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Soul Source music magazine feature.

Ady Croasdell has passed on word of the 'Ernie Johnson Headstone Dedication' being held in Phoenix Usa on the 9th November 2019. The dedication includes the world premier of the 2004 interviews with John P Dixon
Long time readers may remember the moving interview from earlier soul source days which highlighted just how hard a life some of the well known artists had during their later years.
The transcripts of both interviews and Ernie Johnson's obituary by @ady croasdellcan be reached via our 'more from Soul Source' feature that follows this news article.

Ernie Johnson Headstone Dedication
Saturday 11 Nov 2019 2:30 (sharp)
Resthaven/Carr-Tenney Mortuary Chapel
4310 E. Southern Avenue
Phoenix, Arizona 85042
Extra added attraction:
World Premier of Ernie Johnson's 12/30/2004 video interview with John P. Dixon.
"You don't sing, you perform..."

By Mike in News Archives · October 17, 20195 yr

The quick moving Soul Source spotlight falls on 4 recent soul music releases from Kent Records. Quite a handful, the release words and sounds follow below...

Peggy Gaines - When The Boy That You Love / Everybody Knows - CITY 062
Nashville singer Peggy Gaines had two singles on Ted Jarrett’s Ref-O-Ree label but the best track, the Bob Holmes-written and produced ‘When The Boy That You Love (Is Loving You)’, was only discovered in the mid-90s. Released on CD and a limited 100 Club Anniversary single, it became a guaranteed dancefloor filler and is still in demand, fetching over £100 for that first pressing. The plaintive ballad ‘Everybody Knows’ is making its vinyl debut and will appeal to both Southern and Deep Soul aficionados.

Little Johnny Hamilton - Apartment #9 / Crying Like A Baby - DEEP SOUL 12
Little Johnnie Hamilton was a 60s Los Angeles soul singer whose records are all hard to find, despite their quality. The searing deep soul slowie ‘Apartment #9’ is a million miles from the funk of ‘The Git Down’, recorded at the same session and issued on the Watts Way label in 1967 as a two-part single. Hamilton wails away his pain on a sparse number abetted by some righteous girl backing singers. ‘Cry Like A Baby’, a release on the one-off Soul Shack label, is a more mainstream offering of much charm, complete with strings.

Phillip Mitchell / Ray Godfrey - I'll See You In Hell First / Ain't Givin' Up - CITY 61
Phillip Mitchell only cut one single for Spring’s Event subsidiary in 1975 – despite the beautiful ballad ‘There’s Another In My Life’ being an R&B hit, he did not have a follow-up. However, there were three songs recorded at the Brad Shapiro-led Muscle Shoals session, and ‘I’ll See You In Hell First’ was the superb mid-tempo track that lay dormant until compiled on an Ace CD in 1990. It features Mitchell singing at his best on an inspired, self-penned song and is long-overdue a vinyl pressing as originally hoped for.
Ray Godfrey had four 45s for the label, but like Mitchell he was best known as a songwriter, for Millie Jackson, Joe Simon and Act I in particular. He wrote under his real name of Raeford Gerald. He produced this song on both Joe Simon and Millie Jackson; his own reading has now been found on the multi-track tapes for the song’s recording session. It is a worthy addition to the Godfrey/Gerald catalogue.

The Pretenders - Just Be Yourself / It's Everything About You That I Love - TOWN 172
The Pretenders were the Carnival label’s main act throughout the 70s and up to 1980. By 1977 producer Joe Evans was embracing the disco era and recorded them on the excellent Kenneth Ruffin song, ‘Just Be Yourself’. Its furious yet solid rhythm and catchy title-line has captivated soul dancers for many years, making the originals expensive and very hard to find now. The flip was their final release, an updated and disco-slanted version of Lee Williams & the Cymbals’ ballad.

All above 45s available now via Ace Records website and all the usual soul suspects

By Mike in News Archives · October 16, 20195 yr

Shades Of Soul #5 Aug 1985- Fanzine Scan
Editor Derek Pearson aka @Derek Pearson
site note
A quick intro to a new ongoing series of pdf based reference articles
This and other fanzine scans were originally posted in our forum by our members
As time allows work is ongoing to convert the pdf scans uploaded of various fanzine/mags to a lighter and a more searchable format and then present them in a stand alone user friendly format
As you can see you can now search these articles fanzines content and copy and paste the text (though results may be mixed depending on the original quality)
Where possible the member who originally posted will be given authorship of the 'new' article
It's an ongoing affair but hopefully will build up to a quality reference
Credit and deserved thanks go to the members who scanned and cataloged/grouped the uploaded forum scans/posts including Bob, Sean and Chalky @Theothertosspot @Seano @Chalky plus others

By Seano in Articles · October 11, 20195 yr

Shades Of Soul #4 Dec 1985- Fanzine Scan
Editor Derek Pearson aka @Derek Pearson
site note
A quick intro to a new ongoing series of pdf based reference articles
This and other fanzine scans were originally posted in our forum by our members
As time allows work is ongoing to convert the pdf scans uploaded of various fanzine/mags to a lighter and a more searchable format and then present them in a stand alone user friendly format
As you can see you can now search these articles fanzines content and copy and paste the text (though results may be mixed depending on the original quality)
Where possible the member who originally posted will be given authorship of the 'new' article
It's an ongoing affair but hopefully will build up to a quality reference
Credit and deserved thanks go to the members who scanned and cataloged/grouped the uploaded forum scans/posts including Bob, Sean and Chalky @Theothertosspot @Seano @Chalky plus others

By Seano in Articles · October 11, 20195 yr

Shades Of Soul #3 Dec 1984- Fanzine Scan
Editor Derek Pearson aka @Derek Pearson
site note
A quick intro to a new ongoing series of pdf based reference articles
This and other fanzine scans were originally posted in our forum by our members
As time allows work is ongoing to convert the pdf scans uploaded of various fanzine/mags to a lighter and a more searchable format and then present them in a stand alone user friendly format
As you can see you can now search these articles fanzines content and copy and paste the text (though results may be mixed depending on the original quality)
Where possible the member who originally posted will be given authorship of the 'new' article
It's an ongoing affair but hopefully will build up to a quality reference
Credit and deserved thanks go to the members who scanned and cataloged/grouped the uploaded forum scans/posts including Bob, Sean and Chalky @Theothertosspot @Seano @Chalky plus others

By Seano in Articles · October 11, 20195 yr

Shades Of Soul #1 Jan 1984- Fanzine Scan
Editor Derek Pearson aka @Derek Pearson
site note
A quick intro to a new ongoing series of pdf based reference articles
This and other fanzine scans were originally posted in our forum by our members
As time allows work is ongoing to convert the pdf scans uploaded of various fanzine/mags to a lighter and a more searchable format and then present them in a stand alone user friendly format
As you can see you can now search these articles fanzines content and copy and paste the text (though results may be mixed depending on the original quality)
Where possible the member who originally posted will be given authorship of the 'new' article
It's an ongoing affair but hopefully will build up to a quality reference
Credit and deserved thanks go to the members who scanned and cataloged/grouped the uploaded forum scans/posts including Bob, Sean and Chalky @Theothertosspot @Seano @Chalky plus others

site note - the below rough text has been added as a reference aid (it adds the text to the soul source site search database) best to use our inbuilt pdf viewer at the top of the page for viewing, saving, printing the issue

EDITOR -Derek Pearson, 17 Crooke Lane, Wilsden, Bradford, West Yorkshire. BD15 OLL Cullingworth 273758
CONTRIBUTORS -Stuart Raith, Darren, Geoge Sharpe, Dave Hitch, Eddie Hubbard, Pete Gregory.
Welcome to Issue 2 of Shades of Soul; if you're buying this for the first time I hope you find it interesting reading; if you bought Issue 1, I thank you for your support -all copies of the first issue have been sold. I may reprint a limited number of 'numero uno' if there's sufficient demand. (ISSUE 3 out NOV/DEC 1984)

Sub-standard new 60's -ah, here's a subject that raises controversy, now I would be the first to 'jump and down' and 'get hot under the collar' if people tried to tell me there weren't any 2nd rate new 60's sounds being played. However, not all the 'new 60's' (a contradictory term if ever I heard one -but we all know what it means), are as bad as claimed. Amongst these sounds there really are some excellent new items; I won't go into listing these sounds as they are purely my own choices, remember everybody's opinions differ (and always will do), the term 'music is taste' probably sums the whole situation up. Whether somebody likes only 60's or only 80' s doesn't mean they're wrong, we've all got different tastes -who's to judge the rights or wrongs anyway -'each to his own ' that's my philosophy. I mean I regard Freddie Chavez "they'll never know" and Terrible Tom "made for each other" as 2nd division items, and yet look how many people rate them highly . 2nd rate sounds have always been and will continue to be spun, depending on one's own tastes.

