
SPINNERS - She's gonna love me at sundown - VIP
VOLUMES - I just can't help myself - AMERICAN ARTS
JIMMY PREACHER ELLIE - I'm gonna do it by myself - JEWEL
BUD HARPER - Wherever you were - PEACOCK
WILLIE KENDRICK - Gimme lots of loving - RCA
MAGNIFICENT MEN - Forever Together - CAPITOL
VONETTES - Touch my heart - COBBLESTONE
ROSE BATISTE - I miss my baby - REVILOT
Finally, it's not usually my practice to single out particular DJs but I just can't finish off without mentioning Jo Wallace. She really has an awesome persona (as well as some great tunes) and just demands that you dance, so you do. Jo so enjoys herself behind the decks, that you can't help but admire her and subsequently be inspired by her. Cheers to all for a great night at TOS and I've just listed you in my diary under the "Events I must visit frequently" column.
KTF
Winston.
Next date for TOS. THURSDAY September 14th 2000
Guest DJ is: Alan H (Capitol Soul)
Venue: The River Bar, Tower Bridge Road, London Nearest Tubes: Tower Hill or London Bridge

event-reviews

By Winnie :-) in Articles · October 31, 200024 yr

Lookback at The Orwell Oct 2000

thanks go out to bob cosby for letting us use his review posted on ems soul list

Just a brief write up of the happenings at soul Xpression at the Orwell last night ;
We had 125 paying punters through the door , Paul Hawkins played the first hour with some good contemporary stuff , the night was billed as the Official Yarmouth warm up and as such featured myself , Steve Guarnori , Gavin Page + Steve Plumb , Dean Turpin was doing cracking business at the record bar knocking out the re-issue "Spread Love " album at £12 and the Tim Kepler CD amongst others.
Some tunes played on the night that were retained in the grey matter after 5 pints took their toll (I can't keep up with William Hague).
Bob Cosby
R. Kelly -Up & outta here
Tommy Sims - When you go
Mari - How come love won't come
Phillip Evans - Play no more
Gene Chandler - Love is growing deeper-Black tiger CD
Leon Debouse -Every fellas girl - 12"
Wizdom -So in love - Drive 7"
Vee Gees - Talkin- 7"
G.C. Cameron - I'm gonna give you respect - Motown Lp
Phillip James - Keep on loving - 7"
Steve Guarnori
Donnie - The One - Cd
Alisha laverne - so very hot - 12"
Joe Anderson - You &I (alternative version)
Toshi Kuboto - Masqueraade
Dennis Taylor - Bad as I wanna be - forthcoming Dome CD
Lee McDonald - We've only just begun - plus a great new version (to me ) of an Anthony White track.
Gavin Page
Donald Byrd - Loving You -12"
Cooleys Hot Box ?- Wasted time.
Rashaan Paterson -- I'll Go -( great version of Donell Jones)
Dennis Taylor --Smile -- (forthcoming Dome CD)
Miss Cherokee ? --I like it -
Johnnie Taylor - What about my love - 12"
Jerry Warren - I really love you - latosia 12 "
Vise - Baby I love you - 7"
Timmy Thomas -- Why can't we live together - 12"
Steve Plumb
Chris Simpson -- A World Changer - (sounded great ,can't wait to play this at Yarmouth)
Rockmelons feat Doug Williams - Love's gonna bring you home .
Rashaan Paterson - Where you are -remix -
Hunter Hayes-- it's not over - 12"
Shabooom -- Never had a love like this - CD
Seville - Show me the way -- 7"
Tavasco - Love trying to get a hold 7"
Four Tracks - Charade 7"
plus a mellow out with Paris -I choose you , Flowers-by the Emotions

Quite a few new faces in attendance , Gavin & Steve both commented on the great venue , a really good atmosphere , even though a few less bodies than last time .
Next night is November 4th with Baz Maleedy , Steve Plumb , Arthur Fenn, Flanny Steve Connor and (if I survive Yarmouth ) me . Don't miss this night at £3 terrific value for money .
Cosser.
Foxes -Top of the league ??? Whaaas UP - ..

By Mike in Event News · October 27, 200024 yr

Recently received a great cd from connoiseur collection titled, vsop cd 312 - various artists -smooth soul-the uk collection which to my ears was quite a treat, as 90/00s sounds dont feature that much on my hi-fi at home was surprised by just how good some of these tracks are, and the fact that a lot are uk produced makes me feel a bit guilty of not being aware of them before now!!

anyway as said a great cd, and the press release has it right when it says " a powerful overview of uk produced soul" hopefully a mid-price release as previous releases on this label have been, and should be available from all normal outlets info@connoisseur-coll.demon.co.uk for info thanks go out to roger (the dodger) williams for the informative and entertaining review below :

Smooth Soul - The UK Collection - Review by Roger Williams

Previously known for releasing sixties and Northern Soul classic tunes, the Connoisseur Collection folks venture into modern¹ territory with an intelligently selected compilation of predominantly 90s cuts from UK labels Dome and Intimate, featuring mainly UK artistes with the an occasional appearance from the odd US soul hero or two!

Kicking off the CD is one of the UK¹s leading soul/r&b stars, Birmingham¹s Beverley Knight, with one of her first releases from 1995 "Moving On Up (On The Right Side), which takes the bassline from Curtis Mayfield¹s classic "She¹s So Good To Me" (also sampled to great effect by Mary J. Blige on her monster "Be Happy". "Right Side" is a great rolling dancefloor winner with a tempo that, although released originally five years ago, is just the kind of thing doing the business on the dancefloors of the more progressive modern rooms around the country.

Next up is another early 90s outing, this time from Bristol¹s Sinclair. "I Want You Back" is a lovely tuneful two-stepper with good background vocal harmonies, and I think it was a minor hit at the time of release. It actually sounds much better now than I remember it sounding seven years ago! Track 3 "For Your Love" by Hil Street Soul is one of the biggest dancefloor successes of 1999. For me, this tune is the standout cut from Hilary Mwelwa¹s 1999 CD "Soul Organic", and that is really saying something given the quality of the material on offer. Without a doubt the best UK set for a very long time, and quite possibly Dome¹s biggest seller, and rightly so. Modern soul heaven!

And so we move on to a 90s-style reworking of one of the best soul tunes ever, Al Johnson & Jean Carne¹s "Back For More", this time done by Lulu & Bobby Womack. This version is absolutely awesome and has packed the floor for me on more than one occasion. Again, perfect for today, and shouldn¹t be dismissed just because of Lulu as she turns in an absolutely brilliant performance alongside the god-like presence of Bobby Womack, who himself provides a performance that I don¹t believe he¹s bettered ever since. File under the four F¹s: F*cking Fantastic Floor Filler!!!

Track five is the first of two Jones Girls outings on this compilation; "You Threw Our Love Away" is taken from side two of their 1992 revival UK-produced LP "Coming Back". Written and produced by the superb Erroll Henry, this is more top modern room fodder featuring the spine-tingling vocals of Valerie, Shirley and Brenda. This exactly the style of tune that many of the better modern room jocks are digging out and giving some long-overdue exposure to. I don¹t know who¹s picking these tunes for the compilation but he/she certainly knows the toons!!

The same sentiments go for the next one the brilliant Chris Ballin¹s "Full Time Lover", which four years after its original release on his "Do It Right" solo outing, is finally starting to gain some exposure. Another top slice of meaty uptempo dancefloor soul featuring the amazing soulful vocals of, for me, the UK¹s top male vocalist, who along with the wonderful Maysa Leak, is providing vocal services for the UK¹s top band, Incognito a brilliant, brilliant record.

Track 7 is saxophonist Mike Stevens¹ 1995 reading of a tune originally done by another British band (but I can¹t remember who, possibly Cool Down Zone or 52nd Street), and it features the vocals of US 80¹s soul diva Melisa Morgan. A lovely light jazzy groove for those warm summer nights. Track 8 appears to be a new tune "Reach Out" by Full Flava featuring the wonderful Ruby Turner on lead vocals. Another light melodic summer groover with an effortless performance from Ruby.

Next in line is an easy-paced mellow reworking of Stevie Wonder¹s "Until You Reach Out For Me" by Hil St Soul. Not much can be said about this classic song that hasn¹t already been said and it¹s given a lovely rolling treatment by young Hilary. Another superb track from her solo outing of last year. Beverley Knight¹s anthemic "Flavour Of The Old School" was the first track that brought this now very successful singer to everyone¹s attention way back in 1995. It has a really happy innocent feel about it, with handclaps and shouts of heyyyy in the background. The original CD single is well worth hunting down as it features an absolutely stunning ballad if I didn¹t file my music so badly I¹d be able to tell you what it¹s called!!

The second outing from Sinclair, "Ain¹t No Casanova" is a bouncy little happy number, but really doesn¹t go anywhere and is one of the weaker cuts on display here.

Track 12 is a Mike Stephen¹s 1995 cover of Tania Maria¹s 1983 classic "Come With Me" and features ex-Working Week vocalist and Soul Train¹ presenter Julie Roberts on scat vocal interjects. It¹s an OK effort but pales in comparison with the wonderful original.

The following track is another cover version by Mike Stephens. This time he tackles Teddy Pendergrass¹ 1988 classic "Joy" it¹s mainly sax-led instrumental but again features vocal interjects, this time from the stunning Hazel Fernandez, who sang lead with the brilliant UK duo, The Affair. Real Jazz-FM elevator-music tackle niiiice!! Another new tune in the shape of "Unwrap" from Full Flava, featuring the vocal of Beverlei Brown brings us up to date with a UK garage sounding piece of music. Sorry, but this kind of stuff does nothing for me whilst the vocals are OK, this tune sounds like one of a million of the same kind that you can see/hear on MTV simply a groove with no discernible melody. And who is Full Flava? What a shame being called "Full" by your parents!!!

The penultimate track on the CD brings it back up to standard with the superb "Getting On With My Own Life" by the Jones Girls. Again taken from their 1992 LP, this was the standout cut for me when I first bought the album. A cracking midtempo groove again featuring the girls¹ amazing vocals top tune, although probably too slow to gain any serious dancefloor action these days.

The final cut, "Can¹t Go Back" by DNA featuring Nadia, from 1999, is a surprising choice for the end tune given the quality of the rest of the tracks on show here a really horrible dreary effort with Nadia sounding like a diluted version of Jody Watley. Don¹t listen to this if you¹re feeling down, it may tip you over the edge!! Awful.

Despite the negative comments on the last tune, "Smooth Soul The UK Connection" is an extremely well thought out and intelligently put together compilation and well worth forking out your hard earned dosh for.

The Dodger 2000

track listing
beverly knight-moving on up
sinclair-i want you back
hil st soul-for your love
bobby womack and lulu - im back for more
the jones girls-you threw our love away
chris ballin-full time lover
mike stevens w
mellisa morgan-tell me (how it feels)
full flava w
ruby turner-reach out
hil st soul- until you come back to me
beverly knight-flava of the old skool
sinclair-aint no cassanova
mike stevens w julia roberts-come with me
mike stevens w hazel fernadez -joy
full flava w
beverlei brown -unwrap
the jones girls-getting on with my own life
dna w nadia-cant go back

reviews

By Mike in Articles · October 6, 200024 yr

Thanks go out to rob for the review and benji for taking time with playlist, benji is one of the top northern djs from the northern scene in germany, makes the odd visit over here to the capitol and normally fits in a few spots, heres his playlist from shoes and good bloke Rob Cc view on the nite
Shoes - Thursday -10 Aug 00 - benji's Plays and Rob Chadwicks words

benji is one of the top northern djs from the northern scene in germany, makes the odd visit over here to the capitol and normally fits in a few spots, heres his playlist from shoes -
FRANKIE & DAMONS MAN FROM SOUL JCP
THE DELLS THINKING ABOUT YOU CADET
MELVIN ELLING LONELY EYES STRETCH
THE DYNAMICS I NEED YOUR LOVE RCA W/D
THE FOUR PERFECTIONS IM NOT STRONG ENOUGH PARTY TIME YOUTH OPPORTUNITY PROGRAM OF HOPES,DREAMS AND TOMBSTONES COLUMBIA W/D
JOE DOUGLAS CRAZY THINGS PLAYHOUSE
DANNY MOORE SOMEBODY NEW ALLRITE
TONY HESTOR JUST CANT LEAVE YOU KARATE
THE ARABIANS (PLEASE) TAKE A CHANCE ON ME LE MANS W/D CHUBBY & TURNPIKES I DIDNT TRY CAPITOL
RANDY HOBBS WAITING AND WATCHING EMBER
DANNY WHITE KEEP MY WOMAN HOME ATLAS
LARRY ALLEN CANT WE TALK IT OVER GREEN DOLPHIN
THE VALENTINOS SWEETER THAN THE DAY BEFORE CHESS
BOBBY HUTTON COME SEE WHATS LEFT OF ME PHILIPS
TOBI LARK CHALLENGE MY LOVE TOPPER
JOHNNIE MAE MATTHEWS LONELY YOULL BE ATCO W/D
FREDDIE HOUSTON IF I HAD KNOWN OLD TOWN W/D
THE TOYS DESERTED FRENCH COLUMBIA E.P.
LILIAN DUPREE HIDE AND SEEK D-TOWN
THE CONSTELLATIONS I DIDNT KNOW HOW TO GEMINI STAR BOBBY SHEEN SOMETHING NEW TO DO WARNER BROTHERS EARTHA KITT THERE COMES A TIME MUSICOR
MITTY COLLIER PAIN CHESS
DON RAY SAMPSON BABY COME BACK E
JIMMY RICKS OH WHAT A FEELING FESTIVAL W/D
GEORGE FREEMAN DOWN AND OUT VALIANT

rob c took time to put together his view on the nite - read on....

After along day in the city, it was time to walk over tower bridge to "To biggest little soul club" called "these old shoes" (if anyone did not know is run by the world famous (and loveable) Jo Wallace -Paul t-martin thomson. After a pleasant walk to the club thinking about what was going to be played tonight (and how hot its was going to be) after meeting up with a few friends we headed down into the cellar, the first think that hits you as you go down the stairs is the heat, then the music ..... first up was Jo herself playing the type off music that has made her one of the most sort after DJs in the county (and Europe) already the dance floor was busy (as it would be allnight), as in must off the soul clubs in London there is a very "up for it crowd" and different age groups but it makes no difference everybody is there for a great time to listen to type of music that this club is getting famous for.
jos set....
JOHNNY BARTET...IF THIS ISNT LOVE
WILLIE KENDRICK...GIMME LOTS OFF LOVING
ARTISTICS...HOPE WE HAVE
JOHNNY SAYES...I CANT GET ENOUGH
VONETTES..TOUCH MY HEART
CONSTELLATIONS...DIDNT KNOW HOW TOO
ROSE BATISSE...I MISS MY BABY
DENISE LaSALLE...LOVE REPUTATION
KIM WESTON...I AM STILL LOVING YOU and many more !!!
After Jo came a guy that I did not know all the way from germany, but as with all the guess DJs at "These Old Shoes" he played a very good set over the next hour and half, by this time the dance floor was packed, and as for me and the rest off the crew, very very hot and sweaty (ask the cab driver !!!) by know for me and my mates the beer was starting to cut in so I cannot remember his set but it was a good mixture off classics and rare sounds .by 11pm Jo had returned to the decks which again would keep the dance floor packed till closing time, as Jo kept trying too say to everybody "this the last one" the crowd just cried out for more (me included) so we managed to keep the music going for at lease half hour later then normal.