'Having a go' at 60's newies D. J . 's is an easy trap to fall into, these guys put a lot of time and effort into digging deep into the mine of Soul music to reach the disappearing seam of unknown black nuggets (topical eh!) Remember this is 1984 not 1974,new sounds are a damn sight harder to find these days, 10 years ago the scene was turning out dozens of sounds many of which went on to become the classic oldies of today. I've a great deal of respect for D. J.'s who prefer to ride the
'bumpy' road by spinning new sol.Dlds (be it 60's, 70's or SO's) rather than take the 'smooth' road by spinning known and accepted sides. I take the view that a D.J. is there to entertain and educate the crowd. Finally, oldies D.J.'s have just as equal a place on the scene today as they always have had and will continue to do so, let's just programme a few different sounds eh chaps! O.K. the Reverend Pearson has had enough of preaching, I'll get down off my pulpit and onto less serious things (the church roof's in urgent need of repair -sorry wrong magazine). If any of you wish to buy Issue 3 (you mad fools you) remember when sending your monies to enclose a s.a.e. (12 x 9 inches) also if you include 50p as an advance for Issue 4, don't forget to include a s . a.e. for that Issue as well or I will get very angry and you won't like me when I'm angry. The alternative to sending 50p and a s . a . e. is to send just 75p and we'll mail the mag to you via 2nd class post. In fact the correct postage rate to send 1 copy throughout the U.K. is 21p (2nd class) and 29p (1st) (no, I don't work for the Post Office). The majority of s.a.e.'s I recei ve use a 16p stamp; I don't know of anybody that's had any problems.
Q Q If you have any suggestions for articles you would like to see in this mag, or think you may be able to contribute an article, don't hesitate to contact me , remember this mags only as good as the information it receives, the more you provide, the better it will be for all of us.-------------------------
.

SIGHT 'N' SOUND -Read about the records, then listen to 'em! Send £2 . 50 (cheques/ p.o. payable to D. Pearson) and I'll mail you a quality TDK D-60 tape with the following 60's, 70's, 80's sounds on•Side (A) 1) Tempests ''What you gonna do" ,
2) Renaldo Domino "Don't love me no more", 3/4) Irene and the Scotts "Stuck on my baby/Treat me like you do", 5) Jimmy Delphs "Almost", 6/7) Commands "No time for you/Hey it's love", 😎 Darrow Fletcher "What good am I", 9) Lovemaster's "Pushin' and pullin', 10) Groovers "Bashful guy", 11) Traits "Too good to be true" , 12) Little Charles "Its a heartache", Side (B) 13) Lew Kirton "In the afternoon" , 14) Cody Black "Keep on trying", 15) Skip Mahoaney "Running away", 16) Walter Jackson "Touching in the dark", 17) Jeannie Reynolds "Hit 'n' run", 18) Goldie Alexander "Go back", 19) Atlantic Starr "Circles", 20) Scott/Benson "We'll.make .it".
All editorial correspondence should be sent to the above address, remember to enclose a s.a.e. with all letters requiring a reply . Front page -Johnny Rodgers -ex. Chandlers c/u 1984, San Fletcher -ex. George KirQy , 1983, (.both .© George Sharpe) .
DAY AT THE RITZ
After a one hour bus journey from Bradford to Manchester, we made our way down Whitworth Street to the Ritz oldies all-dayer. After paying £3 admission we entered the main room, a large square room of similar size to Rotherham's Clifton Hall, the elevated dance floor occupied 3/4's of the floor space with clusters of chairs and tables down 2 sides, being a Mecca venue, it had the compulsory balcony on 3 sides and its decor was typically red -carpets, upholstery and wallpaper. Didn't notice any of the infamous plastic palm trees, yet did notice typical Mecca bar prices -45p for a small glass of coke, and no cider. Les Cockell was on when we arrived at 3, and played mainly 70's oldies such as Vickie Sue Robinson "Turn the beat" 12", Montclairs "Hung up", Carstairs "Hurts me", Barnaby bye' live this way", voices of East Harlem "Cashin' in", Moments "9 times", Rimshots "Do what you feel" 12", plus a few 60's like Seven Souls "I still love you", Eula Cooper "Let our love" and 4 Perfections "Strong enough" . Siz was next on for half an hour and played a mixture of 60's and 70's such as Adams apples "Out of this world", Ronnie McNeir "In my class", Kenny Smith "Lord" , the Commodores"The zoo" and the Philly All Stars "Clean up the ghetto". By now the place was quite full and the dance floor stayed reasonably busy all the time, by the looks of things many people had been to either the Stafford 2nd Anniversary or to Hinckley to see Richard 'Popcorn' Wylie the night before. I thought it was a crazy situation to have 2 big events on the same night within 50 miles of each other, surely in the interests of the punters one of the events could have been brought forward or put back to avoid the clash. Full credit must go to Chris King and the Weekend Soul Club for bringing 'Popcorn' to our shores (and also for the stars he has brought in the past and hopefully will continue to do) yet I was rather cynical as to what the guy was actually going to sing, after singing his only northern hit "Rosemary what happened" was he going to perform all the songs which he helped write and produce such as "Get it baby", "Sister lee", "Yes I love you baby", "Friday night" and countless others. By all accounts the attendance was around the 300 mark and Mr. Wylie put in one hell of a show singing everything he'd had a hand in, backed by a very competent backing group. Pity there weren't more people there and it's a pity Mr. Wylie didn't record more songs throughout his long association with the Detroit music scene. Is there only me that thinks that there's something not right to bring over a man more known as a producer/writer than a singer to do a show singing his versions of the songs he wrote (when's Frank Wilson coming over). Was told that Stafford was packed to the roof with 60's newies in the main room and an oldies room upstairs, not everybody had a good time as one guy complained to me that there wasn't a 'modern' room and very few 'modern' sounds were played. Admittedly there wasn't a 'modern' room advertised but as the event was supposed to play 'memories from the past 2 years', I was surprised more 'modern' sounds weren't played as many new 80's sounds were first broken at Stafford.