As I walked down Tooley St hot and very sweaty, to get a cab back home I thought to myself "well thats a great start to the weekend" but its only thursday and was right it was going to be a weekend to remember.
If you are in London town on a Thursday night when "These old shoes" is on get yourself down to the "River bar"........
i know you will enjoy a great night

Rob Chadwick

event-reviews

By Mike in Articles · August 4, 200024 yr

a tuesday nite out....
Well a night out to have a few beers with a few mates ended up as a blinder a Tuesday night at that. The 6 Amigos, Myself, Dave Greenhill, Mac McDonald, Dave Brightmore, Mike Mahon, and Spencer, we would normally meet up on a Tuesday night for a few beers after work and talk about what men normally chat about Soul music, Football, and Women, but this night would be different, Mac (whos real name is Alistair ..dont laugh !!) had been home last weekend (North Wales) and had been listening to Richard Searling show on Jazz FM and heard on the show that a new cd called "The In Crowd" The story of Northern Soul, was going to be released in London at the "Pop Up Club" on Tuesday night, not one off us knowing where this club was, we started out to find it, after about half a hour looking up and down Wardor St, we found the club in Soho St not far from the 100 Club, but as we got to the door its was invite only, but not to be sent away, we told the guy on the door that we worked for Jazz FM and Scootering Magazine (only said that because I had bought it that day) but in seemed to work, and the 6 amigos were in.

The place was fairly packed, but with people I did not know , seemed that most where something to do with the record company, but after coming away from the bar (£10.00 for 3 bottles of Becks !!! BLOODY HELL I hear you say) I saw a face I did know, Mr Dave Rimmer, so have a chat with him, but he also had a heart attack at the prices at the bar, but he had sorted himself out with a small bottle off vodka (why had I not thought off that) but we did not care if there was no one we knew, the dj was playing some great stuff (Mike Ritson) so it was time to take to the floor, we got a few funny looks as 3 off us danced (dont think these people had seen this type off dancing before) but it seemed to do the trick, as more and more people got up and danced....here are a few off the tracks that got played thanks to Dave Greenhill for writing them down...

Curtis Blandon In the long run Lou Johnson Unsatisfied Kim Weston Helpless Jr. Walker How sweet it is Jackie Lee Darkest Days Donald Height Talk of the Grapevine Bobby Hutton Lend a hand Will Collins Anything that i can do JJ Barnes Our love is in the pocket Darrell Banks the door to your heart Joe Hicks Dont it make you feel funky Garnett Mimms Looking for you Denise LaSalle A love reputation Bobby Bland Shoes Doug Banks I just kept on dancing Jackie Beavers Trying to get back to you Roscoe Robinson Thats enough Sharpees Tired of being lonely

So for a Tuesday night, a good time was had by the 6 Amigos, by the end off the night there were a few faces I knew the crew from A.R.S.E, and a few faces from the Capitol Soul club, Tracey and the girls from Dartford.

The c.d has been released Castle Music and is a double cd with 50 tracks (cmedd-049) there a few classics plus some rare stuff too, so for £11.99 its not bad. There was only two bad things about the night one the bar staff (& prices)
and I had to be up 5.15am the next morning
(oohhh my head)...

Rob Chadwick.

event-reviews

By Mike in Articles · June 30, 200025 yr

Middlesborough Empire Playlist Plus June Details Mike L has just passed on news from last Empire and news of next one Middlesborough Empire on 09 Jun, Soul Essence comes to Teesside At the Middlesbrough Empire - Saturday 9 June, 9:30 til 02:30 - featuring Gt Yarmouth stalwarts - Full deails in new format *Soul Events* Plus hit read more... for Ian Levines playlist from last one +++ Heres what Ian said... I thoroughly enjoyed doing The Empire in Middlesbrough. Great club and very appreciative crowd, and I got to play a really balanced set, totalling sixty records.

GLORIA JONES - COME GO WITH ME - UPTOWN
THE FOUR VANDALS - THE WRONG SIDE OF TOWN - BOARDWALK
KENI LEWIS - NOT THE MARRYING KIND - BLUE ROCK
THE HIGH KEYS - LIVING A LIE - VERVE
THE NATURAL FOUR - I THOUGHT YOU WERE MINE - ABC
THE BUTLER BROTHERS - REPUTATION - ACADEMY
BERNIE WILLIAMS - EVER AGAIN - BELL
THE CONTOURS - I JUST CANT STOP THE FEELING - GORDY
THE SEVEN SOULS - I STILL LOVE YOU - OKEH
THE SPONTANES - WHERE DID I GO WRONG - UNITED ARTISTS
GEOFFREY METELIKO - GOT TO FIND A WAY - HAPPY TIGER
DANA VALERY - YOU DONT KNOW WHERE YOUR INTEREST LIES - COLUMBIA
SHARON SCOTT - IM NOT AFRAID - RCA THE BLENDELS - YOU NEED LOVE - DONTEE
POOKIE HUDSON - THIS GETS TO ME - JAMIE
THE CONSTELLATIONS - I DONT KNOW ABOUT YOU - GEMINI STAR
LINDA LLOYD - BREAKAWAY - COLUMBIA
TOBI LEGEND - TIME WILL PASS YOU BY - MALA
KARMELLO BROOKS - TELL ME BABY - MILESTONE
BARBARA LYNN - MOVING ON A GROOVE - JETSTREAM
THE STEELERS - DISTURBING THOUGHTS - AMG
CELEST HARDIE - YOURE GONE - REYNOLDS
DAVID RHODES - HUNG UP IN MID AIR - CHI-CITY
JIM GILSTRAP - RUN RUN RUN - BELL
JAY TRAYNOR - UP AND OVER - ABC
BILLY WOODS - LET ME MAKE YOU HAPPY - SUSSEX
TAMMI TERRELL - IVE GOTTA FIND A WAY TO GET YOU BACK - MOTOWN
THE MAGNIFICENT MEN - KEEP ON CLIMBING - CAPITOL
EULA COOPER - LET OUT LOVE GROW HIGHER - SUPER SOUND
BRENDA HOLLOWAY - KEEPS ON ROLLING - TAMLA
THE CASHMERES - LET THE DOOR HIT YOUR BACK - HEM
JOE VALENTINE - I LOST THE ONLY LOVE I EVER HAD - VAL
FRANKIE AND JOHNNY - ILL HOLD YOU - HICKORY
JEANNE AND THE VALLAMONTS - CHANGE MY DESTINY - MAXIMUM
TONY MIDDLETON - PARIS BLUES - MALA
THE ADVENTURERS - EASY BABY - COMPASS
JACK MONTGOMERY - DEARLY BELOVED - SCEPTER
CHUBBY AND THE TURNPIKES - I DIDNT TRY - CAPITOL
BOBBY FREEMAN - I GOT A GOOD THING - LOMA
JIMMY MACK - MY WORLD IS ON FIRE - PALMER
BARBARA McNAIR - BABY A GO-GO - MOTOWN
ALFIE DAVISON - LOVE IS SERIOUS BUSINESS - MERCURY
BARBARA LEWIS - I REMEMBER THE FEELING - ATLANTIC
MEL BRITT - SHELL COME RUNNING BACK - FIP
DEON JACKSON - SOMEDAY THE SUN WILL SHINE - CARLA
ANN ROBINSON - WORLD OF HAPPINESS - HARTHON
TIMMIE WILLIAMS - COMPETITION - MALA
THE ORLONS - ENVY IN MY EYES - CAMEO
DIANE LEWIS - I PLAY FOR KEEPS - REVILOT
DEBBY DOBBINS - HOW YOU GONNA FEEL - SPIRIT
THE UNIQUE BLEND - YES IM IN LOVE - EASTBOUND
THE EMBERS - WATCH OUT GIRL - MGM
SEPTEMBER JONES - IM COMING HOME - KAPP
FRAN JEFFERIES - GONE NOW - MONUMENT
THE ENDEAVOURS - BEWARE OF YOUR FRIENDS - EMPIRESTATE
PURPLE MUNDI - STOP HURTING ME BABY - CAT
CARL HALL - IS YOUR LOVE GOING OR GROWING - MERCURY
JERRY COOK - I HURT ON THE OTHER SIDE - CAPITOL
THE DECISIONS - STOP PLAYING AROUND - SUSSEX
HURIAH BOYNTON - YOU WENT BACK ON WHAT YOU SAID - LANOR

By Mike in Event News · June 16, 200025 yr

Soul Up North is Edited by Howard Earnshaw with help from Saus and Little John. Comes out every quarter and is packed with all sorts of articles. Latest issue contains Vinyl reviews, label listings, artist info, venue guide and planner, quizzes, mod article, reviews of loads of venues, articles etc etc.

Soul Up North - Issue 21 Review and clips

An indepth look at Soul Up North from a couple of years ago compete with clips and info

Please note this is from a few years ago

Soul Up North is Edited by Howard Earnshaw with help from Saus and Little John. Comes out every quarter and is packed with all sorts of articles. Latest issue contains Vinyl reviews, label listings, artist info, venue guide and planner, quizzes, mod article, reviews of loads of venues, articles etc etc.

Best recommendation I can give is that subscribe to it !

Heres some clips from recent issues to give you a taste:

CHICAGO SOUL – SHANE COX

Here we are again! Strolling through
the soulful sounds of Chicago! Checking out those Iittle gems which help keep these
dancefloors alive!!

We have a great little selection in this issue, a couple of pieces out of
the 'Chess' stable, a bit of crossover and some sixties rarities worthy of attention -
Read on!

FLORAIN TAYLOR- THINK ABOUT ME - CADET 5546

What a belter of a record' This disc is
a fantastic female ROB outing, its got pace and the uptempo speed is a killer! A really good dancer from this obscure artist who only had the one release on the label, (and I've yet to hear bout anything else she did, but info would be appreciated!).

It starts off with a bnilliant intro, then Florain kicks in with her high vocals telling
her boyfriend about how he should think about her and drop his bit on the side!! All while this is happening you've got a furious backbeat driving the record along, keeping a frantic feel to it!

A very nice piece, which should be quite acceptable dancefloor-wise!

THE WINSTONS – AIN’T NOTHING LIKE A LITTLE LOVIN – CURTOM 8546

An excellent record from the late sixties, on the first series of the Curtom label when it was independent. It's a superb mid tempo piece, it has a bnilliant and professional arrangement, blended with the Winstons laid back vocals, all moving along at a nice smooth pace - creating a beautiful floater.

The song is about how a little bit of loving is good for the guy, and how everything about his girl is 'out of sight', simple lyrics but they match the backing perfectly'

The record saw action on the decks in the late eighties, when my old pal VAL PALMER was a resident DJ at the 100 Club, but since she dropped out of the scene no one seems to have spun itl (although I hope I'm wrong!!)

The 'A' side to this is called 'Need A Replacement' and my copy is an A & B side demo (see illustration), but just double A side demo's exsist without the essential side in slightly larger quantity, so when searching and comes up check the side not listedl OKl!
(Shane Cox's tip no.507, for collecting records!)

Good hunting!

JOHNNY TWIST – NOBODY KNOWS LOVE BUT YOU – CHECKER 1139

Another nice piece from the Chess groupof labels, a great guitar intro, governed by deep horns and then it moves into Johnny’s high’ish vocals, telling us "nobody knows what love is" which is about his special love for his baby - all moving along at a nice mid to up tempo pace, giving us an excellent R&B flavoured dancer, with those high vocal accompaniments to the chorus typical of so many records we love on the scene, where for two or three seconds the groups do their 'lmpressions' bit!

it is a bit of an obscurity this, Johnny Twist - 5, which might mean that it takes a
little longer to track down, but it's a brilliant dancer with all the good bits in it, so
every effort should be worth it when you place it on the deck!

BILLY STEWART – LOVE ME – CHESS 1960

Just when you think you've heard everything an artist has done (which is quite a bit in this case!) then you either find something you haven't heard or overlook it thinking you have! Well this for me fell into both categories!! Now I feel it deserves to be written about. The record starts off with a slow intro which just builds and builds, with strings and things, until Billy bursts into songin his typical style, then the record moves into a crossover style, with powerful backing building up to a point and then moves into the chorus with Billy singing "love me" and keeping that late 60's crossover feel which keeps the whole thing going, climaxing into a fantastic break!

it's got a great production with everyone including Billy Stewart giving it all they've
got! With a thumping bass line accompanying Billy as he sings about how his girl can't
make up her mind about how she feels, and that he loves her so!

It's a great dancer, and an awesome record, get it and see for yourself !

BEN DE PORESS AND PASSIONS - I GOT A GIRL - BRUNO 5142

A brilliant sixties uptempo dancer from an obscure group on an obscure label It's got a furious beat and is packed with energy, treating us to a manic style of record, with those familiar hifg male vocals it's a great one to keep us up on the old dancefloor!

The song is about how the guys got got himself a girl and she is so fine! and that they've been together for a short while. Then the record moves into a great break where you just hear the driving bass line keeping everything in its place and losing none of the energy this incredible record has to give us!

As I said earlier the group is on the obscure side and even the song is written by Ben De Porress, so maybe this was their one and only chance of hitting the big time! Sadly I assume nobody picked up on it.

I presume the Passions were not (?) the group of the same name who recorded for Curtis Mayfield & Eddie Thomas (One of Chicago's other legendary producers) but I could be wrong!

Despite all these unanswered questions it is still a great record!

DESIRES –BABY WE CAN MAKE lT _- TAMBOO 2004

A real obscurity (again!) this one, but a great slab of Chicago Soul, it's got a powerful backing that drives the record along,creating a perfect mid tempo beat, which makes it a great dancer! Evidence of this exists as it was a big spin at Stafford in the golden days for newies, but because of its rarity it hasn't retained its status as a dancefloor monster- which is a bit of an injustice!

It starts off with a similar intro as the Trends - 'Not Too Old To Cry', but then moves
into its driving beat and the song tells us how "they can make it together if they
try" then comes the break with the thumping bass and saxophone solo, with chord
change; all the time keeping a certain rawness about it, which commercially might have contributed to its lack of success, but WE all LOVE that sort of stuff! So all we can do is give it a justified listening and know that the Desires efforts were not totally
unappreciated!

ANNA RAYE - I GOT LOCK - LOW 724

This really is a beautiful haunting record, mid tempo crossover soul at its very best Anna Raye has such a brillilant voice, it's high and clear, and really comes through nicely!

It all starts off with a laid back intro with plenty of "ooohs" and then kicks
in with a strong bass line and strings, then Anna sings 'I need your love', then it moves
an octave higher which tries to stretch Anna's vocal abilities, but she handles it in her
stride'

This disc has got all the ingredients that you need, it is a bit scarce, but it is pure
quality and should be a monster, all it would take is a few spins and.... you know the
rest!!

YVONNE CARROLL - PLEASE DONT GO - VEE JAY 592

Now this is one of those records that has been simmering for a little while until JOHN MANSHIP fumed one up and found its way into SAUS's DJ'ing selection, which is now making it into something of a very much sought after item! (lady luck and a phone call helped secure my copy!)

Okay, it's probably NOT a Chicago recording, but the label has all the right geographical qualifications for me!

The record starts off with a short drum roll, which sets the pace and then Yvonne jumps in with Please don't go" and the record moves along at a smooth but atmospheric mid tempo style, an excellent production, all nicely polished, giving it a great dance beat -in this mid sixties female mover!

The song is about the girt pleading with the guy not to go, even if there is someone else on his mind, then one kiss is all it would take to swing it Yvonne's wayl (she hopes!!)

DOWNSOUTHVIEW – whats hot UptownDownSouth

Russ Vickers & Keith Woon

Lori & Lance - I Don't Have To Worry - Federal

This infectious mid-paced duet is a gem. Lance is first into the musical fray - questioning his girl's feelings, Lori comes right back at him with, ° You don't have to worry!

Produced by Bobby Smith, this late 6T's belter comes on with similar exchanges thru' out - until Lori's final outburst pins your ears to the wall - WOW!

Definite dancefloor mayhem and soulful as hell! Critical plays suggest that this will
become a monster. DJ's & dancefloors get behind this...(RV)

Clarence Townsend - I Found A New Love - Clara

This hails from Greenville, Mississippi and first came to my attention via London's masses, main mover, Ion, initially played under the guise of Charles Brandy, this elusive Southem State dancer fairly shifts along, with horns and things, a big vocal, and a tale of Clarence leaving his girl and finding a New Lover.

The don't treat me that bad, or make me feel sad, I've found a lover.