At 5 Dave " as long as it's Soul, I'll play it" Evison came on and during his l½ hour spot played a wide range of interesting records, some 60's, some 70's, some obscure,some well known. Dave who's known as 'Mr. Oldies' has branched out considerably over the last few years by playing anything from the 60's to the 80's. He started with Southside movements "Do it to me" and finished with Oscar Perry's "I got what you need" and inbetween these spun 70's sounds like General Johnson "Can't nobody love you like I do", Ivan Neville's "Dance your blues away", Pockets "Catch me", Don Thomas "How can I help you", Montclairs "I need your love more than ever" (originally released on Paula in 1972 and due out on Charly records forthcoming Rare Soul L.P.) . Ila Van "Made me thi.s way", Jackey Beavers "Trying to get back" and Crystal Motion "Mainsqueeze" on Sound Gems -I'm trying to compile a listing of this Philly label, all info. appreciated. He also mixed in 60's sides like Terry Collier "Look at me now", Emanuel Lasky "Peace lovin' man" (there's a guy I'd like to see in concert) . Mikki Farrow "Heart at ease", Lillie Bryant "Meet me half way" , prior to spinning Sam Ward's "Sister Lee" he mentioned that
'Popcorn' Wylie was the best live act he'd ever seen and sang many of the songs better than the actual people who originally recorded them. Also played Pookie Hudson "Gets to me", Jackie Lee "Would you believe", Ritchie Adams "Can't escape from your love" (has got a backing track very similar to something else but can't think what). Skip Jackson " I'm onto you girl" and Mickie Laney "I 'm gonna walk" -after a spot like that who can honestly say that the oldies scene is a stagnant pond, it's a flowing river if allowed to be!
There were quite a few boxes of records for sale which included4 Connie Questrell "Give up girl" Decca demo £20, Gene McDaniels "Walk with a winner'' UK Liberty £17, a load of UK demos such as Mary Love "Lay this burden down" Stateside demo, Fascinations "Girls are out" Stateside demo and a mass of UK Tamla Motown Red and Whites. Les Cokell started his 2nd spot at 6.30 with Gentlemen and Lady "Like her" and proceeded to spin mainly standard 60's outings like Belles "Don't pretend", Edward Hamilton "Don't you weep", Freddie Chavez "Never no why" (I'll never no why it's played!) Lou Johnson's "Unsatisfied", Ambers "Potion of love", MVP's "Heartbeat" (the groups name is an American sports term -most valuable players) and ended with a record which he claimed probably nobody will know:-The Scientists of Soul "Be that way" on Kashe. Richard Searling took to the decks at 7.30 and opened with Billy Woods "Let me make you happy" then went onto play Moments "9 times" (that's nearly how many times I heard it!) and Al Kent's"Way you been acting!" We left at 8 to the sound of Marvin Gaye's "Lonely lover" with mixed feelings -happy 'cos it's a great sound, sad ' cos the guy's no longer with us . When we left the venue was very busy so if you like to hear a cross section of sounds with the emphasis on 70's oldies, try make it the
next one.__

FANZINES PART II
In the article on Fanzines in Issue 1, I mentioned several mags I'd heard of but never seen, since that article I've been lucky enough to be loaned copies of the following -Eddie Hubbard (Banbury) loaned me copies of "It's the beat No.1' and 'Nitelife No. 1'. Both mags were edited by Dave McCadden of Manchester, only one issue of 'Nitelife' was released (late '78) and reviewed Twans "Can't see him", Paula Parfitt "Love is wonderful", Billy Arnell "Tough girl" (never liked this record), Marie Knight "Treat a girl" , Paula Durante "If he were mine", Eddie Parker "I ' m gone" (a goddie) and the Showmen c/u "Put that woman down" (which as we all know turned out to be the still very rare John Leach on Lawn -was told it only sold 700 copies on U.K. Destiny). 'It's the beat' ran to 3 copies, Issue 1 was out March '79 and featured a U.K. reviews page and Richard Searlings current biggies -also had a list of the editors top thirty 60's newies -the top 5 were 1) Joe Mathews "Don't like to lose" c/u. (The Group feat Cecil Washington on Prophonix still £60), 2) Delights "Lover" (Cuppy), 3) Construction "Hey little girl" (Sync 6), 4) Tamala Lewis "Won't say nothing" (Marton), 5) Patrick Bradley "One more chance" (Inst.) (Decca). Dave also released 3 issues of'Soul Time' in 76/77 period (Issue 1, Nov. 76), Issue 2 featured a U.K. Minit listing and contributions from Russ Winstanely, Frank Elson, Dave Withers, Dave Evison and Martin Koppell. Dave Hitch (Walsall) loaned me Issue 5 of 'Right Tracks' which was out early '83 and edited by Ian Stabbing of London, it featured articles on Ric Tic, Chess and Wand labels, Impressions, Jan Bradley and a Ben E. King appreciation article. Basically it was a mod fanzine, yet 8 of the mags 18 pages are of interest to Soul fans. Chris Savory's 'Hot Buttered Soul' mag ran from Issue 1 (Oct. '72) to Issue 52 (Sept. '77) -I recently bou~ht 10 copies of this highly recommended mag, so here's a brief review -No. 33 Jimmy Holiday discog., No. 35 North Bay, Chariot listing -mentions the rumour about Tony Turner "these rooms of mine are only 6 x 6" (Musicor) as being the vocal to Earl Van Dyke's famous instrumental although slightly slower, No. 44 Mab's, Ric Tic listings, Buddy Lamp discog, No. 45 May '76 Veep,Crimson listings, No. 46 July '76 Eastern listing, 8th day and 100° Proof discogs., No. 47 Sept. '76'Detroit special' included Brute, Burt, Cool School, Dotty's,Geneva, D-Town, Golden Hit, Grand Junction, Impact, Inter/Soul, Inferno, Kool Kat, Mid-Town1Northern Della, New Moon, Ram Brock, Soul Hawk, Sir-Rah listings (phew-and that was only the front page! ) No . 48 Dec. '76 Westbound, De-to, Music now listings, No . 49 Jan '77 Seventy Seven , Sound Plus, Luna listings (also printed in Steve Bryants ' Souled Out' No . 6) , No So March '77 Neptune, Loma listings (the latter one also printed in Martin Scragg's'Sound of Soul', No's 3/4), No. 51 May '77 Calla, Artie listings, No. 52 Sept '77 Venture, Maverick, Fame, Red Coach listings and Carl Hall discog. You can probably now understand why it's so hard to find a label which hasn't been listed before, never mind actually preparing the listing -any ideas on previously un-published listings that you would like to see? I've extracted the following info. from several letters, mainly John Clarke (London) and Colin Dilnot (Merseyside) which adds details about some mags mentioned in Issue 1 and also sheds light on many obscure mags from the late '60's and early '70's. Perhaps the longest running
and most authorative mag of this era was'Shout' which covered most aspects of black music and was produced by Clive Richards the mag started under the name 'Soul Music' in the autumn of '67, became Shout at Issue 34 and carried on till Issue 112 in July '77; it featured many well-known scribes such as Tony Cummings, 5 Charlie Gillet, Bill Miller, Ray Topping; Roy Stanton, Kurt Mohr and Dave Godin. In fact Roy Stanton ran the Black Wax record shop in London and during the period Jan to July 1973 released 6 copies of the mag 'Black Wax'. The mag'S.M.G.' was edited by Barry Lazell of Mansfield (later by Chris Savory) and whilst featuring mucho pop music had articles on '70's Soul and Doo-wop (Sept '77's issues featured an article on Ric Tic records) -ran to at least 6 issues.
It's interesting to note that H.B.S., Shout, S.M.G. and Black Wax were all members of a specialist magazine organisation entitled1 Rhythm and Blues magazines incorporated (R.A.B.I.N.C.).
Just a quick mention of a new mag entitled 'Soul-Scoot' which emerged late '83 edited by Terry Smith of Hermitage, Berks. , it's aimed mainly at scooterists, who happen to like Soul music. Just less than half of the magazine is of interest to Soul fans, amidst the articles on Lambrettas, there's a Sound of Chicago article re'Lance/Chandler/Butler, record reviews and an informative James Brown article. Issue 2 should be out by the time you receive this mag. Due to a lack of space this article has had to be 'chopped' in half so that's it until Issue 3. Please send in any info. you have on fanzines (no matter how small) and remember I buy and collect any fanzines which have a Soul content.

The L.A. Coupe label -I know of 4 releases, I have 2 of them, and I suspect there's more -the label looks like an import, yet has 'made in Britain' printed on it -American boot-leg label perhaps? Did the Aristocrats "Let's get together" have a U.S. '45' release? Please send all info. to mag address.

Soul -WHAT IT MEANS TO ME
The previous 'What Soul means to me' article in Issue 1 featured Eddie Parker's 'Crying Clown' on Triple B, the record under review this time is another Detroit item. Jimmy Delph's 'Almost' on Karen 1538 is a fine example of the ballads that were produced during the late 60's in one of the USA's premier music cities. Jimmy's controlled voice sings the simple lyrics (written by Harold Thomas and Leroy Mason) with conviction over a steady backing beat, with little help from the backing vocalists, a simple 2 mins. 20 second song, but very effective.
"Ooh, the saddest word that I ever heard is almost, 'cos it means what ever-· you tried to do, you didn't make it, oh no, but baby you almost, honey you almost, now take a man who's saved and plans his whole life through the years, only to find he ran out of time, he didn't live to see his dreams come true, oh baby but he almost, he almost, he almost, now listen everybody what I have to say, it happens to all of us sometime there's some kind of way, baby she almost, not quite, but almost,
Now you take a girl who's in love with a guy, but she's too shy to show it, and when she finally wants to tell him so, another girl has him going, so you can see, she almost, yes baby, she almost, .-----~ she almost, oh baby, she almost, not quite but almost, she almost."
The producer on this record and owner of the label was Ollie McLaughlin, who also owned Carla records. 'Almost' was also released on Carla 2535 with 'I've been fooled before' as a flip, whereas the flip on its Karen release was 'Don't sign the paper baby'. Betty Lavette had a female version of 'Almost'/'Love makes the world
go round' released on Karen 1540
DARROW FLETCHER
Darrow Fletcher was born in 1951 in Inkster, Michigan and at the age of 5 his family moved to Chicago. He showed an interest in music at a very early age but had to wait until 1965, when at the age of 14, he made his recording debut for Inc. «IMII HOT FOa SAU Groovy records of New York, with the National hit "The pain gets a little deeper", (also issued on UK London HLU 10024 -his only UK release). Whilst he DARROW FLETCHER recorded many quality sides for a variety of labels, he was never to achieve the chart success of his first release. After two releases on Ray Charles's "Crossover" label in 1974, he faded into the depths of obscurity, like so many of our 'northern' heroes.
GROOVY ( B.S. -Both sides)
3001 "The pain gets a little deeper" (T. Daniels/D. Fletcher) KSG 001 "My judgement day" (M. Simpkins) KSG 002 3004 "My young misery" (D. Fletcher/K. Rudman) KSG 007 B.S. A 'Fletcher production' "I gotta know why" (M. Simpkins) KSG 008 B.S. produced by Ted Daniels 3007 "Gotta draw the line" (Richard Barret) KSG 307A A 'Solid Hitbound production' "I gotta know why" (M. Simpkins) KSG 008 Produced by Ted Daniels 3009 "That certain little something" (Karl Tarleton) KSG 3007(8.S. sides produced b!J "My judgement day" (M. Simpkins) KSG 002 (Ted Daniels
JACKLYN
1002 "What have I got now" (M. Simpkins) 1002A (B.S. produced by "Sitting there that night" (J. Haygood/D. Fletcher) 10028 (Ted Daniels 1003 "Infatuation" (M. Simpkins/D. Fletcher) 1003A (B.S. produced by "Little girl" (J. Haygood/D. Fletcher) 10038 (Ted Daniels
1006 "What good am I without you" (McNeir/Mancha/McNeir) V4KM 7329-2. Produced by Don. Mancha and arranged by Mike Terry "Little girl" (J . Haygood/D. Fletcher) 1003B Produced by Ted Daniels
REVUE
11008 "The way of a man" (M. Simpkiss) 514 (B.S.produced by D. Fletcher/ "I like the way I feel" (M. Simpkiss) 515 (M. Simpkiss and arranged by (Mike Terry (A Haygood production) 11023 "Gonna keep lovin' you" (M. Simpkiss) 543 (B.S. produced by D. Fletcher/ "We can't go on this way" (M. Simpkiss) 544 (M.Simpkiss and arranged by (Mike Terry (A Haygood production) 11035 "Those hanging heartaches" (M. Simpkiss) 567 Prod. by D. Fletcher/M. Simpkiss "Sitting there that night" (J. Haygood/D. Fletcher) 568 Prod. by T. Daniels
UNI
55244 "When love calls" (J. Moore/T. Daniels) 492 (B.S. prod. by Haygood "Changing by the minute" (L. Hanks/Z. Grey} 493 (& arranged by Tom Tom 55270 "What is this" (J. Moore/J. Daniels) 544 Produced by J. Moore "Dolly baby" (D. Mancha) 545 Produced by Haygood
CONGRESS
C6011 "I think I'm gonna write a song" (D. Mancha) 8001 Produced by D. i11ancha (A Haygood production) "Sitting there that night" -(J. Haygood/D. Fletcher) 8002 Produced by T. Daniels (A Haygood production)
~~ 7
1002 "Now is the time for love" Pt. I (J. Moore/B, Reed) (B.S. prod. by J. Moore "Now is the time for love" Pt.II (J. Moore/B. Reed) (B.S. A Haygood production)
CROSSOVER
"Try something new" "It's no mistake" 983 "We've got an understanding" "This time I'll be the fool"
Thanks to Roger Nicholls (Willenhall) and Bob Hitchcock (Ormskirk) for information. Darrow had a hand in writing and producing many of his own releases during his career, which considering how old he was at the time is quite amazi ng. His father Johnny Haygood produced many of his releases and it's interesting to note that certain other people helped Darrow throughout his recording career,
e.g. Ted Daniels (with or without the!_) has produced his records for several years, Maurice Simpkins (M. Simpkiss) wrote many of his releases on Groovy, Jacklyn and Revue also Johnny Moore ' s name crops up regularly on writing/production credits.
The ballad "Sitting there that night" was released on Jacklyn, Revue and Congress and all three releases have the same arrangement and length.
Darrow's male version of "Gotta draw the line" was originally recorded by the 3 Degrees on Swan/UK Stateside, his version omits several words from the song which was written by Richard Barret who was the 3 Degrees manager . None of Darrow's release are expensive, they should all be in the £1-3 bracket, however, many of them are very hard to pick up.
Anybody know of a) any other songs which Darrow wrote for other people,
Darrow Fletcher's Blues and Soul U.S. Top 100 entries
27. 3.70 "I think I'm gonna write a song" Congress 71
23.10.70 "When love calls" Uni 43
22 . 1.71 "What it is" Uni 64
16.3.76 "We got an understanding" Cross Over 88
He also made the Billboard Pop and Soul Charts as follows (only pre-1971 info. available) -POP CHART
15.1.66 "Pain get's a little deeper" Groovy 89 SOUL CHART
1.1. 66 "Pain get's a little deeper" Groovy 23
7.3.70 "Think I'm gonna write a song" Congress 47
( Pete Gregory)