Only a few copies have as yet surfaced, but with a little more exposure this one will
really take off- one to look out for (RV)

The Bitter & Sweet - I Won't Have Any Babies For You - Anything & Everything Records

Detroit Michigan, early seventies and a unique crossover dancer, it has an unusual latin intro, which leads into a mid-paced shuffler.First played in the 8Ts by Rod & the gang at the Canal Tavem, Thorne, this has lain dormant since then, as their advertising boasted

'Tomorrows Monsters Today!'

Resurrection long overdue - this is just right for today's more open minds (RV)

The Exportations, Featuring Ernestine Johnson - I Want You - Vir-Ro

1980 and a fine slab of Detroit soul, Dave Thorley mentioned that he had bought this as a new release, which indicates that it may have had a few plays at 'Stafford', although I can't recall ever having heard it.

Although released in '80 this sounds earlier, it's the first release on the label and
feature alternating male and female leads, it's not unlike the Lori & Lance number,
with a modem production, lots of strings plus a driving beat, this up-tempo modem mover is destined to go the same way as Barbara Lynn - 'Trying To Love Two' & 'Movin' On A
Groove'

Reasonably priced, now watch this one gal! (RV)

The Impressions - Whenever You Leadeth Me - Curtom (CR-1948)

At present, fairly hard to find, this piece of Chicago mid-tempo magic was lifted from the 1970 classic 'Young Mods Forgotten Story' album, incorrectly titled and stuck on the B side of a remake.

A single snare drum crack and then horns kick start Sam, Fred and Curtis into the first line; Wherever you leadeth me, I will follow, across the water blue, deep or shallow Even if the way is dark, we'll make it through, me and you...

Curtis' vocals are ably supported by the musicians, who play through some superb hom and string arrangements. A special mention must go to the drummer for maintaining overall control with a wickedly intricate snare pattern (KW9812)

Falcons - You've Got The Power/Innervision - I Just Want To Love You - Joe
Boy/Uptown Downsouth JBV4

The Falcons had recorded Power around 1967 for Detroit's, Big Wheel label but until now, it has remained unreleased. The mid-tempo pace and strategic low key breaks being the possible reason. Had it been released it surely would have been a precursor to the cross over sounds of a few years later. The only factor that anchors Power to the mid 60's in the degree of overall echo applied to the final mix - sure does make the finger popping zing.

Innervision, on the other hand, was released in the 'USA' only in 1976 as the 'b' side of a single that has remained hard to find. Again, the arrangement is ahead of its time, in that it sounds more like early 80's. a big production two stepper, with sentiments and pace that makes it perfect for a slow, end of night, grind.

Available now from all good traders!

(I0N9812)

Nigel Martznez - So Good - Expansion (EXCDP-18)

A UK release from around September thisyear, and an excellent mixture of mellow grooves (Just Another Night, Who Can I Tum To& So Good), jazzy (Hold On Me), mid tempo commercial (Dreams Come True & Shuda Cuda Wuda), fusion (Everlasting) and even a few instrumentals (Your Touch, With You & I've Been There), all in a Ben Tankard/Gary Taylor vein.

This set has a great, late eighties feel and there really are no bad tracks. I have left what I consider the best until last, which in this case are tracks 4 and 5. Special Way is a Barry White pastiche with a build up to an excellent instrumental break and close. Are You Ready, and the first time I played it, I wasn't! It's amazing, with Mr Martinez powering through it's clever arrangement of bass guitar under-pinning synthesizer guitar and horns all bouncing
off the percussion.

(KW9812)

Freddie Scott – Girl l Love You - Probe /ABC (CP481)

Probably from the late 60's, this marvellous big voiced ballad with a gritty down home feel to it shouldn't set you back more than about £10. As you would expect, superb vocals from Freddie, supported by a big rhythm and horn arrangement, punctuated with three breaks for absolute maximum impact.Worthy of particular mention is the drums and baritone sax.

Freddie has been patiently waiting for the right lady to come along, when unexpectedly he meets her, and bashfully whispers Girl I Love You.. She hesitates for a few moments and just as he is about to walk away, she replies with, Man I think I'm gonna love your.Freddie is obviously made up and being a sucker for this sort of thing, so was I. (KW9812)

VENUE
REPORTS

Winsford Civic Hall - November 26th N.Sadd

I recently read a venue report on this nighter in Soul up North so as I
hadn't been to an all nighter for several years and live in Cheshire I decided to brave
the trip.

I arrived and paid the entrance moneys and found a few friendly faces
talking and drinking coffee in the large entrance hall, and it was a good hour before I
got into the main room where the DJ (?) was banging out some great sounds and to my surprise I knew quite a few of them (I had heard that all righters now play loads of new stuff and I was a bit worried that I'd be out of my depth!)

Of course there was also plenty of sounds that were new to me, but the
dancefloor was always busy and the crowd were obviously being entertained.
I did venture into the modern room later on in the night but not being a
lover of the newer stuff, I returned to the 'big' room after taking in some refreshment.

I can't really remember who the DJ's were or list loads of sounds played,
but I can tell you that I had a bloody great night, and was totally knackered by the end of it!

If you haven't made the effort yet, then get down here, a great atmosphere, great crowd and a superb dance floor all combine to make me sure of becoming a
regular face there, and I'm sure a lot of you who don't do all righters would enjoy the
experience too.

It's northern soul as I remember it of old, but I can appreciate that new
sounds will be played (so I'm not that much of a oldies die hard!?) as long as it's
danceable it's OK(eh)

I might even try another nighter tool! my thanks to the person who wrote
about Winsford in that earlier venue report. Thanks to you I'm back!!

Trent University all nighter- May 23rd

Wayne Hudson

First time for this new nighter held in the buildings of the university
complex in the centre of Nottingham and as it's in the centre of the city it is a bit
difficult to locate, but we were OK as we had set off in the afternoon and spent the day at Dougie & Kate's (locals soul fan's!) so Dougie drove us directly to the university without the usual hassle of getting lost!

Memberships had to be applied for beforehand as this was a strict members
only venue.
The place itself featured a smaller modem room which appeared to be busy
all night and the main room which had a spacious dance floor and ample seating, and a record dealers area which was situated in a separate sports hall. There was a bar which was located in the modern room and when that shut there was a cafe cum' snack bar upstairs.

Musically it was a great night, leaning towards the current

And recent sounds with Djs Butch, Shifty, Soul Sam, Roger Banks,
Dougie,Steve Chadwick etc etc. You knew you were going to be in for some quality music,w hich we were - All night!!

Definitely a venue I'd recommend, with good quality music, big dancefloor,
plenty of punters and record dealers, a great night out so give it a try. Finally here's a
selection of 'some' of the top sounds heard on this night:

FOUR ANDANTEES-HIPPER THAN ME,
THE NEW WANDERERS-LET ME RENDER MY SERVICE TO YOU,
THE SAINTS-I'LL LET YOU SLIDE,
THE BUTLERS THINK IT OVER c/u,
VOLCANOES-IT'S ALRIGHT(vocal & inst.) clu,
LINDA & THE PRETENDER~BELIEVE ME,
CHARMAINES-STANDING IN THE NEED OF LOVE,
DYNAMIC THREE-SHE SAID YEA,
MATADORS-SAY YES BABY,
FAYE & THE HILITES-WHERE DID HE GO,
THE ADMIRATIONS-I WANT TO BE FREE
and DUSTY WILSON-TRAGEDY..
phew!

Station Hotel - September 25th Martyn

To reach the 2nd anniversary of soul nights here in Dudley has been
something of a minor miracle considering the music policy of the venue, but a no
compromise attitude along with a degree of flexibiliyv has ensured that this venue is now firmly established as one of the countries foremost progressive northern soul nights. DJ's for the night were specially invited from north of the border, being the two premier names at the moment, Kenny Burrell and Keith Money, along with local dj Ted Massey. The two resident jocks, Dave Rimmer and myself relegating ourselves to the first hour.

I'd really been looking forward to this night especially the visit of
Keith Money.

Dave kicked off the night, and I followed with some 70's and crossover
stuff, as the other dj's would ensure that the rest of the night would mainly be a 60's
affair. my spot was strictly left field, including of my current spins,
TERRY CALLIER-GOTTA GET CLOSER TO YOU (Cadet)
and the unissued but brilliant
SONNY MONROE WHY DO I LET YOU DO THE THINGS YOU DO.
The rest of the spot followed in the same vein and I'll
just mention a couple more that got their first airing at Dudley,
THE FALCONS-I'VE GOT THE POWER (to be given away free by the Newbury 1st Anniversary!) and another that is set to become a monster now that copies are available,
PEGGY GAINES-WHEN THAT BOY IS LOVING YOU
(100 Club freebie!!)
This one had Keith Money asking what it was, both the above were previously unissued

Quite a few were already in attendance then I handed over to Kenny
Burrell & Keith for their first spot, playing the various biggies that they are known
for, like COMPETITION TIMMY WILLIAMS, this certainly got the punters on the dancefloor and got things going.

By the end of their first hour (11.00pm) the night was progressing nicely and up stepped Ted Massey, who kicked off with JO BRYANT (Shrine), (alright it
might be rare, but it did nothing for me, or the crowd judging by the crowds reaction),
despite playing tunes like MELVIN MOORE and GLADYS KNIGHT and a busy floor to some of the stuff he played, I felt it was a bit of a hit & miss situation.

The atmosphere was good but never reached boiling point like it should
have (an opportunity missed?)

The last hour saw the reappearance of the Scottish lads playing some
more good soul. The best three of the night being
DEON JACKSON-SOMEDAY THE SUN WILL SHINE,
THE ROCKMASTERS-RAINING TEARDROPS
and
THE IMPERIAL C's-SOMEONE TELL HER.

120+ soulies made it down so another above average crowd, here's
looking forward to the next 12 months, why not join us on the 4th Friday of the
month (not December!)

Fan Trek by Karen Burke

Against all the odds I became "a Soulie". Living in the depths of Cornwall it was not the obvious teenage fad to follow. I was friends with the smartly dressed short haired 'IN CROWD' and surprisingly it was not just their company I enjoyed but also their passion for soul music. It was Danny Everard who encouraged me to go to my first AllNiter in 1977, along with a holiday maker he introduced me to called Pete Burke from Brighouse. That first 'niter got me totally hooked and since then I think Pete and I have probably travelled enough miles to circumnavigate the world several times, not just going to venues but getting lost almost every time no matter how many previous times we have been to the place! I could go on for quite some pages of memoirs but the idea I talked to Howard about was to express some current views of this years places I have been, sounds I have listened to and people I have seen friends old and new.Well enough background, Pete and I have been together ever
since and apart from a short gap from the scene when we moved from Plymouth to Beverley East Yorks, have always enjoyed going to Soul Nites and Niters.As years have gone by the excitement and anticipation when getting ready to go out hasn't changed, and the feeling of neck hairs prickling when a special sound is played is second to none. That doesn't just mean oldies but the first hearing of a special sound, like the first time I heard Sidney Joe Quails, WOW! And currently at Wilton just last Friday my ears pricked up to a very nice track which Nig Mayfield told me was My Dear Heart currently a cover up as Diana Ross ( I won't spoil it ) also there was a great Martha Reeves acetate which I look forward to hearing again.

Contact address is

Soul Up North
19 Rectory Drive
Kirkheaton
Huddersfield
W Yorks
HD5 OJT

By Mike in Articles · June 7, 200025 yr

Inside ...........Soulful Kinda Music
Edited by DJ Dave Rimmer

Published Date: 2000/8/28
As soon as you see this one you know its gotta be good - presentation is 100%, colour cover, good layout etc. Inside...?

.........well lots of stuff, Issue 36 had articles by Dave Godin, Dave Halsall and others features on O' Jays, Hesitations, Bill Spoon, good CD reviews, venue reports, playlists. Lots of vinyl reviews with scans and the chance to buy tape of sounds reviewed, good idea the way the reviews fit in with tapes, 46 pages in the last issue. So worthwhile, anyway must be good cause its another one I subscribe to and I'm looking foward to next one !

Here's the flavour of this mag: starting off with a few CD reviews, then some vinyl and more stuff.........

Various Artists - It'll Never Be Over For Me Stateside 7 24349 68302 0

This is what I mean about it being easy. Compiled by Richard Searling, with the liner notes by Richard as well. It's a much better compilation also, but why have seven of the tracks on the previous review been duplicated here ? It seems rather odd that the same company should simultaneously release two CDs when a third of one is on the other. This one works it's way through sounds that have been played at the various clubs through the years, fishing off, shall we say, with Teddy Randazo - You Don't Need A Heart, as a representative of today's sounds and clubs.

Various Artists - From Route 66 To The Flamingo - Stateside 7 24349 65012 1

The third release freon the new Stateside label and probably the best, although certainly not aimed directly at the 'Northern' scene. This is a revamp of the 1988 album of the same name (Released on the second reincarnation o f the Stateside label and features tracks drawn from the Sue group of labels. The original album is all here win an additional nine tracks, and represents a good cross section of R & B, Blues, and Soul music from the Sixties. The original sleeve notes are also here, completewith an addition from Dean Rudland, in which he waffles on about house music changing the face of British clubbing.Yes it did change the face of mainstream clubs, but it never had any effect on the scene that originally, and still does play these records. I just wonder whether he was wise enough to buy the original album release back in 1988 ? I did, and I've still got it

Various Artists - The Ultimate Rarities Collection Vol 1. Motown Sings Motown Treasures - Motown 530 960 - 2

At last. Someone working at Motown has a bit ofimagination when it comes to using all the material in thecan. The packaging is clever and original, the booklet,whilst it could have been more informative does give a lot more details than is usual even down to the authentictic looking coffee stain on the front cover. So what about the music I hear you ask. Well its a bit of mish mash. Some of the tracks are stupendous - Jimmy Ruffin doing 'Too Busy Thinking About My Baby", stands out a mile, as do the Temptations tracks, and the David Ruffin version of 'I Want You Back'. Otherwise the tracks vary from the good to average to 'I know why it wasn't released' type of thing. It is well worth buying though, and as it's only volume one, perhaps that means there will be an ongoing series of releases

Various Artists - Kris Records, Los Angeles' Showcase Of Soul - Kent CDKEND 162.

Another one label focus from Kent. I say one label because all the tracks on the CD are taken from Mel Alexander's group of labels Kris, Car-A-Mel, Space, and New Breed. Running from the mid Sixties through to 1994 all the tracks are Soul music of a very high quality, although the Blues tinge is present on several tracks. Whilst the obvious standout backs is Ty Karim's 'Lighten Up Baby' there are several other tracks which I didn't know before which are all just as likely to go on the dancefloors of the Northern Soul scene, what's more some of the Seventies tracks, in particular the first Cookie Jackson track. And doesn't the Pure Ice track remind you of the Staple Singers ? Of the later tracks Nadine A is the best by far, and I could see this being big in the various Modern rooms on the go at the moment Overall though, this was a CD, and group of labels which apart from the obvious tracks, I knew nothing. I'm glad now that I know considerably more thanks to the 24 tracks on the CD, and Ady Croasdell's usual copious and informative liner notes. Another wmner from Kent, put this on your 'Must Buy Soon' list, it's well worth the money if you like Soul music.

vinyl vinyl vinyl time:

Barbara Mercer- Happiness Is Here - Unreleased

I had an acetate cut from one of the tapes that Martin Koppel sent me about three years ago, and started playing it whenever I DJ'd. Eventually Goldmine put some white label demos out, and subsquently released the single on their Connoisseurs label. Great cover version of Tobi Larks single on Topper, and whilst I normally don't think cover versions are better, this one certainly is.

Jerry Jackson - Are You Glad When We're Apart - Columbia

I originally heard this on Ken Burrell's tape, when he said he didn't think it was rare. Well I've only ever seen one other copy, this one, in two years. Great out and out stomper, hasn't yet had the turntable action it deserves, but it will, and then we'll find out how rare it really is.

Christine Kittrel1 — Call His Name -King

A record I bought blind for £4, but what a record ! R&B,with a slightly jerky beat which might make it difficult to dance to. I've since seen it on Pat Brady's list for £40, so it must be known, although I've never heard it played anywhere.

Deena Johnson - The Breaking Point- Wild Deuce

The only demo I've ever seen, and the label is water stained, and there's a slight warp on the vinyl, but who cares ? It plays perfectly, and as such finishes side one off perfectly.

Reggie Alexander- It's Better- Boss

Starting side two off with a mega rarity that fully deserves it's place on the Millionaires CD. Midtempo magic from Detroit. Can anyone tell me what the connection between Boss record; and Sport records is ? Obviously they were owned by the same person, but which came first ? Did they rim alongside each other ? Who knows ? Who cares ? This is still one wonderful record.

Joe Douglas - Crazy Things - Playhouse

I originally tipped this as a future dancefloor filler about eight years ago. Wed, it's taken that long to get anyone else to play it. This ores one of the first tracks I played on PCRL, way back in October '91, and I said at the time that this record will eventually start to become played. Recently, I've heard at least three other people play it, I even heard it twice in one night at Albrighton recently. Well deserving of the attention, this is a Philadelphia recording, but with Detroit credits, and it just rolls along with a steady midtempo beat. Price wise I'm not sure these days now it's getting a few plays, but you will certainly be lucky to find one for less than £25.

Margie Joseph — One More Chance - Volt

One of the late Sixties releases from the label that is carried along by the hom section. Written by Willie T this is very much out of character for a Margie Joseph release. All I can say is it's a good job she did decide to record this track Not particularly rare, but having said that it's not easy to pick up either. One of those £20 - £50 records that you can never find when you want one.

Tommy Rodgers—I'll Tell It To The Wind - AJP

Another Roger Banks' play Hat has yet to reach it's full height of popularity. Still cheap, and you'll often see it listed for the over side "Pass The Word' which got plays back in the Stafford days. Very much a Crossover sound, and I'm not even certain which side of the '69 / '70 barrier this one comes.

Here's a bit of Dave Godin's column from SKM

IF IT NEEDS TO BE SAID, TRY STOP ME FROM SAYING IT...COLUMN

Various CDs which have appeared of late, have alluded in their liner notes to the practice of the "cover up" of a record's label on the Northern Soul scene, so that nobody knew what it was or where it came from. All very groovy for the DJ concerned, especially since so many at the same time, had the temerity to suggest they were "keeping the faith" and fully exploiting the natural, fraternal impulse of the Soul scene to their own advantage. Whilst their egos rode high on their "exclusive" sounds, did they give a damn about the artist who made it, or stop to reflect how, just possibly, a huge success on the Northern circuit might just have given a flagging career a much needed boost, or saved a small US record label from bankruptcy?

Were these people rule dedicated to the Music, or their own self-advancement?Many of these same DJs now have, (not in bank accounts, since that would be too risky for tax purposes), "savings" running into five or even six figures, and this wealth was built by exploiting creative talent that is perhaps now working in Woolworth's, the local garage, or wherever. Also, which of them meticulously logged the records they played so that the composers of the songs which were giving so much pleasure to so many people, enjoyed some sort financial reward for their creativity, a creativity which, had it not existed in the first place, would have given the DJs nothing to be creative with?' If that's "keeping the faith", then Wigan's Ovations are the greatest Soul singers of all time. These people may well have been excellent DJs, but they were, whichever way you cut it, carpetbaggers. And Blackamericans know all about carpetbaggers; it's part of their history!

PILING ON THE AGONY...The BBC's "Soul Night" as well as the recent Radio 2 project, fell into several traps which these sort of projects always have laying in wait for the unwary. Like a multitude of media projects these days, sloppy and lazy research produces something which, whilst perhaps annoying the minority who KNOW, will nevertheless produce something that is sound-bite enough to seem to fit where it touches for those who have only a passing interest in the subject matter. Thus, corporate interests are satisifed.What is its sting, is the confusion and timidity that nearly always penneates such purported "cultural overviews". Firstly, they fall into the deadly trap of equating chart success with artistic merit; something that can and does occasionally coincide, (but not THAT often, as all Northern Soul fans well know), but which should play no role in sociological, political, and psychological analysis of an artistic and cultural phenomena. Secondly, there is this ambivalence about resuming the music to where it belongs and the many, many divergent people who contributed to the creation of the whole. In my book, Soul music could NEVER belong to white vocalists who would rather like to carry the Soul moniker on their shoulder as a trendy marker or accessory, and who employ Black american musicians and backup singers to give themselves a cachet of credibility; it doesn't NOT belong to people who just happen to have been born with a dark skin pigmentation but who are not part of the Black american Diaspora; it is NOT just another commodity that can be packaged, marketed and exploited, but something that stems from a much wider, deeper and longer collective experience of a multitude of events, both historical and contemporary, and above all, those who control the power levers in society should search their hearts and ask themselves just why they can never QUITE manage to say in unequivocal and unambiguous terms, "This is the music of Black america. It is their gift to the world, it grew from their collective historic experience in the Confederate and United States, and we thank them for it and the enrichment to culture in general that it has brought." Sounds easy and simple enough to say from where I'm sitting, but then, we libertarians ain't control freaks t And it's a funny thing, but people who' ve lived the life always know these things instinctively, whilst those who are hung up on control rather wish they did... and never, ever do

'PROJECT " ONE(OR PERHAPS TWO) OFF WONDERS"

The idea came to me recently that we all of us must know of one or more recording artist who, so far as we Mow, made just one record (very often a masterpiece!), and then vanished from the scene. So, I thought what might be a good idea would be for us to try and pool our collective knowledge, and see if together we could shed some further light on the artists concerned, or their history.

LISA RICHARDS.

Recorded "Mean Old World" / "Let's Take A Chance" on New York based JOVIAL circa 1965. The record was subsequently leased to SURE-SHOT in Houston, Texas, who reduced the title of the official flip to "Take A Chance". Photo published in "Blues & Soul" when I nominated the Deep Soul side as one of my favourites of the year. Photo subsequently nicked. In the 70s, a disco record surfaced by a "Lisa Richards", but to my ears it didn't sound like the same person. (That said however, I realise styles of delivery and vocal chords sometimes change over the years). So, any intelligence on Lisa out there?

JAMES BOUNTY.

A household name in Northern Soul circles due to his smash "Prove Yourself A Lady" on COMPASS. He must, surely, have made other records, but if he did, I don't know of them.CANE BLACK Made "Hold On To What You Got" / "Sometimes" on OKEH in 1968, both sides penned by W. Blackwell and Jerry Long. Must exist in his own right since in 1969 I met the Vice-President of COLUMBIA/OKEH and mentioned how much I admired this record, and he said he felt Cane Black had a great future with the company! Was he conning me, or did the deals all go belly up?

MORRIS CHESTNUT.

The "Too Darn Soulful" man has almost certainly transformed himself into an acting career, since he has had name credits in Hollywood movies, and surely there can only be one "Morris Chestnut". Or maybe making a masterpiece record was just a one-off diversion from what was already an established acting career?

BRENDETTA DAVIS.

Recorded "I Can't Make It Without Him" / "Until You Were Gone" on LIBERTY in 1968, but from the label copy it wouldn't surprise me if it hadn't appeared earlier on a sma11er label and formed a pick-up deal. It was my own speculation when I first reviewed this record that originated the rumour that this was Brenda Holloway moonlighting, but Brenda denies this, although she did tell me she remembered recording "Until You Were Gone" but couldn't remember any more details. . ! Add to this the fact that one of the backing vocalists on the session confirmed to Ady Croasdell that it WAS Brenda Holloway, and we are as confused as ever... But, could a vocalist as great as this make just one record and never get offered a second chance?

SANDI SHELDON.

Recorded Van McCoy's incomparable "You're Gonna Make Me Love You" on OKEH in 1967. Van McCoy is sadly no longer with us, and it is known that he had a keen eye for discovering potential talent, but again, the old, old story; no photo, no subsequent releases known anywhere. Surely this can't be the sum total of her recording career? And if it was, didn't we ought somehow to let her know that she at least made a record that was a huge hit and subsequent legend on the Northem Soul circuit?

SHAWN ROBINSON.

Made the ultra-brilliant "My Dear Heart" on MINIT in 1965. The part composer on both sides was Robert Staunton, and he was put composer on Marvin Gaye's "Tank About A Good Feeling" in 1965 (left in the can until the advent of track-hungry CDs), and Stevie Wonder's "Don't You Feel It" (Ditto the above), in 1964. So a Detroit link is in there perhaps.

CAROLYN SULLIVAN.

Made the marvellous "Dead!", and then her career seems to have died

VALENTINO.

Recorded "I Was Born This Way" / "Liberation" on the GAIEE label in 1975. The first "out" gay record ever, and snapped up by MOTOWN who were more interested in acquiring the rights to a label which perhaps had future potential in a specialized market than in Figuring Valentino's career. A record way ahead of its time and the politically correct climate, Valentino's brave stand should never be forgotten. In 1975 it took guts to make a record like this, as opposed to 1998 when all it takes is a tattoo.Well, that's enough to be going on with, but there are more, and, most importantly, let me know those obscure and Wang heroes and heroines that you dig, and we'll see what we can discover on them.

COLLECTORS' CORNER

So many great CDs continue to be issued that it is difficult to keep pace and mention those that really merit it. But, I must mention Kent's "Serious Shades of Soul" if only for Robert Ramsey's ace outing 'Like It Stands"; a hypnotic number that might take some time to zonk you, but if you stick with it, it'll creep right up and haunt your head._ Westside Records are really getting their act together, and their latest compilation "Doctor Good Soul" (WESM 525) is a cracking set from the ROULETTE and associated labels' catalogues, with the exquisite good taste of Tony Rounce guiding the compilation of it, and the informed and informative good sense of David 'In The Basement" Cole providing the sleeve notes and overall commentary. Both major pluses in any undertaking. Any CD which contains The Delfonics despair anthem 'He Don't Really Love You" alone makes it an essential buy in my opinion, but there are many others here, although the trouble with writing about CDs is that they can contain so many outstanding traclcs that it makes it hard to list them all without making your article look like a sales catalogue. But, this is what buying CDs is all about, so let me name the sides that particularly caught my soul:

Peter Cooke's DIMENSION early Deep Soul wailer 'I Won't Cry', with a no holds barred naked emotional quality that people are altogether far too inhibited to express in this present day Designer-Emotion era;

A previously unissued Betty Lavette track from the CALLA library, a vocalist who will always have a special place in my heart

A lost Jerry Williams ballad, "Your Man", that only ever surfaced on the tiny 87.30 label, originally intended for a CALLA album that never materialized; a guy who really knows how to use his voice to emote, and with whom everything he touches always turns to heartfelt;

A diffrent take by Donald Height on "She Blew A Good Thing": not as good as the ..cont in skm dec 98 issue.

Well there you go, all I can say is..."highly recommended! "

Contact details, dont forget tell him soul source sent you.

email: dave@skmmag.freeserve.co.uk
or
Soulful Kind Music
12 Winchester Rise,
London Heights
Dudley
DY 1 SE

By Mike in Articles · June 7, 200025 yr

George Jackson Nite Review By Mike Hump 2000
thanks go out to another of out intrepid reporters for taking his life in hand and venturing to far off lands, EC1 in london, just so he can pass onto you details of what seems to be a excellent nite with a bit of a different flavour read on for the adventures of mike humphries at the george jackson soul nite
It always seems to me a tough decision deciding what type of warmer to go to before an event. Going to a strictly 60s Northern do before the 100 club seems like going to see a tribute band before the real thing. So when I read the flyer for the George Jackson soul night it sounded a decent alternative to some of the duff series of mod, psychedelic, school disco northern events put on prior to the 100. (more of this in a later posting). I arrived about 1100 so the place was busy. First surprise was the beer. Good selection of Belgian beer at reasonable prices. So after a few sips of Hoogaarden it was down stairs to the basement bar. Smallish room probably 50-60 people, young crowd - in the main not soulies but still taking in the sounds. When I arrived Gareth was on the decks. I hadnt realised it but I had met him before at the Dome. On the strength of my conversation with him I went out and bought a couple of Soul Children CDs (highly recommended). What more can I say a soulie who knows his stuff. I can now say he also knows how to put a well thought out set together. Next up was a guest Gordon who played some fine stuff too. Finally David put together an excellent mid and uptempo session.
Those of you I have met will know that I am useless at the hard facts, however David has promised to put a playlist together for me, as soon as I get it I will pass it on. All in all if you like quality soul with a refreshing soul mix of mid-tempo, beat ballads, classy 60s and 70s sounds and a few from Memphis then this is the place for you. Great as it is, the biggest problem with the 100 (and the Dome for that matter) is that there is nowhere to have a reasonable conversation whilst being able to hear whats going on in the hall. As a result it is difficult to catch up with a bit of chat and check out the latest gossip. As a meeting place "George Jackson" is just right. The music doesnt completely dominate so conversation is possible without bursting your lungs and the beer is top notch.
So if you want some top soul in a comfortable meeting place to start the night then this is the place to meet up, catch up and then move on to the nighter. I had intended to check it out then move onto the queue for the "100" at 1230. The sounds were so good that I stayed for the duration and didnt get to Oxford street till 0200pm. David, Gareth and their crowd are a friendly bunch and they were happy to discuss their plays, give the low down and provide back ground. Check them out - you wont be disappointed. The next George Jackson Night is in a month Check out their flyer on Soul Source.
Mike Hump

event-reviews

By Mike in Articles · June 6, 200025 yr

Review of Terrys Chocolate Soul Nite

Always good to get stuff from the man on the street and heres a good one a review of last Fridays - Terrys Chocolate Soul in London town - by Dave Dixon sounds like a good one -read on......................

I arrived at 9.30pm, walked up the stairs of the Catch bar where Chocolate Soul is held. I paid the an at the top of the stairs and I was in. My first thoughts were that its much smaller than I imagined it would be. The room is L shaped, with a bar to the left and the DJ stand and dancefloor at the back. There was also, for the first time, a record/CD dealer positioned at the front. Very reasonable his prices were too. There were not many people in at this time but this was probably due to the football still being on. I knew it was going to be a packer as it was Terry Joness birthday, Gavin Paiges wet the babys head night and also several other regular punters birthdays. In fact, there were a variety of cards at the front door for signing. The music at the beginning was great modern soul i.e. new stuff from the last couple of years. TJ came on afterwards and it was suddenly very busy and played his usual very high quality set that included brand new sounds (Janita) and old classics (George Benson - "Love Ballad"). Mike Stephens was the nights guest DJ and played a set that most people would normally expect from - mainly brand new stuff, most of it not very well known although he did slip in a few very popular tunes. I did hear some people say they felt that the tempo of the stuff he played was a bit slow and verging on RnB (Im talking Jaheim here, not Charles Sheffield). Having said that, the dancefloor was still bust throughout his set.

He also got more than the customary hour that guest DJs seem to get. I reckon it was 90 minutes which I thought was good because theyre are usually the most interesting sets of the night. TJ finished off the last hour with a storming set of northern and modern classics including The Constellations, Voices of East Harlem, Ace Spectrum, Tavasco, B.G.L., Drizabone, Barbara Acklin, Jackie Wilson, Bobby Reed, Beloyd and 4 Below Zero. The place was absolutely rocking with hardly any room to dance anywhere. There were people there from different soul backgrounds but all appreciated the same fantastic music and really enjoying themselves in a very friendly atmosphere. .
I had a great time. It was my first visit but it wont be my last. .
Dave Dixon . .