LOCAL'N' NATIONAL RELEASES
This follow up article to the 'Double Detroit' article in Issue l concentrates on records released on a small local label then 'picked up' for national distribution by a large company. Generally speaking the releases on the local labels are rarer than the 'nationals', hence their higher selling price. track as Precisions 'Such misery' (Drew) 'Please stay' Despenza/Wand 1152 'That'a enough' Gerri/Wand 1125 'Black eyed girl' Columbus/Wand 1108 'Everything is everything' Sow:1.d of Soul/Wand 1169 'Carleana' Garrison/Wand 1144 'Let's get back together' Garrison/Wand 1141 records on Wand have never been seen, yet they appear in anybody confirm their existence with a photocopy. 'Humphrey stomp' (released on U.K. London 10121) 'Too i<)Od to be true' 'Without you baby' 'Because of my heart/ Feel I'm wanted' 'If that's what you wanted' 'Lonely in a crowd' 'Can't take it no more' 'Hey it's love' 'Bettin' on love' 'Bashful guy/Go for me' ' I'm no fool' 'Sweet sweet baby' 'Don't let it happen to you' 'Get out' 'New· love' ' One step at a time' ' Girl watcher' out in U.K . on Stateside 2126 Natural Four Nights Cliff Nobles Willie Tee Barbara Lynn Mark Putney Stagemasters Sam E. Sola Wonderettes Sons of Moses 'I thought you were mine' ' Let there be love' 'My love is getting stronger' 'Walking up a one way street' (out in U.K. on Atlantic 584.116} 'Take your love and run' (out in U.K. on Atlantic 2091.133) 'Today's man' 'Baby I'm here just to love you' 'Love is not a game ' 'I feel strange' ' Soul symphony' ABS/Garrison/Wand 1134 Pacemaker/Garrison Priority/Fairmowit Rouser/Fairmount Gamble/Sassy Dynamics/Westbound Whiz/Dynamic Dynamic /Backbeat Teri-de/Fontana Teri-de/ Minit Musette/Teri-de Teri-de/Highland Gemini/Phil-la-Soul Landa/Phil-la-Soul J.V. /Phil-la-Soul Fee/ ABC Northern State/ ABC Boola Boola/ ABC Little Star/ABC J. V ./ Atlantic Nola/Atlantic Jetstream/Atlantic Ovide/Atlantic Hit King/ Slide Ruby/ImperialRuby/United Artist s Soft/Coral Lenis Guess 'Just ask me' S.P.Q.R./Legrand Phil Flowers 'Discontented' Loft/Dot True Tones 'He's got nerve' Paul Kelly 'Chills and Fever' Al Wilson 'Show and tell' Danny White 'Keep my woman home' (out in the U.K. on Sue 4031) Nolan Chance 'Just like the weather' Soulville/Josie Lloyd/Dial Renfro/Bell Atteru/Atlas Bunky/Constellation
I remember once being in the record bar at a Wigan oldies and after hearing Richard Searling playing his Nolan Chance on 'bunky' got very excited about the thought of owning it and in a moment .of near hysteria rushed up to him and offered
him £100 for it, I was
Chaumonts Shaine Hunter Ballads Denese Lasalle C.O.D. 's Dov Gardner Dynatones Shadows (previously covered up Jan Bradley Wooden Nickels Bobby Freeman Vala Reegan Charles Russel Wilson Picket Curtis Lee and KCP's Ral Donner
E. Rodney Jones Formations Charles Perry Betty Webb Garland Green Rita Dacosta Sandy Wynns Herb Johnson Mel Williams Wall of Sound Hosanna Dobie Gray Ann Sexton Kenny Smith Del Capris Deuces Wild Band Betty Swann
Volumes Jeanette White Fred Parris Bobby Mac Earl Cosby Incredibles Top Shelf Barbara Greene Chuck Jackson Calvin Williams Showmen Legends Fantastics politely refused. 'I need your love' 'Sweet things ' 'Can't see your love' 'Love reputation' 'Michael' (released on U.K. Stateside 489) 'Ain' t gonna let you get me down' 'Fife piper' (also released on UK Pye Int.25389) 'My love is gone' as Jimmy Georgetowns 'Stars above' 'Back in circulation' 'Nobody but you' 'Lies' 'Fireman' Bay Sound/·Caravelle Awake/Sue Wee/VJ Tarpon/Chess Emase/Kellmac Tru-Glo-Town/Sack St. Clair/HBR Golden Sounds/USA circa 81/82) Sound Spectrum/Adanti Omen/Vault Loma/Warner Bros. Bob Crewe/Atco (out in the U.K. on Atlantic 548.009)
'It ain't easy' 'Heart belongs to you/ Let me be your boy ' (also on U.K. MGM 1286) 'Everybody's going wild' (released on U.K. CBS 2717) 'Don't let it slip away' 'R'N'B time' 'Top of the stairs' (out in the U.K. 'How can I' 'I know' 'Rained 40 days 'Don't bring me 'Touch of venus' ' I 'm so glad' 'Can it be me' 'Hang on' 'Hip it' on MGM 1139) and 40 nights' down'
'Out on the floor' 'You've been gone too long' 'Lord what's been happening' 'Hey little girl' 'Keep on' 'Make me yours' (out in the U.K. on CBS 2942) 'Gotta give her love' 'Music' 'Dark at the top of the stairs' 'Keep on' 'Ooh honey baby' 'Another dirty deal' 'No second thoughts' 'Treated you right' 'Love lights' 'Lonely you'll be' 'Take it baby' 'Fear not' 'High ote Bionic/Psyche Correctone/Verve/Cub Wheelesville/Rojac Sunlight/Starfire Charisma/Tuff Bank/MGM Mutt 'N' Jeff/Magnum/MGM XL/MGM Gamma/Revue Pandora/Mohawk Doc/Champion Toxsan/Brunswick Astronaut/Modern Big Bird/Tower LHMA/Calla Thunderbird/Charger Impel/Sound Stage 7 Gar/Gold Spot Ronjerden/Kama Sutra Corby/Vault Money/Abet Astra/American Arts A and M/Vibrations Birth/RCA Original SoundjMoonglow Mirwood/Mira Audio Arts/Contempo Lolo/Calla Vivid/Renee Page/All Platinum Jam/Atco. B.B./Swan Locket/Red Balloon/ Commonwealth
Copa/Sound Stage 7
Don Varner 'Tear stained face' Quinvy/Veep 1296
John Anderson (Soul Bowl) tells me he remembers having 25 white Veep demos around 1971 and selling them for the 'A ' side 'Meet me in church', 'Tear stained face ' was first played around 1974 . Can anybody supply me with a photocopy of
the Veep release.
Stanley Mitchell's 'Get it baby' Dynamo was rumoured to have appeared on musicor, also Sam Williams 'Love slipped' rumoured to be on a local label prior to the rare Tower release, might have only got to the acetate stage though, can anybody confirm these rumours?
The Okaysions line up in 1968, the year when they recorded 'Girl watcher' for the tiny North Carolina 'Northstate' label was Denny Weaver, Jimmy Hennat, Wayne Pittman, Bruce Joyner, Jim Spidel and Ron Turner.
The Natural Four line up during their time with ABC was Chris James, Allen Richardson, Al Bowden and John January.
As one can imagine this article only lists a very small percentage of sounds released on a local/national format, any additions would be welcome.
I'd like to thank Cliff Steele (Northampton), Stuart Raith (Gt. Harwood) and Graham Anthony (Derby) for helping me to compile this article.
Please don't 'bug' me for Frankie Beverley on Rouser, it's not mine it's Adam's, the Leicester D.J.'s, it's thought to be the only copy, there ' s that many people after it, the list looks like a London telephone directory, besides my name's at the top of the list .... .... isn't it Adam!!
Mystery Record
Does anybody know which country, this record was released in? (' cos I haven't a clue) (Ed -Australia,N. Z. , South Africa perhaps?) SUPREMES