Event details . Terrys Chocolate Soul. Last Friday every month. . 9.00pm-2.00am. £5 + usual concessions. . Terry Jones, Sourmash and monthly special guests .

event-reviews

By Daved in Articles · June 1, 200025 yr

Next in line with this series of interviews is Irish Greg DJ and CSC co-promoter
Man of today Irish Greg -1999
Q Ok Greg, to start us off, for people who don't know you, how did you get into northern and end up in London?
I first got into northern when I was young Mod all of 16 and was living in Galway (Ireland, hello guy's) but it was really when I moved to London in 1987 (was only 17). I remember going to Mod clubs and hearing things like Ron Baxter, Liz Lands etc etc. But it was when I went to the 100 Club and heard that magic mid-tempo sound of things like Bobby Kline, Magnetics, Danny Moore, and Kell Osborne - I had found my church to worship at.
Q. You're one of the main people behind the Capitol Soul Club and it all seems to be going well, what is the idea behind the club?
I had left the 100 Club as a resident D.J. and The Scene for about 2 years (you need a break ever now and then), on my return I found that nothing had changed, same D.J's spinning the same stuff (one or two exceptions of course). I meet up with my good friend Alan Handsome (D.J. and Collector) and decided to start up the C.S.C with the intention to get some of the best and entertaining D.J.'s who would spin quality newies and current big sounds (Oldies are played and always should be because we are here to entertain but we must also look to the future). The C.S.C is about the future and including the past all in one. D.J.'s like Carl Fortnum, Dave Flynn , Shifty , Andy Rix etc have shown it works. I must mention also Matt Jahans, who keeps doing a great job on the promotional front - he is totally into it and we couldn't do it without him.
Q. With the dome being a mainly upfront sixties soul venue, what are your views on events/djs that stick to classic oldies formula.
I think events that just play oldies have got to move on and oldies D.J.'s should not be playing so safe - otherwise the punter will go elsewhere. Also I think the punter should go and speak to the D.J.'s or Promoter if he or she is not happy, remember the punter pays the wage and without them this scene will DIE. Speak up-don't shut up.
Q. What would you say to critics of today's sounds saying they don't match up to the classics of yesteryear?
That is total bullshit, these people should listen to the sounds on your site and wake up. I wonder if they are the same people who just want to hear what they heard in there youth and are forever moaning. Yes some of the greatest records are classics but some of the unreleased stuff (small example) that are turning up are awesome.
Q. As said before at dome you do get a mixed age group, and have used methods such as free tapes at events and the GLR radio show. To spread the word, do you reckon this is the way ahead?
Yes, the idea of free tapes was simply to break new sounds. The punter would pay £5 in and was handed a tape of sounds that will be played at the club, they go home listen to it and the next time they come its like they know that record backwards (it's broken before it hits the turntable). G.L.R was a massive help to the club and was fantastic, we could advertise to a massive amount of people and spread the word in a way I could only dream of. I think more Promoters/D.J.'s should look to giving the punter more, we have given T-Shirts away for nothing because when they wear it we get The Capitol Soul Club promoted everywhere they wear it. We don't have loads of money (far from it) but it got the punters in and made them feel part of something, they are the capitol not us.
q. Next month capitol soul club are holding a event in Newton le Willows, how do you think this will go, and what have you got to say to people to may be thinking of going?
I hope it's a success; we will stick to our guns, play quality sounds, lots of new things plus old and hopefully entertain. To the people going to the venue I would like to say thanks and hopefully you will be entertained and come away from the event hearing sounds you liked. I think the promoter Alan has pressed up free tapes - now that's what I call a promoter who wants to move on and cares about his crowd.
Q. Capitol Soul clubs Plans for the future?
We have got lots of stuff but until all is ready I can't say as some people might just nick one or two ideas. Radio show on Internet is one.
Q. As said rarely hear any post 69 stuff is this a deliberate choice or just way it works out?
It's just the way it is, 75% of the D.J's are hardcore sixties (oldies and newies) and we have found that works great. We do play some crossover stuff but when you have new sixties things then that gets prority. The crowd is a great mix (soulies, mods etc) but in London we have found a mainly hardcore sixties following and we are more than happy with that.
Q. Ok Greg onto dj-ing side of life, how did you first get into it?
I started in Mod clubs in London and then Val Palmer packed in her set at the 100 Club (early 9'ts, so Adey asked if I would step in and of course I said yes (you don't say no to that). At first it was great but it upset some people that they were not asked and got quite nasty, it left a bad taste with me because I'm not into this ego D.J. bullshit. I remember going on to D.J and offering out these people in front of a packed 100 CLUB (my mates looking around for the first person to move) but this one person in particular just put his head down and I ain't seen him since (moaners etc). I then went on to work with some bands who are now very famous and I must say a big thank you to Adey because he stuck right by me and was always fare.
Q. What are your top 3 sounds at moment that are getting the most dance floor re-action?
1.Other Brothers - Nobody but me - Unissued
2.Jimmy Hughes - It ain't what you got - Atlantic (Thanks to Mick Smith)
3.Tyn Tymes - Baby I love you - Music box
Q. Have you ever done a spot that has totally bombed, like tumbleweeds blowing thru the dance floor during your spot, and why did it happen?
Not really, once or twice the dance floor would go quite but only when trying something new, a D.J should always have back up just in case (Luther Ingram and Gene Toones is mine)
Q. As said at beginning you've been recently signed up to dj at ocean colour scenes concert, how did this come about?
I have worked for many well know bands and we did interview Steve (O.C.S. guitarist) for G.L.R - So I got a call and was told they wanted me and if there's free beer and the rest !!!! then I'm your man. Party on Noel and Liam.
Q What do you reckon you be playing there, current stuff or well known stuff?
Plenty of Northern plus some British rnb and Indie stuff. This is the way to get the kids into it. What I love is seeing young kids heads moving when your playing something like Edwin Starr, Miracles etc - they fuckin love it to death.
Q. Radio show on GLR, where's Wigan seemed to go down well, how did that happen any plans for more shows?
It was a big success, everyone who knew about it tuned in and you could hear things like Gary Dean, Little Ann, Doni Burdick, Jimmy Burns, Pat Lewis, Vivian Carroll etc all on the B.B.C - wow. We would get people like Mark Lamar and other celeb's phoning in for request's and wanting to know about record's that we were playing, it was great fun. O'ya it came about because the lad's from Dodgy wanted to do a Londoner's guide to Northern and one of my best mate's is Nick Abnett the bass player - so in I go to oversee everything and end up one of the host's. No more show's planned as G.L.R are going for a talk station with very little music.
Q,. You recently did 100 club, how did that go? Any more appearances planned?
It was ok, the sound was very bad (deck's blew up at one stage) and the crowd seemed a bit quiet. The problem I found was that the regular D.J.'S are sometimes just going through the same stuff when everyone knows that they have loads of great new records in reserve, dig them out and play them. Otherwise what's the point in bringing a 200 box of single's when your playing the same 20 records every month, they might be very rare but a sound is a sound and if you have another 180 then for fuck sake play them over the year. The 100 club is still one of the best all-nighter's in the country and still leads the way on the soul road but the lights sometimes change. I mean poor old Adey is the only one over the last few years that has played a substantial amount of new disc's (Rca stuff etc). Come on boy's dig deep and mix it up - I think Shifty was a good signing and always put's a bit of passion into it. No plan's to return, as I'm busy enough with the C.S.C and other musical interests.
Q. Thanks so far Greg, few odd ones now! If during an event a guy wandered up stage and said, play some proper northern like out on floor or I do you! What track would you play next and has similar ever happened.
No but if someone make's the effort to ask for a track and I got it with me then I'll play it. If I put it in the box in the first place then I must think it's good enough to be played, otherwise I shouldn't have it in there. We respect everyone who come's to the Capitol for a peaceful soul night out - no bullshit - no snobs - no egos just a great celebration of the music we all love. Now if a piss head starts and is taken the piss then I'm not one to hold back.
Q. Heard a rumour that Ian Levine wouldn't mind doing a spot at the dome, how do you feel about that?
We are Booked solid - sorry. I spoke to Ian at the 100 Club and let me tell ya that he still has some great records and I found him quite a nice guy to talk too. I would still ask him for a tape though.
Q. London seems to have a 101 soul events on a month apart from 100 club and dome, where would you head for, for a great nite out?
Drinking with The Boy's from Dodgy is always a mad one, especially with Nick or maybe the nearest hardcore punk event, maybe to see The Business or a great new band called The Solar Flares (Medway band). Soul wise well These Old Shoes is a good one.
Q. Greg say you just discovered a great lp track, trouble is its by a uk white 70s pop star, and has no real soul connection, would you play it?
No, but I heard Rod Stewart's version of First cut is the deepest the other day and that's not bad? I'm joking of course - his balls must be a mess with all those tight trousers he wore.
Q. Cover ups- in old days were to stop bootleggers, nowadays... what's your view?
I do it for a laugh but really I think it's very bad because these artists have never received any recognition and then someone come's along and say's its someone else. I think C/U's should be done for a short while (give a D.J. an edge on others) and then uncover it and at least give something back to the real artist by saying who it really is. It's an elitist thing really.
Q. What's the greatest soul record you ever had pleasure in playing? What a Question?
I think it would have to be Jimmy Ricks "Oh what a feeling" because I just love his deep voice and also the line "came home with kisses that you never will forget" - we've all been there I think.
Q one the worlds been waiting for, now known here as Irish Greg, but do they call you cockney Greg when you go home?
It's funny, because that does happen but I do live in east London and have been in London now for 13 years but I'm still 100% Irish and proud of it.
Q. To finish off Greg, last two what's the most memorable northern event you ever been to and why?
My first visit to the 100 Club all-nighter (I still get that shiver now thinking about it) and also seeing Ray Pollard singing The Drifter live (I had tears of joy in my eye's that night - passion that's what it's about for me).
Q. How do you see the future of the current scene?
I think we need to get young people into the scene, I don't have the answers but we need them badly. Also the price's of records needs to slow down because it's just going mad, I think some people are just taking the piss. I also hope the older crowd that have returned to the scene will stay and encourage the next generation of D.J.'s and Collector's and Dancer's etc. Remember to win the race we must keep the faith and stand together and stop bitchin. Later Greg.
well all i can say is, thanks a lot for that greg, some top wear it on your sleeve stuff there, and find myself agreeing with a lot of it, he asked me to mention that for those who life up in north west, capitol soul club is holding a event in
Newton-le -willows at the viaduct, featuring carl f, dave f, irish greg, alan h - sounds like it be a killer, telephone alan on 07930 240 732 for info/ directions 31 mar being the date
for more info on capitol soul club check out their online home at matt j's site

By Mike in Articles · December 10, 199925 yr

TOO DARN SOULFUL - The story of Northern Soul by Dave Nowell
Publication Date: 10th December 99
Well its getting near that time of year, just as the summer memories are being slowly added to the pile of long gone ones, the adverts on the television remind you that yeah christmas is around again, and if like me you've just released that there are no more paydays till the next century, thoughts of presents to buy spring to mind.....
Well there you go seasonal intro or what, onto the main purpose of this page ..well recently as in this morning a review copy of dave nowells book landed on my doormat, well that took care of plans for tonight. Well after reading the first half, was that impressed that thought well no time like now, so have thrown up thoughts of the book to let you know what's the book about and my thoughts now. Understand some may say well you should read it all, think about it , write about it, leave it for a day, re-read what you wrote and so on before publishing. Well bollocks to that here, internet is about instant info so here's some instant info for you-
Now I know that this year has seen a lot of media interest into the rare soul scene with videos, mag articles, and other books, so what else can there be left to cover.
Well first I put up the publishers view on the book ,
Northern Soul has been described as the longest running fad in the history of British music culture, frequently misunderstood and tarnished with an unwanted drugs reputation.
In this book, author David Nowell takes the first ever in-depth look at the culture, the music, the DJs, the artists and the people who frequent and have frequented the all-night venues which are synonymous with the peculiarly British all-night soul scene.
Packed with memorabilia, behind-the-scenes facts and interviews from Motown artists to current chart acts like Fat Boy Slim, Too Dam Soulful is the definitive history of a dance scene that refuses to die.
ok set the scene, first think that hits you is the weight of the thing, hardback 332 pages, about 3/4 of a4 size. Cover well see above for the cover photo, great title "too darn soulful" (be a great name for web site that eh). Inside the jacket sleeve notes start of with a quote that could sum up a northern fan
"yes, we are a little bit eccentric. Yes we like being diffrent. Yes our families and work colleagues think we are barmy. But if our obsession with Northern Soul consitutes madness, then long may we remain insane."
And then the sleeve notes give a quick intro "passion for the music of black america" finishing with .... "Too Darn Soulful is the definite history of a dance scene that refuses to die"
The meat of the book itself is split into 12 chapters of 4 parts, each chapter having a title which matches the content, "boogaloo party", " turn the beat around", "it'll never be over for me", are a few, no prizes for guessing which eras they cover. The introduction is just what it says with dave trying to explain the mystery of soul music and its power, including a great story of how driving to work a recording of Walter Jackson, forces him to pull over off the road.
Rather than be trying to be analytic and a critic, I will just go through for now so you know what each chapter covers with brief info on each and put up "my final view" with part 2 of this review...
Part One
So onto the meat, part one of the book starts off with the first chapter entitled "I can't help myself" basically this lays down the pre- wheel history, covering the late 50s to the early 60s, R&B, flamingo club, early motown, with recollections by Brian Rae and others.
Chapter 2 "boogaloo party" concerns itself at first with the "mods a go go " and then onto the Twisted Wheel era with some great stories of events, and info and gives a good insight to what it was like to be in the swinging 60s at the ground level.
On to part 2 and I suppose this covers the "start of the golden era " titled "a little togetherness" so no prizes for guessing what this covers, yeah the Torch,
............"The dance floor was like a well, when it was full it was like a sea of human excitement",
the chapter here covers the history of that era complete with many fascinating facts and stories, simon soussan, white pianos and $20000 for example.
............`Sliced Tomatoes" was the record. When it came on you couldn't get on the dance floor,' he said.
Although the Torch Djs were finding lots of rare imports they played many new and nearly new releases. Colin played First Choice and 'This is the House Where Love Died' three weeks after its release. The very 70s 'Nightlighters' with Kay Gee was a massively popular instrumental.
The Torch is also where the Djs encountered the now infamous record collector Simon Soussan. The immaculately dressed Frenchman, whose roots were in America and who also had contacts with French record collectors, amazed soul fans when he appeared with his record box crammed with just about every rarity Northern Soul fans craved.
Simon's sources and ear for music were impeccable and he became a friend of the Torch Djs. Once Colin Curtis went to visit him at his flat in Leeds and was astonished at what he saw. In a white flat with white carpets and a white piano, he had a sideboard crammed full of rare soul 45s in mint condition in cardboard sleeves.
Simon made it clear he did not want to sell? he wanted to swap records with his fellow connoisseurs. To emphasize the point that he did not need the money, he dumped £20,000 in cash on the bed.
Said Colin: 'We were discovering more and more rare records but he was coming up with some other really great stuff. He took it to a different plane.'
The Kingspinners were joined each week by lan TNT Turner, Alan Day, Martyn Ellis, and Johnny Beggs. Chris Burton recalls: 'Musically I loved the scene, but, more importantly, the energy created by the crowd was incredible.'
Suddenly the Torch acquired a national reputation amongst the Northern Soul fraternity, and the 680 capacity venue was creaking under the weight of far too many punters for its own good. Chris estimates the Torch pulled in up to 1,400 on an exceptional night, which, along ......
After that interesting bit where next , up the road to Blackpool in chapter 4, is now the stop, now this chapter covers a lot of stuff which might be unknown to a lot of people who just know the mecca from the "horror" stories from certain people. Hopefully this will put the record straight to those who may not know what a part it really played in the development of the scene. Again stacks of fascinating facts, info, stories and quotes such as cover ups were "purely to stop the bootleggers". Also parts on the so called wigan mecca war, the so called split and the reasoning behind the policy of playing ever increasing more funkier sounds. Obviously this chapter covers Ian Levine and his "works" and to me gives a fair and balanced view, which people should read before jumping on the bandwagon of criticism his name usually brings. So all in all a great chapter with again a lot of info to take in.
...........in demand dancer, robbing the DJ and the venue of their exclusivity.
That's when the practice of 'covering up' records came into full swing. The only way to protect the identity of a record was to literally cover the label and invent a fictitious title and artist. In that way the DJ could hope to keep the real identity of a record secret for weeks, if not months. But Northern Soul fans are nothing if not resourceful and determined, and the secret usually came out eventually.
In the meantime, the Djs could buy time by calling the Coasters' 'Crazy Baby' 'My Heart's Wide Open' by Freddie Jones; Edie Walker's 'Good Guys' became 'Patricia Valentine's "You Can't Tell the Good Guys from the Bad`; Melvin Carter's 'Midnight Brew' became 'Shing A Ling at the Go Go'. 'Breakaway' by the Steve Karmen Band became'The Black Ship of Hell'. Sometimes, if the bootleggers were really baffled, they would press the disc with the fictitious title.
lan and Colin devised a numbering system Secret Sounds 1, 2, 3, etc to cover up all their one offs. Using a piece of patterned wallpaper, they would cover front and back of the label. Then just to make sure there was no tell-tale information in the runout groove, they would add small pieces of Sellotape.
'We didn't cover up records to prevent other Djs from finding out what they were, it was purely to stop the bootleggers,' said Ian. 'But there were a lot of knowledgeable people around and eventually someone would come up with the real title. We used to have grand "uncovering ceremonies" in the Highland Room when it became pointless trying to keep someone a secret any longer!'
Even today lan is fiercely proud of the records that he played first at the Mecca which became anthems at the Casino. 'Afternoon of the Rhino' by the Mike Post Coalition is seen as synonymous with Wigan Casino. 'I played that first,' says Ian.
........R D Taylor's 'There's a Ghost in My House' was also aired at the Mecca. But Wigan Casino founder Russ Winstanley's argument,.....
After that worthwhile chapter the book moves onto part 3, well you must know what's coming at this stage , yes its the wigan chapter, a lot has been written about this venue, and to be fair I suppose people who didn't go might be tired of hearing about it, but such is the interest still in this club, and its part in northern history, and as there will never be a place like this again its good to see some fresh info and antidotes. Well glad to say that there is here a lot of interesting stuff, starting off with ave Nowells personal recollection of his time at the venue, then onto more snips of stories , info and antidotes, lots of stuff again here, with many new (to me) bits, Simon Soussan's influence, Russ and Richards relationship, Derek and the Dominoes! and more. A interesting comparsion is how clubs in the 90s such as Ministry of Sound are now doing what wigan did 30 years earlier , own label, own magazines, own sounds etc etc.
In at this point is the photo section 16 pages of black and white glossies covering the cast range of the spectrum, mods,100 club, with all stops in between, quite a few unseen (by me) before there as well.
Next chapter "turning my heart beat up" was a bit of a surprise to me until i remembered the "warts and all" quote, all about the often unsaid side of the northern scene - the gear. And to tell the truth it does cover almost the full spectrum, from personal stories to medical experts views.
.....Much later Steve looked at his watch for the tenth time in as many minutes. Surely it must be later than 7.30 am? It had to be bloody 7.28 am last time he looked. He felt like shit. His mouth certainly was dry and furry and tasted of too many cigarettes. He took another swig of Coke but it couldn't quench his thirst. His shirt was drenched with sweat and it felt clammy. His heart was thumping ten to the dozen, and when he went on the dance floor could go his legs felt like lead and he was breathless within seconds. that hour. He could no longer think of anything witty or interesting to say as the all-nighter entered its final half hour. He desperately....
Ok that's it at moment as said will post part 2 in next couple of days, about halfway through the book at moment and from what I've quickly looked at in rest of chapters it all appears good stuff.
Part 2 Intro
So far am very impressed by the book, the press release says " a definite history" well that might be a hard claim to live up to as nearly everyone has their own view on what the northern scene is about and hence their view on the history, however going by what I read so far it seems that Dave is getting close to that statement, and all the views seem open and cover all sides of the many points of view, without the normal biased opinions that sometimes crop up. And going by amount of info in first half, would say its looking like a great buy, information not just from the "normal" well known names , but a lot of "ordinary joe's " have their bit as well, as said up to the late 70s at moment and it appears that the second part should cover the 80 and 90s in depth.
Part 2
Into the second half, now the era is the late 70s and we're into chapter 7 entitled "Don't take away the music" and as the title suggests we're off to the ritz, covering the start of them famous dayers thru the days when Soul Sam played "Philly dog around the world" and next spin following was Ian Levine with Rose Royce and "car wash", could there ever be two contrasting spins and most of all it seemed to work, upto the gradual end at the 80s. Next stop - Cleethorpes and the going ons there, bit from lead singer swing out sister, who used to go, (never knew that but always thought their stuff had a bit of an influence with one sounding like "you took our heart" ), west midlands, notts and more info.
with the 70s drawing to a close and people like Neil Rushton being left with 80 000 records to flog, the book takes us to the early 80s in part 4 with chapter 8 entitled as "the panic is on" covering Morecambe , yate and onto Stafford with stories about the "soul fascists" and up to the 100 club.......
........Room in West Hampstead, and the Last Chance in Oxford Street, the 6Ts soul club attracted a mixture of soul stalwarts and Mod revivalists.
Then Ady got the venue that appealed to him most ? the 100 Club. Small, atmospheric and with a wealth of musical history from blues and jazz to beat groups. The allnighters began in August 1980.
Ady said: 'It's a basement venue, which 1 like, and it has a terrific history. It has a nice size dance floor, although possibly a little small for an allnighter, and it's ideal for me. I don't particularly like the big monster allnighters.'
The neatly sized venue did not suffer from the same drastic fall off in attendances as suffered in the north in the 1980s and was able to press ahead with its progressive music policy. Like the Stafford all-nighters, the 100 Club is famed for its love of 'new' 60s discoveries, mid-tempo items and beat ballads.
Said Ady: 'Being in London we have always had a slightly trendy aspect, sometimes we're in fashion and other times we're out of fashion, but we've always had a very loyal following and a high standard of Djs.'
Its current resident Djs of Butch, Mick Smith, Shifty and Ady have ensured the 100 Club has a reputation as a connoisseurs, venue. Its location in the capital means that showbiz celebrities occasionally drop in. Liam Gallagher of Oasis once paid the 100 Club a visit before the band achieved world fame, and Shane McGowan used to work in the cloakroom. Once when soul singer Doris Troy was appearing at the venue a promotion on which Ady lost money a fan tried to jump the queue for autographs. A slightly ill tempered Ady told him to get back in line. The fan was Van Morrison.
Regulars come from all over the south, Midlands and Wales, with French visitors hopping on to the Eurostar to enjoy the allnighter. The 100 Club had the first female Northern Soul resident DJ in Val Palmer, and also pioneered the 'guest night'
Now up to chapter 9 "time will pass you by" being the title, with a chapter on the revival side, searling, chris king, kev roberts ady croasdel all featured here, covering radio shows and cd side, dave rimmers view, then fatboy slim, paul weller, kenny burrell and last of all in this chapter ian levine.
chapter 10 kicks off with a quote " i certainly don't feel forty three..." and is entitled "i'll never forget you", here we have a lot of tributes and stories from well known to normal joes, soul sam, dave evison, terry jones, dave thorlety, edwin starr, ginger, brenda holloway, kev murphy, to name a few not so much a look back but a look at people on scene now.
.................oldies brigade, at a time when the scene suffered something of a split between the traditionalists and the modern soul/jazz funk fans.
Martin himself admits that maybe he went too far. 'On reflection, I got it wrong. I should have been playing 60s stuff alongside the modern things. The modern stuff went down well at Wigan and I went off at a tangent: I loved the modern stuff but maybe I should have played more across?the?board stuff.'
The North Wales based soul spinner has never stopped Djing and liking black music and is now firmly back in the non-disco soul groove. His spot could range from the most obscure £2,000 1960s stomper to 70s 'floaters' to 90s items. He will also play oldies if the crowd demands it, but he refuses to be complacent. 'What I don't like about the Northern scene is that at certain venues you are obliged to play the same records, he said. 'There aren't enough people that want to hear new records. Don't get me wrong, I still like to hear oldies, but I couldn't be a DJ if I had to play the same spot everywhere I went.
'The people that worry are the ones that won't listen to anything new. They are the ones that are just reliving their youth. They just want to hear the same old records. I sometimes wonder if they were ever into real music at all. For instance Drizabone's "Can't Take the Pressure" is huge, not because it's a great record but because it's played to death. There are many people on the scene who haven't got a mind of their own.'
Martin uses his plentiful supply of Northern Soul classic oldies to trade for newer items at venues around the country. Through his network of contacts like record dealers and collectors Jolinny Manship, Tim Ashibende, Tim Brown and John Anderson of Soul Bowl he will be alerted to the latest 'finds'. One of them may play him a record down the phone, or Martin will take a trip down to scour their collections. A few plays by Soul Sam and a favourable dance floor reaction is often enough to elevate a record to cult status.
Martin is, however, reluctant to take all the credit for 'breaking' new sounds. One of his biggest current records, Chuck Holiday's 'Just Can't Trust Nobody', he has since discovered was played and virtually forgotten at the Stafford all.....................
internet and soul.. interesting stuff? well chapter 11 - soul self satisfaction, a chapter mainly concerned with the internet will let you know, in this chapter dave looks at the online and worldwide side of the scene, a few of the sites and online people get a bit here with their stories from usa, germany australia and more countires, quite a few online people are featured through out the book
enough of that boring internet stuff, onto the next chapter no 12 and the last one... is entitled "it'll never be over for me".. and quite a good to way to finish, the chapter concerns it self wholly with a night out to a niter, in the present day..
.......................CDs are much easier to negotiate a deal over. The prices are all marked: £6, £10, £15. More and more punters are selling their vinyl collections (very profitably, too) and re-acquiring the same sounds on CD. OK, the purists may not approve, but the convenience, longevity and cheapness of a CD compilation of tracks that might otherwise cost you literally hundreds of pounds to own is very attractive to many soul fans.
In the midst of all the bartering and to-ing and fro-ing from the main hall to the entrance hall, the doormen look on bored. This is probably the easiest night's wages they will earn. No one appears drunk, no one fights, no one throws up over anyone's girlfriend. The bouncers look on bemused as soul fans of all shapes and sizes and ages stay up until dawn listening to the obscure offerings of otherwise long-forgotten American artists.
The laid-back attitude of the bouncers is entirely appropriate and appreciated by the soul crowd. Cash-strapped soulies take empty bottles with them to the toilets to fill them with tap water. The odd can of beer or Lucozade is smuggled in, but there is no paranoia about getting caught, beaten up and thrown out in the 1999 soul scene. The bar is doing a roaring trade in soft drinks anyway, now the licensing hours have expired, and the queue for tea, coffee and snacks is constant all night long.
In the gents the entertainment continues, with guys of all shapes and sizes in various states of undress. In the centre of the lavatories there is a bank of back-to-back sinks in a manner that reminds me of my primary school days. Holdalls are scattered around as guys grab fresh shirts, spray on the Lynx (whatever happened to Brut?), and splash water on their faces before rejoining the fray on the dance floor.
In the corner a tall, gaunt guy in his thirties is doing karate kicks and stretches while his fellow soul fans continue their ablutions, hardly giving him a second glance. If you weren't just a little bit eccentric, you wouldn't be here.
Handshakes and words are easily exchanged as you try to edge your way back towards the door, but almost inevitably a familiar face appears, flushed, and eager to chat.
It's the same story in the corridor skirting the whole length of...........
well thats my show and tell bit done, hopefully the above bit will give you an idea of books content
Endword
My final verdict well as said it's publishers gave it "the definite history of northern soul" tag and to be truthfull its a statement which I would say is impossible to live up to. Because such is the diversty of the northern soul scene that to produce a definite history you would need 5000+ pages. Now as a history of northern soul then yes the book lives up to it. It startes off in the pre-60s era and covers all the main parts that have made the scene what it is today. Covering every era from wheel, the ritz in 70s, the "golden years" and wigan, cleethorpes, stafford, 100 club and bang up to date. Each chapter is full of recollections from all sources, information, antidotes, views, stories etc
Good to see a lot of input from the "ordinary punter" as well as the more "well known names" plus also good is the openess of it all, as you know there is a lot of "different" views on the scene, and dave has presented most times both views of the story, be it soul sams views on oldies "they just want to hear the same old records, I sometimes wonder if they're into real music at all" to kev roberts "people just want to go out and have a good time".
As said lots of good info in between the covers, a lot of it new to me, and a lot of behind the scenes stories plus loads of top tens as well. The turning my heart beat up covers one of the unsaid sides and does it well.
negative points, well as I said to produce a book that covered everything, you would need stacks of paper, I would have preferered to see a bit more on the other clubs from 80s onwards stafford and 100 club and so on, both are featured and covered but i feel more coverage could have been given, and helped the books claim to be the defInite one. Suppose it depends where you come from, and where you went and go to now,
also it was good to see the internet and non-uk people get a mention and the use of their stories help show the full diveresty and how world wide the soul scene is.
final word - "too darn soulful is a great book , its well researched, and clearly shows the amount of effort put in, full of useful stuff, great recollections from all sorts of people on the scene, covers the whole spectrum of the scene, and most of all important is a fascinating read, I say buy it, I reckon its worth the money and makes a welcome addition to the current inprint collection of books"

TOO DARN SOULFUL - The story of northern soul
Dave Nowell
Publication Date: 10th December 99
robson books 10 blenheim court, brewery road london, N7 9NT
020 7700 7444
price £17.95

By Mike in Articles · December 1, 199925 yr

Capitol Soul club - Dome - Second One Nov 99

Well another Saturday trying to pull my head together after a soul night out, the cause of this repair session was the second dome event in london. After the success of the first one back in October was wondering how this one would go, well after the trip up from chatham and the tube journey, found me self in the pub next to it talking to matt j (who along with capitol soul club , puts it alltogether) after hitting me with the "can you get the drinks in, I've gotta do some promoting stuff" trick at bar, told me that he's had hell of a lot of phonecalls about tonight, and has sussed out the next dates, jan mar and may 2000, as now going for the bi-monthly approach.

Onto the event, apart from not being let into till 9. 45, queuing outside in the rain, then on the stairs, reckon someone was trying to throw in a "no pushing at the back" scenario, but it didn't work as only about 10 of us in queue. As last time a bit quiet till 10 ish and then people poured in, reckon round about 400 in at a guess. What I would like promoters to do is stick all the big names on before 1000, cause after 11 the alcohol kicks in and, looking back sound and play details are a bit blurred, so apologies for that will do next one alcohol free just for you! honest.

DJs first on were the resident capitol soul players alan and then irish greg, alan again , greg again, then shifty then andy rix, with final 15 min spot irish greg finishing the night. Sounds, well some great stuff was thrown at us by all of them and the crowded dance floor lapped them up, standouts ( or could be called ones I remember) were instrumental version of "she's wanted" this was first hear for me and well impressive a "powerhouse" of a record, also jimmy radcliffe acetate- the thrill of loving you, man o man, jimmy burns, leslie tipton, cashmeres, j d bryant, brand new faces, and stacks more quality stuff

Crowd wise again a fairly mixed bunch of young and old, met up with a quite a few people, talking to martin and paul who do the old shoes event and they were telling me about their forthcoming xmas event, on before the suffer no fools niter, so could be a overdoes of soul that weekend, as always met a few online people for first time, always good to put a face to that email address.