Sunday, 22nd April SUNNY SCARBOROUGH

We arrived in Scarboro' mid afternoon,dumped our bags in the guest house and went for a Kentucky. After a quick phone call to Rudie's we were told the alldayer had been cancelled due to a non-existent turn-out but the evening session was on; so come 8 o'clock we arrived at the door step complete with record boxes and long arms to be told that was off as well. We dumped the records behind the bar and went off to the Salisbury and Pickwicks -2 pubs just round the corner, where many Soulie's (old and new) congregate at Bank Holidays. Sure enough many familiar faces were seen yet non had ventured up to Rudie's, so Sunday's events were ditched.
Monday, 23rd April
After the compulsory walk up the sea front and a fish 'n' chip dinner (still can't beat good al' West Yorkshire fish and chips), the afternoon was spent chatting to many of the older Soul fans in Pickwicks who said they were going up to Rudie's in the evening. Popped into the all-dayer around 4 for an hour to find a dozen people present (I counted them -doesn't include bar staff or D.J. 's), this was possibly due to the sunny weather outside but most likely the fact that since the mods stopped their scooter runs to this east coast town about 2 years ago, due to council/police pressure, attendances throughout the day have slumped dramatically. Back to the Kentucky for tea (it's either that or Fish 'n' chips, still it's better than a Wimpy carpet burger). Back to the all-dayer for 7.30 pm to find the numbers hadn't increased at least they hadn't decreased. Nottingham's Rob Smith was on spinning the 70's version of "Just like the weather' by the Detroit Sounds and the inferior version of "What's wrong with me baby" by Little Harold (c/u?) then the poppy Main Change "Sunshine is her way" (Nebula) (ex. Rock Candy c/u -supposed to be only 2 known copies on Manships recently at £120). Rob stuck to the rarities till 8 . 30 which pleased us but not the other 12 as few dancers were evident as he spun the Magnetics "Lady in green" (Bonnie), Yvonne Vernee "Just like you did" (Sonbert) (both via Keith Minshull), Revlon's "What a love" (Toy Records from New York) and 2 records still under their psuedonyms Micky Valvano "She's fine" and the Chessmen "Like I never did" which as most people know are the C.O.D. 's and the eombination respectively (both on Kellmac). He also spun the recent U.K. Inferno release of the instrumental version of "Our love is in the pocket" by the Suspicions (quite good as instrumentals go,sax dominated), before finishing with a sound which whilst I don't like it I haven't heard for ages. Rufus Lunley's "Stronger than me" on Skyscrapesr. Yours truly was allowed to damage the decks for the next hour and a half -don't know whether it's good editorial practise to review one's own spot, never the less here goes -I played a mixture of sounds as follows -Keni Burke "Let somebody love you" (RCA. '81) , Luther Vandross "Never too much" (Epic '81), Denis Edwards "Thought I could handle it" (U.K. Gordy '84) flip side to funk club monster "Don't look any further"). Bobby Taylor "Roses somewhere" (Sunflower '72) . Little Johnny Hamilton "Oh how I love you" (Dore), Danny Woods "Had me fooled" (Correctone), Robert Taylor "Packing up your love" (Alteen '68) and Layern 'Bondage' Baker· "Wrapped, tied and tangled" (Brunswick). Atl> George Sharp took over the ruined decks for 60 mins and spun many of the sounds he played during his Bensons spot (see review) plus Lada Edmunds "Spellbound",
Vonettes "Love is guaranteed", Cheryl Anne "Little things you do to me", Rober_t 'Red Top' Young "Aint that love", Charles Farren "Changed my life" (Hawk), plus a few rarer items like Vivian Carol "Oh yeah, yeah" Merben (ex. Roddie ~~
c/u circa 80/81), Dean Courtney "Love you just can't" (MGM) (current price around £30) and Vickie Baines "Country girl" (Parkway). By now the attendance had swelled considerably and there was quite a good atmosphere apart f~om some of the non-Soul section who were pestering girl's on the dance floor with their " 'ear do you want a dance darling" routine, these guys soon got bored and went off home to get a hangover and left us to listen to "Jinxy" and Nick Ward who shared the sounds alternatively for the last 3 hours and kept the dance floor busy by spinning both their all time top 5 sounds (see below) as well as Gwen Owens "Wanted", Micky Moonshine "Name it", Danny Wagner "Lost a true love", Willie Kendrick's "Change your ways", Frankie "Dynamite"crocker, Today's People "S.O.S.", Ann Sexton "You've been gone", Eloise "Love factory" Laws, East Coast Connection "Summer in the park" (about as Soulful as a bag of cri~ps!) Gene Chandler "I can take care", Jackie Lee "Oh my darling". (I remember buying a U.K. Jayboy demo for £2 at Wigan -happy days). Florence Devore "Kiss me now',' there were a few less obvious sounds played Lee Andrews "Never the less" (Crimson), Jackie Wilson "Since you showed me" (Coral), the excellent Tyrone Barclay "Man of value" (f'rhDSo,./& -hard to find now) before finishing with Charles Mann "It's all over"
) 2 (ABC). I must admit I did get slightly bored with this type of musical format,but everybody else was having a good time so who's to argue. John 'Jinxy' Lofthouse who's organised the Soul events at Rudie's for the last 4 years gave me his alltime top 5 (_no particular order), as Mel Britt "She'll come running back", Imaginations "Strange neighbourhood", Alfie Davidson "Love is serious business", Majesties "Hurts me girl" and Doug Parkinson "I'll be around" (Australian "South star").Nick Ward who used to run the Scarboro' coach via Leeds to every Wigan oldies gave his ·ATT5 -a:s Detroit Ex' s "Cool off", Embers "Watch out", Triumph's "Coming to your rescue", D.D. Sharp "What kind of lady" and Edwin Starr "Back street". Other D.J.'s were Ron Pedley, Graham Kelly and Dave Knight all from York. Finally, Jinxy cannot be expected to organise all-dayers indefinitely~to see them reduced to entertainment, will there be any more?
Hi folks, yes it's another boring old Detroit review. Over the past 6 months the price of northern originals seems to have risen sharply. Records of Detroit origin have been no exception to this upward trend. In fact Detroit items seem to be going up in price more than anything else. From that observation alone , it doesn't take much to work out that Detroit is in demand and the Motor City Sound is as popular as ever:
The Sequins "Try my love" Detroit Sound 503
This rare Detroit stamper starts with the Sequins breaking straight into the chorus after a short powerful piano intro. Lyrically the record isn't too brilli ant , but I've heard much worse. The record moves on at a great up-tempo pace making it an excellent dancer, with a catchy beat. Recently had a few spins as a rare oldie , still plenty of 'air play' left in it. One of the rarer Detroit items , it may cost £40 + 'these days', that's if you can get one. B-sides pretty good too.
Atlantics "Baby I need you" Marquee MQ 444
Another up-tempo girlie group sound, if anything slighter faster than the Sequins. The Atlantics from Detroit sounding very much like the Twans from Miami. The record starts with a thumping very deep bass beat which is maintained throughout the song, the high pitched vocals makes some of the lyrics difficult to understand, however, there's a nice chorus which when added together makes a classy Detroit dancer. Very rare again and would probably cost around £20 .
Gene Cooper "Go go in" Hi-Q 5037
A very early sounding record not unlike The Executive 4 (one off) "I've got a good thing going" (ex. Robert L. Martin c/u) but nowhere near as rare. Gene and the Voices are singing the praises of the "Go 0 go in". •They got a back street beat that makes you put your feet' is one of the many virtues of the 'in' crowd. There's a nice guitar and piano backing very neat but not too heavy. The neat
harmonic vocals help to make up for the corny lyrics. Quite easy to get hold of;
should cost around £5, well worth looking out for .
Art 'Posey "No more heartaches" Scope
A great finger snapping mid-tempo. Collectors gem, which starts with Art Soulfully singing the title/chorus with his female backing. A good production compared with some Detroit sides, the record being complemented with strings, horns, drums and very theodore coffe sounding guitars, with a great mid-tempo beat maintained throughout. Well worth picking up 'Soul Bowl' has it often listed at £4.