So that's what happened last nite ( won't bother telling you about the adventure getting back to victoria, or the wondefull time waiting for first train at that time of morning) according to my worn out brain, may not be 100% like, my view on night, yeah it was another great event, good quality sounds and great venue, obviously it was going to be a hard task following the first one which had such a solid dj line up, but the sounds were up to it and the good atmosphere made it 2 out of 2
Roll on the next one...

other views on last nite, if you were there throw yours up via email

....the Dome last
night was absolutely f*cking brilliant and if you weren't there you don't
know what you missed...probably one of the best nights I've been to this
decade and easily the best soul night in the country IMO...incredible
atmosphere, dancers were up for anything, good tunes...couldn't fault it at
all,,

By Mike in Articles · December 1, 199925 yr

Northern Essence edited by Pete Coulson - Review 1999
site note originally up in 1999
Well here you go, yet another classy fanzine that s dropped thru my letterbox. All I can say is that the amount of worthwhile fanzines/mags dedicated to soul music is awe inspiring, the time and effort that must go into them must be enormous. (not just taking easy way out if I got a shite one I would say!). Each one I've ever read has its own style and format but all achieve same results a f*cking good read and a goldmine of information.
Latest example of the passion is Northern Essence edited by Pete Coulson,
ok start with boring details first address is
Northern Essence

Farnworth
Bolton

UK
subs £3.50 issue, £12 for 4 UK; (£4 for one , £16 for 4 - europe)
ok that bit over, into the pages, main meat of the July issue concerns itself with Eddie Holmans recent appearance at Lowton , there's a exclusive interview where Eddie gives a lot of historic background to some of his sides, a piece by greg tormo (heard of him somewhere before) on the Masqueraders, venue reports by Big Mick , 16 pages spanning the world (almost) good informative guides there. Normal stuff like vinyl reviews whats on, a billy backdrop column, keeping this short so you can get onto interesting stuff, overall another outstanding fanzine, the eddie holman interview is/was a great piece and venue reports should go next to your encyclopedia Britannia as a well good reference, more of a sit-down read, than a pick it up and flip, but thats just me...
Here a few articles starting off with a few reviews from Big Mick as said before these are a well good reference, not just what sounds are hitting you, but what time bar shuts, food on offer, all good background stuff thats good to know, along with all normal review stuff , then some vinyl reviews by DJ Harris.....onto the meat.....
TONYS' EMPRESS BALLROOM
WARM-UP & ALL-NIGHTER.
'It's been quite a while since I climbed these stairs to the ballroom, bleedin' ages in fact. Due to the BOUROUGH ARMS once again being gutted and refurbished, the warm-up is now here along side the niter.
If the response is anything to go by, this is the best move yet and certainly encourages more to turn up early. I believe that once the all-nighter finished previously, everyone left to stand in line once more to await the doors opening for the start of the all-nighter, tonight things were to change and all that pissing around may not now be necessary. LITTLE SCOTTY says he felt that it was better for him to collect the entrance fee for the all-nighter from everyone just before reopening the doors to admit the 'second wave'. Now it works like this, in you go for the warm-up and you pay your dues of £2.00 to JULIAN & co. Then near to midnight, the arriving all-nighter crowd is asked to queue up as SCOTTY walks round and politely asks the early warm-up patrons to cough up the fee for the all-nighter if they are staying 'on'. Great, if it's pissing down like tonight as no one gets cold or wet and has to mess around lugging their belongings back and fourth, makes sense to get there early and stay put if you can.
I missed JUSTINS' spot but JOE was about half way through playing some exceptional R&B and a few obscure sixties, which warmed the cockles of my heart. Record dealers were already doing business and I managed to grab a couple of gems myself 'ED BRUCE - see the big man cry' was just one I've chased for some time, thanks to DAVE & BABS from Crewe. If you managed to read the venue report in ISSUE 5 on the BOUROUGH ARMS then you'd know what to expect, there's some brilliant sounds played from every direction of the 'soul' scene as new and established DJs slap on the placcy discs for your entertainment. It was whilst waiting for SCOTTY to collect his fee for the imminent all-night stomp-a-thon that we learned about the sad loss of one of the scenes' most noticeable and loveable characters - BUD. I must admit, the news of his death knocked the wind out of me. One more with a membership tightly gripped in the hand standing on the stairs to the ultimate of all-nighters in the sky. I bet he's not straining to walk now, once he's put his record box down on the nearest cloud to the decks he'll be bopping around and doing the back drops which he could only sit back and watch others doing when he was with us. He'll be loving every second up there, just think of all the artists who have passed away and be rubbing shoulders with him JACKIE WILSON, MARY WELLS, MARVIN GAVE, MAJOR LANCE. CLEETHORPES just ain't gonna be the same next year without you mate, we'll see you again, one day, leave my name on the door and I'll do the report. MARTIN PITT was just one of the DJs tonight who had everyone up and giving it some stick on the floor. The majority of the sounds played were oldies /classic oldies with a sprinkling of R&B and crossover just for good measure. MARTINs' selection reflected this theme to a point, 'SOUTHWARD SYMPHONY - comin home . 'SAND PEBBLES - you turn me on'. 'THE CHARADES - the key to my happiness CECIL WASHINGTON - I don't like to lose'. What a good spot he played, it was certainly appreciated by all who attended, the vibes just resounded from the walls. MARTINs' partner, CAROL, was here celebrating her birthday along with a friend, LINDA. They were presented with a birthday cake covered in candles and shaped like a huge prick (no, not in the shape of TONY BLAIR, the other type, you know - the useful one).
One thing that got up my nose was the price of my coke (pardon the pun). For a can of coke (or any soft drink) I was charged 90p. This was disgusting we are refused the opportunity to bring in our own cans to cool us down just so the management can rip us off with 'jacked-up' prices when they only pay around 15 - 20p per can. Come on SCOTTY, either re-negotiate with 'der management' for fair prices or allow us to bring in our own drinks, with reduced prices the management will certainly sell more and still_make a respectable profit. (This is a point with a few venues, not solely BLACKBURN). I have to hold my hands up, that was my only gripe on the night and I think if SCOTTY had his way the cost would be more reasonable, he's not a bad lad -i just can't understand a bloody word he says.
Meanwhile back at the decks, BRIAN RAE was keeping all entertained with the oldies. GERRI HALL - who can I run to, EDWIN STARR - way over there, DON COVAY - its better to have and the song about 2 Irishmen, 1 Scot and a guy from Liverpool - 'NICK LAWTON -Mick, Mac, Paddy and Wack' (suit yourself).
STEVE Whittle was also chucking out the oldies like an overzealous bouncer at a bingo club with the usual GLADYS KNIGHT and WILLIE MITCHELL etc. but for me the spot of the night went to 'GENTLEMAN' JOHN MERCER He had the dancers were he wanted them, the mixture of sounds was a pleasant change and was received by all with claps, whistles and cheers. We all needed cheering up tonight and JOHN did exactly that. His selection consisted of 'VERNON & JEWEL - HOLD MY HAND', ' WILLIE WILLIAMS -have you ever been played for a fool, IKE & TINA TURNER - Oh baby, BILL WITHERS - HAREM and LITTLE JUNIOR PARKER - These kind of blues
I must admit, a few of these are favourites of mine and bearing someone else playing them was a buzz, what a selection amongst the others played by JOHN, let's see more of him in the North West.
Other DJs tonight were NEIL RUSTON, MICK LYONS, MARC MAC & LITTLE SCOTTY himself When the lights went on and people prepared to make their way home, LITTLE SCOTTY and BRIAN RAE put one last record on for BUB, 'THE ARTISTICS - I'm gonna miss you'. But for the record, the room was silent. A few put their bags and coats down only to return to the floor once again and remember BUB with the assistance of a fitting sound, one or two quietly and slowly made their way to the door - the ones who stood around the dance floor remained silent.
As the last few bars faded out the atmosphere was sullen and respectful, then we all showed our appreciation with dignified clapping - you could almost hear the MIGHTY BUD saying "reet that's it now I'm buggering off home" Me too mate, me too - enjoy
BIG MICK.
Dance floor 8/10. sound system 8/10. no car park atmos 7/10. Venue 9/10. Total = 32/40.
260299. YORKSHIRE RIDERS, HALIFAX.
I'm finding myself here quite a lot over the last few months, I've even done a dj spot here in January. I got to play most of my CLIFF RICHARD's and MAX BYGRAVES stompers along with the gem of my collection, KEN DODD's 'Happiness', what a record (CARL WILLINGHAM's not got that on a white derno). Wellies are a 'must' when taking your life into your own hands and travelling into darkest Yorkshire. The folk are friendly enough, just don't understand what they're saying some of the time. On this particular visit the EDITOR and GOD himself PETE 'GHANDI" COULSON after dusting off the years of fluff from his gramophone whatsits is booked to 'do' a DJ spot. "Right fat boy, you're doing the write up and if you cock up you'll never work in magazines again', says GHANDI. How did I know he'd seen those full frontal shots of me posing in 'PLAYWHALE 'Anyhow, the gaff has been 'going' for 8 years now and the anniversary is on the 8 july.
There's a 'hard core' of regulars who attend and typical of this strange Yorkshire breed they certainly love their ale. The gaff opens it's doors at 8.00pm and things start to get into something near 'full' swing' just after I0.00pm. Last orders are around 1.30arn and the proceedings finish about 2.00 am (ish). Bitter £1.70 and larger, £1.90 mint sauce 50p. The venue is the last Friday every month, admission £2.50 and the average attendance is 150 -200 on a reet grand neet, see th'. Apparently, things started to 'get a bit stale' as the DJ line up hardly varied until the policy changed and guest DJs are in attendance each month now. This seems to have done the trick with CARL WILINGHAM, STEVE CONNOR and STEVE GARNER being the first, which drew record crowds.
The music policy is predictably across the board with a liking for modern, MECCA and the inevitable oldies, but saying that, there's quite a few old gems played here which I've never heard at other venues. There's a good selection of sounds played by the resident djs which are certainly a welcome change from the 'norm' which also gets a play on request. CLARKIE was warming up and one of his tracks, 'The Blue Notes -standing by you girl emphasised the forthcoming evenings' entertainment as an uptempo x-over track which is certainly a 'knock-out' and one I'll be looking out for in the future. Unfortunately, I had to 'nip out' and so missed a brilliant spot and when I returned, JOHN PURVIS was in the 'driving seat' and spinning the likes of 'Ike and Tina Turner - somebody somewhere', Phil Flowers-discontented and Bobby Treetop -wait till I get to know you"'.
The evening was shaping up very nicely, even though most were deep in conversation with just a few on the dance floor. It was going to be a memorable tonight, the wife was giving me 'the eye', problem was - I had to give it back to her due to the way see looked just like her mother with only one eye - in the middle of her head. No one was ignoring the music offerings but rather 'taking in' the vibes as normal for regulars who don't need to go out of their way to appease the DJs For the most part, the regulars were content in just sitting around and listening rather than dancing at this early stage of the evening. This is accepted here as it's the 'Yorkshire' way and every one is comfortable knowing that these soulful tracks are certainly, very much appreciated.
There isn't any bar scran, apart from crisps, not even any traditional Yorkshire culinary, such as chicken masala, It was just as well GHANDi is 'doing' a spot tonight because he managed to get us all through customs halfprice. JOHN PURVIS put on an excellent show tonight before handing over to GHANDI. GHANDI a-go-go opted for a fighter approach with the tried and tested sounds of Bobby Womack, Gene Chandler and the Spinners, slapping them out like red hot chappattis. He was a mere blur as he placed his choice on the decks then spun round to pick out the next offering his bald dome was spinning and reflecting light not unlike those mirrored balls hanging above most dance floors. His red dot on his forehead looked as if he had been 'targeted' by a sniper. Yet again, here is a venue worthy of a visit, down to earth gaff comfy mid main stream sounds guaranteed to get you up onto the floor. GHANDI certainly got the floor filled, his followers kicked off their sandals and boogied on down. CLARKIE followed up with some ready fine tracks, some of which I didn't know but fitted in just as he meant them to, perfectly. One track I thought was "brill' was the GYPSY BAND - coz it's you girl, the band looked like a bunch of white hippies - but what a fabulous modem track it turned out to be. GIBBY finished off the night doing his impersonation of CHRIS KING or did CHRIS KING do GIBBY impersonations? Anyhow, he looked and sounded as if he'd been on the 'happy' pills, the guy was in high gear and no one knew how to stop him an hour later. He was playing the tracks in a blur, in the DJ 'box' he resembled one of the two old geezers in the Muppet show, remember the old guys at the end taking the 'Mickey'? His final track was Rance Allan - reasons to survive, that summed it up, just to get down here next month.
A few of us later went on to JOHN & DAWN PURVIS's home type gaff in the middle of God knows where. Very adapt is r'DAWN at frying oven chips to perfection with lashings of brown sauce, I enjoyed every panfull. But for being an old git and a bit on the tired side, we would have stayed and partied on down till the early hours, cheers JOHN & DAWN.
Atmos 7/10. sound system 7/10. car R&rk 6/10. dance floor 7/10. venue 8/10. Total = 35/-50.
Enjoy, BIG MICK.
The Fat Boy's Bits and Pieces (ooh - er).
TRENTAM GARDENS, 060399. R&B ALLNIGHTER. - This visit was my first and is guaranteed not to be the last. The venue (Highland suite) superb, the whole gaff is plush to say the least. This was one of my 'nights off but I still remembered to make a few mental notes. The music was advertised as R&B and for the most part this is what we were treated to. The only down side was when PID chose to play oldies towards the end of his spot, don't get me wrong the selection of oldies was fine even if I had beard them a million times before. What got me was actually playing them at an R&B venue. ROGER (didley dodger) BANKS was outstanding as you would expect, MARK (big daddy) BICKNEL fuelled up, played an excellent selection of class R&B, ROB MESSER, MACE and MARTIN MELLORS all put in a damn fine performance on the night. RACHELLE PILPER was by far, for me, the star of the venue, she excelled with a selection which emphasised the reason for even attending. It was also a change to see a pretty face up there on the stage as opposed to those ugly great mugs with 4 days stubble growth (sorry MARK). I for one would like to see RACHELLE do a few venues in the Northwest, and soon. She must be one of the future star DJs on our scene playing a variation of uptempo sounds, and 60s mod/scooter R&B offerings which poured the 60s atmos over us like a tidal wave. Before... cont in latest issue of Northern Essence
NORTHERN ESSENCE PAGE 42
Well it's here 1999 the year "prince" makes a packet on his re issue, was that good foresight or what ? 1 have a feeling we might just hear it once or twice this year. Anyway we have another year to look forward to on our beloved scene, with hopefully some more new sounds being discovered and reactivated. The CD market is also bound to continue it's burgeoning of various labels, and continue to release otherwise hard to get tracks, so lets face it things can only get better. right then on to the reviews. The Royalettes on MGM its just brilliant man ! and what do we have here , yet an other Tobi Lark track, which is very interesting. Mr Hatcher on Soul, not surprising but a great forgotten oldie, and finally Garnett Nfinuns holding up his very reputable reputation. And just for you sassy soul surfers out there a few interesting items off the web. On the subject of the internet have you come across the FAQs, better known as the most Frequently Asked Questions, If not here are a couple of the most FAQs for collectors of Northern Soul records.
1 "That's nice, where did you get it from?"
Which really means, You lucky bastard !
2 "How much?"
Which really means I'm £ 10 short
3 "Can you get me one?"
Which really means, If 1 can get these gold teeth out I'm laughing, but will he swap ?

Some interesting Northern Soul sites to log on to.
1 www.Northern Soul.clara.net
2 www.soul-a-go-go.demon
3 www.soultime.demon.co.uk
4 user.fu-bertin.del-rosenhag
My current E~ address is dj.harris@cablenet.co.uk so drop me a line!
Next issue the KTFers
Spread the faith, Dave.

GARNETT MIMMS "PROVE IT TO ME"
J RAGOVOY - E MARSHAL
2:15
US UNITED ARTISTS UA 995This guy needs no introduction, a true soul stalwart who has given us many a great side. A few years ago while raiding the boxes in Manchester's Goldmine store a chap came in and asked for this but at the time there was none in stock. Anyway I kept a lookout for it and picked one up for about a fiver, since then I've seen quite a few, It's another one of those records you've seen but not heard. All to often you can get bogged down searching out the rare sounds and totally ignore an item as good as this. Good old Garnett doesn't disappoint either, as this sixties mover kicks off with a belting guitar intro where you can just hear Garnett clapping the tambourine in unison with the drummer, the bass and guitar work are sure to make those toes tap, and with the backing girls coming in during the bridge with 'PROOOVE IT BAYBY" this is just superb soul.
EDWIN STARR "DON'T TELL ME I'M CRAZY"
P SAWER - L WARE
2:36
SOUL 35100
I know, I know, another Edwin Starr record, but this has definitely been forgotten and ignored.
The label says 1970 and I wouldn't argue but I'm pretty sure I've seen this on two different SOUL labels. This starts off at a fairly leisurely pace with pipes and bongo's before the rest of the troop join in the festivities and DO THEY. In almost Gospel style the message gets across that this guy is no fruitcake. No indeed and Mr. Hatcher proves himself once again with this bouncy little number. Priced around £5-£10 and worth every penny, or should I say Euro? I came across another ace track by this guy recently on an album, can't remember which one, but the track is "24 Hours To Find My Baby". Reminiscent of "I Want A Love I Can See" but much, much better and would go down well on today's dancefloors.
ok thats it just enough to whet your appetite yeah....

By Mike in Articles · November 9, 199925 yr

Ian Levine Interview Part 1 from Manifesto
site note orig up in 1999
From the time before SWONS
Reproduced with kind permission from Manifesto mag, see fanzine section for details
Note the layout of these articles is text only and doesn't represent the mags layout
In the seventies you either loved him or hated him such was the strength of feeling caused by this man. His crime? tantamount to breaking one of the ten commandments, he played records that had a beat not instantly recognisable as northern soul. Yes it's him, the men behind Blackpool Mecca, Motorcity and even Take That! Ian Levine.
Those of you who were around in the mid seventies will no doubt remember the ridiculous 'Levine must go' campaigns that were raging in the music press, Wigan Casino and anywhere else that feared change, no matter how slight. I say ridiculous because let's face it, it was. But whichever side of the fence you were on, one things for sure, time has proved lan Levine right. Records like The Carstairs 'It Really Hurts Me Girl' that caused such stir when he first introduced them have gone on to become northern soul classics and get played nowadays side by side with the likes of Eddie Parker, Little Anthony or Major Lance. And despite all the warnings our world has not come to an end.
lan's love of the music should never be doubted, ask anyone whose worked with him. This is a man who in his early teens was luck, enough to be taken on regular holidays to the States with his parents only to spend the entire vacation, much to their dismay, rummaging around backstreet record stores. On one such occasion returning with over 4000 singles!
His ear for music made him a natural producer and in the 70's he had hit's with The Exciters, Evelyn Thomas, James Wells, Doris Jones, the list goes on and on. In the eighties he pioneered and dominated the high energy disco scene. He also formed the Motorcity label gathering together a stable of soul artists the like of which had not been seen since the heydays of Motown and together they produced a staggering 800 tracks!
In the nineties he's produced records for the likes of The Pasedenas and most famously of course Take That.
So that's the brief history. Neil Rushton whose a good friend of lan's had kindly set up this interview and together we travelled down to meet lan at an Italian restaurant in West London where we got aquainted and chatted for a while before going back to lan's amazing house (complete with it's own cinema and original Dalek.) where prior to recording this interview I was treated to some of the yet unheard Motorcity tracks. Ian is in the process of re-recording many of the backing tracks to get better 'live' sound quality to them and believe me some of the tracks I heard that day were absolutely stunning and had 'northern soul dancefloor hit' written all over them. More news about them later On now to the man himself.....
IL: I started off collecting Motown at school in about 1966/7 when I was about 13 years old. Kenny Everett was playing a lot of Motown on Radio Caroline at the time and I got really potty over it but couldn't find out where to get it from. Eventually I found a little record shop in Bond Street in Blackpool. the girl there knew a little about Tamla Motown and told me almost it. Whilst they would stock all the things like The Supremes etc. they never used to bother stocking the more obscure stuff which I sometimes got to hear on the radio.
By the time I was 14 I was busy collecting everything I could on the Motown label. I'd noticed the release nunnbers on the labels and was busy trying to fit in the missing numbers. There was this cigarette kiosk on Victoria Street in Blackpool run by a guy called Gary Wilde who was a Dj at the Casino on the pleasure beach playing Motown and commercial soul. He'd sell Silk Cut by the 20O and Tamla Motown singles to the lads who went to the Twisted Wheel. On Saturday afternoons the Blackpool contingent who used to go to the Wheel would hang around Garys stall on the street corner tallking about records. I used to go to school with one of of these guys by the name of Stuart Bremner. I got very friendly with him, he was like a mentor to me at that time. He was very into Curtis Mayfield and played me all these Impressions records like "You’ve been cheating" and "Cant Satisty" which got me into the music and made me aware of what else was coming out of Detroit. I used to be envious of these lads getting on the train down to Manchester and hearing all these great sounds. But I was still a kid and too young to go.
However 3 years later I was 17 and finally got to go myself. When I first went Brian Phillips was the main Dj, people wrongly credit Les Cockell as the Dj at the Wheel but that was later in around 1970. It was at the Wheel that I met the man who should be credited with creating or masterminding what became northern soul, Rob Bellars was his name and he was the guy that supplied both Brian Phillips and Les Cocked with most of their records. He had a great collection and went out of his way to discover new records and then brought them down and lent them to the Dj's. So when Dave Godin went to the Wheel and did his famous 'northern soul' article those records were all supplied by Rob Bellars.
When I arrived at the Wheel the big records at the time were things like 'Baby Reconsider' by Leon Haywood on Fat Fish and 'More More Of Your Love' by Bob Brady and the Concords. These were the new wave of northern records because they weren't British releases and were all down to Rob Bellars.
When the Wheel closed down he got very disheartened and fed up and vanished off the scene, that was in the beginning of 1971. Many years later Tony Cummings who was the editor of Black Music decided to write a book. At that time there was a battle going on between Black Music and Blues and Soul with Black Music championing the side of the Mecca with Dave Godin and Blues and Soul being very anti Mecca . So Tony got very interested in the northern soul scene and decided that he wanted to write a book on the subject. He'd already written a very good book called 'The Sound Of Philadelphia' and this was to be his next project "The Strange World Of Northern Soul"
As part of his research I'd agreed to take him up to Manchester to seek out Rob Bellars one Sunday night. We had no idea were he lived and I don't think he was even on the phone. So we had to drive around the streets in Wythenshaw where I knew he last lived until we eventually found him. So we then took him out to a pub and Tony sat there with a tape recorder and reams of notes and interviewed him for two to three hours about how the northern scene started. So I think if you ever want to credit where northern soul really came from it should be Rob Bellars. It would be interesting to find out where he is now, this interview was twenty two years ago, and at that time nobody had seen him for about five years.
Unfortunately 'The Strange World Of Northern Soul' never did get published and Tony Cummings went on to become a born again Christian and the editor of Buzz Magazine.
Anyway, back to the Wheel. I remember Les Cockel playing things like 'Agent Double O Soul' and one night I went up to him and said 'I've got an instrumental of this' at which he burst out laughing and said "so has everbody mate, it's on the B side". No I said it's another version, I'll bring it next week. So the next week I turned up with my version by Sonny Stitt, and Rose Batiste's 'Hit & Run' and when Les put that on he practically fell to the floor clutching his head in his hands shouting ooh.
I was still a kid at that time, around 17 years old but for the past few years I'd been going to the states with my parents and trawling through thousands of records in hundreds of backstreet stores and finding some real gems whilst in the process of looking for my missing Motown records. I remember one such holiday, it was a hot and muggy 110°c in New Orleans and there was I hunting around the junk shops for my Motown collectionwhen I found my first Ric Tic record "Please Let Me In' by J.J.Barnes. I got really excited on finding this, I'd known about Ric Tic prior to this but this was the first actual Ric Tic record that I'd found.
Back at the hotel I had this little battery operated thing that you dropped the records into in order to listen to them and as I dropped the record into it I remember thinking 'J.J.Barnes, hmm, sounds like J.J.Jackson. It's probably going to be one of those earthy gutteral kind of memphis tracks'. Then came the voice and I just melted. I must have played it over 50 times in a row.
Suddenly my life changed. I went from the commercial sound of Motown and the
Four Tops, Temptations etc and had gone into this more underground world of Detroit which was responsible for artists like JJ Barnes, Pat Lewis, Rose Batiste and all those other wonderful artists. So by the time I got to the Wheel in '71 I had reams of these records. I had J.J.Barnes, The Fantastic Four, Pat Lewis, Rose Batiste, Sonny Stitt etc. etc. I know these records are common place now but you have to understand that at that time nobody over here had even seen any of these tracks and they were still playing things like 'Mr Bang Bang Man'. Even Rob Bellars hadn't seen these records before at that time.
So there I am in '71 at The Wheel with about half a dozen records and Les is practically kissing my feet. So the next week I turned up with a whole box full. Suddenly the word had got round that this kid from Blackpool had turned up in Manchester with all these fantastic rarities and the next week the place was packed and it went nuts. I can still picture these lines of people, all with their stupid one black driving gloves on. And the ferocity of the claps to 'Hit & Run'. You have to remember that The Wheel wasn't like The Torch or Wigan, it was a little narrow place with about 250-300 people max and the main dance floor was probably no bigger than this room but the atmosphere down there was electric.
Sadly not long after this the Police closed it down and for a little while the scene went into mourning. Then two things happened, an all-nighter opened up in Wakefield called The Metro but the bulk of the crowd didn't want to go there because it was really crap and so they started flooding to Blackpool Mecca because it was the nearest thing in the area.
At that time Blackpool mecca had two Djs Tony Jebb and Stuart Freeman. Tony Jebb was leaning towards Motown and the peripheral edge of northern soul and Stuart who was just playing commercial pop records. So I went along there and said to Tony Jebb "if you get rid of this idiot they'll flock here, you need to get a Dj from the Wheel on. Get Les Cockel on with you and I'll lend you my records. So I did.
I the meantime I'd gone to Wakefield and had the unpleasant experience of being busted which didn't go down too well with my parents as I was still only 17. But eventually the whole Wheel crowd ended up at Blackpool Mecca. Tony Jebb and Les Cockel were Djing with of course the help of my record collection, and then eventually they started to give me money to go to the states and find more records for them. Only about 200 quid but that was enough in those days to finance such a trip.
After one such trip I returned to find that Les couldn't make it one week because he was ill and Tony along with the very boisterous Wolverhampton crowd persuaded me to do it. I was shitting myself but they convinced me to go on. Of course with their support by the end of the night I was liking it so much that I didn’t want to give it up. So Tony said to me "your much better than Les Cockell why don't you do it every week'. Ok said I and then when Les turned up the next week I said "look Les I've got some bad news for you Tony has asked me to Dj" at which point he burst into tears and got really upset insisting that everyone had shit on him etc. In the end I felt so sorry for him that I agreed to do alternate weeks with him, and I stuck to that agreement for another 18 months. Everyone kept telling me I was an idiot because I was spending a fortune tracking down and buying new records while Les was still surviving off his records from The Wheel and not keeping up at all.
While all this was going on I was finishing my schooling and my father was desperate to get me into University and at the last minute I knuckled down and got two A's and a C in my A' levels which secured me a place. However by this time the only place my father could arrange was at Manchester University studying Greek Civilisation and Drama! neither of which I was remotely interested in. But I was such a bastard. My father used to give me ten quid a week for train fare and he'd drop me off at the train station every morning. The minute his car was gone I'd start hitching to Manchester so that I could keep the train fair and use it go around all the Manchester junk shops finding all the rare records I could.
But I soon got caught out, as I hadn't been going to any of the lectures I couldn't sit the exams and got expelled. This plus the Wakefield thing led to my father saying "right then you'll have to come and work for me". He had a casino/nightclub and I used to check off the wines as they were delivered and little odd jobs like that. In the meantime however I was making money as a DJ. Not at the Mecca because believe it or not we only ever got ten quid a night there but later we became more shrewd, and Colin and I eventually got very shrewd and used the reputation of the Mecca to get better paid work elsewhere. For example we'd still be on only ten quid at the Mecca but then we'd do a gig at say The Top tank in Hanley and get many times that so it worked out ok in the end.
I was still going to the States to find more records, often these trips would be paid or by other collectors and they used to get really good value for money. For about a fiver each they'd get The Larue's and the Lee David's and all the other great undiscovered records that I brought back. Of course I was getting these for about ten cents a piece and with the profit was able to build my own collection at the same time so both parties were getting a good deal. In the end I had built up a collection of around 60,000 singles.
And so Ian Levine the DJ was born and with it came the problem of how to make a living out of it. Fortunately this was now 1972 and the northern scene was starting to build up nicely and then Tony Jebb got poached and even though I stuck it out with Les at the Mecca I soon realised that we could compete with the Torch which was now a major force on the scene. Chris Burton had been trying to persuade me for some time to go down there and join the team and so I eventually gave in leaving Les in the lurch and started working at the Torch.
By the time Major Lance made his famous appearance at the Torch the line up consisted of Colin Curtis, Keith Minshull, Tony Jebb, Alan Day and Myself with Martyn Ellis doing the warm up spots. Then in 1973 Colin and Keith left the Torch and went back up to restart the Mecca. So I was now in the bizzare situation of driving down to Stoke to work each week whilst they drove up to Blackpool. I remember kicking myself because I had been booked to do the Top Rank in Hanley after it became obvious that the Torch had to close and I therefore missed out on the chance getting back into the Mecca.
However, Keith was only at Blackpool Mecca for a short time, I went to Miami in June and July 1973 and when I came back I went straight into working back at Blackpool Mecca along with Colin, Keith was already gone by this time and Colin desperately wanted me back for my records. By this time I could look at a record and instantly tell if it would be quality just by the publishing details etc. the only thing that I couldn't tell was if it were a ballad or not.
But you know if you see a track called 'Standing In The Shadow Of Your Empty Heart' and it's written by George Kerr and produced by Mike Delvano on some obscure Warner brothers subsidiary like Loma you've got a pretty good idea that it's gonna be a blinding stormer. I just made that up by the way but you get what I mean. When I saw Len Jewel 'Betting On Love' written by L.J Smith etc. I had a pretty good idea that I had something special.
Now I've never told anybody this before but one of my the greatest finds ever was in 1973, a place Flagnor Street in downtown Miami which is no longer there called Goodwill's which is the equivalent of our Salvation Army shops where people could give things to be sold to help the poor. Anyway, this place had this wall of records, all 45's with no sleeves, I was there from 9 in the morning till 7 at night every day for a whole week and went through every single record. They only had one copy of every record but I found things like The Glories 'I Worship You Baby' The Sweet things 'I'm In A World Of Trouble' there was 'The Larue' and 'Temptation Is Calling My Name' you name it I found it there they must have had just about every northern soul record that you could name. I managed to negotiate a brilliant deal, they wanted 20c each and I got them down to 5c each. There was no air conditioning and the temerature was in the nineties and there was me with this mountain of records to get through and I kept on finding more in demand things like Linda Jones'Just Can't Live My Life' and 'Mister Creator' by The Apollo's and most of these were white radio station copies.
From that one find it wasn't the records that I've mentioned that I already knew that proved to be important it was all the others that I brought back that nobody had yet heard of which kept the scene going for another couple of years. And all white demos left in that one same place it was incredible. I would write to Colin telling him of what I was finding and he couldn't believe it. In fact he kept those letters and showed them to me several years later. It was a real time of discovery, but you had to have the knowledge, without that you'd end up with Country & Western and all sorts of shit but I knew what to look for.
Those next couple of years with Colin and I really were the hey days at Blackpool Mecca.
In our next edition Ian talks frankly about his life since the early Mecca day's the ups and downs, Motorcity, Take That, and the very interesting story about THAT record, The Carstairs, and the effect that it had on his sex life!
ORIGINALLY PRINTED IN MANIFESTO MAG AND REPRINTED BY PERMISSON.

By Mike in Articles · November 9, 199925 yr

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