Publications
BMI Tim• 2:00 91Sf.5037 H KM-6196
LOST IN THE WORLD GO GO INN · OF ADREAM
GENE COOPER THE SHARPETS
ond The Voices featu""9 tt.• SynchrofflCltiC Sound
Sharpets "Lost in the world of a dream" Sound City SC-001
This was a monster side in 1978 for Soul Sam and others and was fetching £40-£50, then it was bootlegged and hasn ' t seen much of the turntable since. Compared with the last record, the production on this one stinks, the whole thing seems to be held together with a thumping bass guitar and sounds like it has been recorded in someone's back garage. However, all these short-comings seem to add to the character of the record. The lack of technical brilliance is in a way, what helps to make the record, one can almost picture the girls singing away in some makeshift recording studio somewhere in Detroit, circa mid-60's . Recently saw a copy on sale at £15, but if ever the record was played again, I feel the price would rise due to rarity. P.S. -the original bas a %TSC matrix stamped in the run-out groove, the bootleg matrix is just scratched in.
George Sharpe
Pl Recommended reading -Midnight Express No. 7, Send 60p and s.a.e. to Rod Dearlove,LJ 39 Back Lane, Burstwick, Nr . Hull, HU12 9EG. The Drifter No. 5, _Send 60p and s.a.e. to Gary Evans, 7 Linstock Ave, Riverdale, Cockermouth, Cumbria. CA13 9ES,
(Issue 6 will cost 80p and s.a.e.), Souled OutNo. 7, Send 50p and s.a . e. ·to Steve Bryant, 141 Pembroke Road, Seven Kings, Ilford, Essex. IG3 SPF, Otis Redding File, No. 1, Send £1 (no s.a.e.) See ad, Soul Scoot No. 2, Send 70p no s.a.e . to Terry Griffith, Gabled House, Hermitage Berks . RG16 9RG (See review).
QI couldn't let Issue 2 go to print without passing my own personal tribute, to another 3 of the Soul Scene's greatest singers Jackie Wilson , n Hill, and Marvin Gaye on tbeir sad, premature and untimely departure -spare a thought also for the 'Larry Clinton/ Jimmy Burns' of the scene, guys who record only once or twice, never to achieve fame, or even session men/ producers/writers -how many of our northern heroes have passed on without so much of a brief obituary.
OUT OF THE PAST RECORDS
AFFLECK$ PALACE ANTIQUE MARKET, CHURCH STREET, MANCHESTER. OPEN MON -SAT, 11am-5pm WHERE TBE PRICES ARE AS GOOD AS
THE SOUNDS.

BRATFUD REVISITED
Saturday, April 21st
We arrived at Bensons around 12 to find the usual small queue, the nighters have been running at this venue since around Sept. '83 and tonight was the last one so I was surprised not to see hundreds trying to get into the venue which by many was regarded to be the best all nighter in the North partly due to its geographical position but mainly because it catered for all forms of soul music, be it 60's, 70's or 80's. The night started well with a group in front of us in the queue trying to explain to a bemused French couple what was going on -"We dance all night to Soul music and drink pop 'cos there's no bar. " -Steve Croft and an un-named guy alternated every half hour for the first hour and a half playing standards such as Fascinations "Girls are out", Gems "I'll be there", Frankie Beverley "If that's", Gloria's ''Worship you", Johnny Sayles "Get enough", Fantastic Johnny C "Depend on me", and a few 2nd Division items like Frankie Crocker "DY!J.~mite" , Today's People "SOS" and Father's Angels "Bok to Bach" the standard was raised however with Williams Watson's "Quitter", Leroy Taylor's "Oh Linda" (Brunswick) and the Tymes "What would I do". Pat Brady came on at 1.30 am and started to spin some of his top c/u's such as Johnny Hampton "New Girl" (check Accents "New Girl" on M-Pac for slower version), Chandlers "Change is gonna come", Robbie Lawson "Mr. Misery" (Excellent), Eric Lomac "Things you do for love" then a couple of rarities like Bill Coday "Righton" (Crajon), Brooks Bros. "Looking for a woman" (Tay), Bell Boys "Don't want to lose" (Jamar) followed by two instrumentals, the first Stanley Mitchell "I thank you" c/u which I liked, the 2nd a version of the Incredible's "Nothing else to say" which I didn't like (whilst appreciating the dance a~ility value of instrumentals, I generally di slike and dismiss them as being Soul-less . Then due to the crowds reluctance to dance to anything but well known items, he was forced to retreat to playing Dean Courtney "Always need you" , Pointer Sisters "Send him", High Voltage "Country road" , Candi ::ltaton "Upper hand" MVP's "Heartbeat", Larry Santos "You got me" and Lee Roye "Tears". I think it's a great shame that big name D.J.'s whose record collections contains some rare originals, c/us and good obscurities should be forced into a position where the only option to keep the crowds happy is to play well known oldies,
Big name D.J.'s because of their pulling power and influence, should and must be pushing forward new sounds, nearly all the big name D.J . 's choose this direction, it's a pity the masses don't see it this way. Pat finished with Gwen Owen's "Wanted and needed", H.P. Barnum "Heartbreaker" and Little Richie "Heartache". At 3 Staffords "Top of the World" organiser and D.J . Dave Thorley took to the decks and opened with two Stafford 60's biggies, Johnny Henley "Yes I love you" c/u and the Detroit 5 "Rat race" c/ u, then Eddie Holman's "Hurt" (Eddie in a recent interview couldn't remember recording "Hurt"), before playing some well known things like Kenny Smith "Lord", Mel Britt "Running back", Chapter 5 "Don't mean it", Edwin ~tarr "Have faith", then a couple of c/us which didn't do much for me on first hearing, Ronnie Forte "Here it comes" and Porgy and Monarchs "Congratulations" . The dance floor then filled to the instrumental Rufus Wood "Before 2001" (not often heard), the frantic High Voltage "Country road", the awful Crow "Autumn" and the very awful World Column "So is the sun". Dave spun several "Not so often heard sounds throughout his hour like the Delrays "Destination unknown" (Tampette) (a request from Terry of Manchester, I suspect), Dobie Gray "Honey take a chance" (White Whale) and Delarks "Job opening, pt. 2" (which I don't like) followed by the excellent Kell Osbourne "Heartbreaker" on Highland (ex. Billy Greasham c/ u) and the Empire's "Your on t op girl" (Candi) (ex . Johnny Cole c/u -recently on Manships a t £50) also played Del Satin' s "Your're on fire"? (same backing track as Connie Clark' s "My sugar baby"), Honey and Bees "Dynamite explodes"(Arctic) and Frank Dell ' s "He broke your game" . All in all a varied spot which filled the floor with some of t he oldies and cleared it with the c/ us and less well known items not due to their poor quality but because of lack of exposure up this end of the country as this was Dave's first visit to Bensons. At 4 local D.J. George Sharp opened with Jimmy McFarland's "Lonely lover" and mixed some of his c / us such as Judy and the Affections "Please leave me", Virginia Blakely "laughing at me", Derek Martin "Say you'll be mine" (one of the best c/ u's I've heard recently) , Frankie and Twana "Good thing love" (storming 60's dancer , ex. Guy Hennigan c/u) with 60's rarities Joan Courey "I got the power" (Twirl) , Professionals "That's why" (Groove City), George Blackwell "Lose my head" (.Smoke) Fluffy Falana "My little cottage" (Alpha -rarely heard these days) as well as the Chicago recorded Metroes "Since I found my baby" (RCA -great sound now getting accepted) and the 15
Detroit recorded Gene Cooper "Go go inn" (Hi-Q). George has tried hard to break new 60's sounds (covered and uncovered) but has received mixed response as have most D.J.'s in their attempts to programme something different. Tonight was no exception, we left around 4.30 am disappointed in the last night, the attendance was the lowest I've ever seen it (numbers had dropped over the last few months, possibly due to Steve Crofts non-existent advertising campaign). One guy said to me and I quote "Venues are always quiet over Easter, everbody goes to the coast either Morecambe or Scarborough." The atmosphere never mind being so thick one could cut it, was so thin one could see through it, the night overall was an anticlimax, still it will be sorely missed, at the time of writing apart from London there's no regular all-nighter in any large city in the U.K.

BOOTLEGGING IN 1984
Bootlegging has largely disappeared over the years in terms of the numbers of actual records bootlegged and the quantities pressed, possibly due to the people in the States (or U.K.) not knowing what to press or because its not financially worth it on the northern scene or even because of insufficient quality 'monster' records (that should get you going -letters please). However, all is not quiet, a few bootleg 45's have been appearing at venues such as Barbara McNairs "You're gonna love my baby" backed with the previously unreleased Vandellas "Spellbound" track (which is quite good actually), Bobby Bland "Shoes"/Benny Troy "Give you tomorrow" on Moondust,also Prince Philip Mitchell "I'm so happy"/senny Troy "Tomorrow" on Silver Tip. Remember when Benny Troy was a £3 sound -now fetching £10 -the P.P.M. '45' he's stayed rare still demands a £10 price tag. I've only seen two 'modern' sounds bootlegged (reasons why? -letters please!) and that's Greg Perry "It takes heart" (an orig. 1982 release only sells for £3) backed with the most unlikely flip side ever, the banal Derek and Ray "InteIPla:y" (??!) (Big in London perhaps), it's out on the U.K. look-a-like Airwave label, also Alfie Davidson "Love is serious business" backed with Benny Spellman "Fortune Teller" on the (lurid pink) monumental label. There's 2 L.P. 's currently doing the rounds, the first a W.V.O.N. F.M. Chicago sampler entitled "All night long", retailing at £10. Has an interesting track listing but is let down by poor sound quality -only 1000 pressed. Contains many of the top sounds from the last few years -Side A -Willie G and the Styles "No second chance", Bobby Jason "All these things", James Lewis "That's the way", Professionals "That's why", Court Davis "Lover who loves", Seven Souls "1 still love you", John and the Weirdest "Memor.Ws", Ty Karim "Li.ghten up" -Side B -Cheryl Berdell "Giving it", Doug Parkinson "I'll be around", Jan Jones "Independent woman", Charles Johnson "Never had a love", Tyrone Barclay "Man of value", Otis Clay "Only way is up" and James Mack "Over the top". Who do these people think we are -I mean advertising it as a Chicago L.P. and including an Australian only released single -I shake my head! The original records were reputedly supplied by a well-known Lanes. D.J. and the album organised by a well-known Manchester promoter. (Both these guys work for the same Soul Club clue -Soldiers involved in Iranian embassy seige several years ago}. The second album is entitled 'Nitelife' retailing at £5 (spies tell me it originates from a well-known Soul scribe from the South) -Side A -Showmen "Our love will grow", Gene Chandler "Such a pretty thing", Shakers "One wonderful moment", Spellbinders "Help me", Valentino's "Sweeter than the day before", Vibrations "Cause your mine", Al Wilson "Snake", Julian Covey "A little bit hurts", -Side B -Delrays "Fortune teller", David and giants "Super love", Jay and Americans "Hung up on your love", Williams/Watson "Too late", Superlatives "I still love you", Majesties "1 love her so much", Epitome of Sound "You don't love me" (check excellent flip side on single -"Where were you"}, Professionals "That's why I love you", (how long will it be before this is pressed on a '45', I wonder} .

Secretary: John Stuart
53,Ravenglass Road
Membership is £3 per year -U.K.Westlea.Swindon. £4 per year -Overseas Wiltshire. Members will receive 3 copies of 'Otis File' each year England. plus members card and free badge -monies payable to
Phone : 0793 873193 John Stuart, or send s.a.e. for details -£1 for Issue 1 'Otis File' (.no s.a.e.}

BACKBEAT RECORDS
Seems like many people found the Backbeat label listing interesting reading as several collectors wrote in with information, thanks to John Clarke (London), Graham Coates (Lincoln), John Poole (Solihull) and Graham Anthony (Derby) for the Backbeat UK releases list, Eddie Hubbard (Banbury),, Roger Nicholls (Willenhall) and finally Pete Gregory for the labels US chart successes.
Backbeat releases on UK labels
Backbeat 541 Joe Hinton -"Funny how time/Gotta have love" on Vocalion 9224 (Sept. '64) Backbeat 546 Roy Head -"Treat ner right/So long my love" on Vocalion 9248 (Oct . '65) Backbeat 548 O.V. Wright -"Gonna make me cry/Monkey dog" on Vocalion 9249 (Oct. '65) Backbeat 555 Roy Head -"Apple of my eye/Pass the day" on Vocalion 9254 (Jan. '66) Backbeat 551 O.V. Wright -"Poor boy/I'm your corner" on Vocalion 9255 (Jan. '66) Backbeat 550 Joe Hinton -"Just a kid/Pledging my love"
on Vocalion 9258 (Jan. '66) Backbeat 560 Roy Head -"My babe/Pain" on Vocalion 9269 (Apr . '66) Backbeat 558 O.V. Wright -"Gone for good/How long baby"
on Vocalion 9272 (Jun. '66) Backbeat 563 Roy Head -"Wigglin' and gigglin'/Driving wheel" on Vocalion 9274 (Jun. '66) Backbeat 552 Bobby Adeno -"Hands of time/Sad world" on Vocalion 9279 (Aug. '66)
Roy Head's "Treat her right" provided the Vocalion label with its only UK hit, reaching No. 30 during Nov. '65.
Backbeat 571 Roy Head -"Big man cry/Don't cry" on London 10097 (Nov. '66) Backbeat 580 O. V. Wright -"8 men, 4 women/Fed up"on London 10137 (Jun. '67)
Backbeat 586 O.V. Wright -"What about you/Girl of mine"
on Sue 4043 (Mar. '68) Backbeat 609 Jeanette Williams -"Hound dog/Feel a heartbreak" on Action 4557
___j(John Clarke writes) -The Backbeat label was a subsiduary label of the Peacock/Duke record company based in Houston and owned by Don Robey . He formed
Peacock records in 1949, acquired Duke records from its founder Memphis D.J.
John Mattis in 1952 and formed the Backbeat label in 1953 (Source -"Nothing
but the blues" by John Boven, Hanover books, 1971). However Charlie Gillet in
his book "Sound of the city" dates the labels formation to 1956, which agrees with the fact that "Tell me whv" by The Rob Roys (BB 501) was a small hit in 1957 .
Pete Gregory mentioned the label was formed in 1957 and supplied the following release dates: Backbeat 501-3 (1957), 506-514 (1958) and 573 in 1966. Eddie Hubbard mentions the sleeve notes on a O. V. Wright (Charly) L.P. he hasJsuggests that "Can't find true love" (BB 544) was released in 1965 and "Nickel and nail" (BB 622) was out in the early '70's , both these dates agree with the chart which follows .
Don Robey continuedto run the three labels independently until 1972/3 when he sold the entire complex to the ABC/Dunhill group. It appears ABC retained the Backbeat logo for a while, see O. V. Wright on BB 631 (1973) above and in 1974
Carl Carlton reached no. 6 in the Billboard pop charts with "Everlasting love" on Backbeat 27001.
Highest Billboard Chart Position
Backbeat US Chart Entries• Record R&B/ Year Number Artist/Title Pop Soul
1958 503 Original Casuals -"So tough" 42
1963 537 Joe Hinton -"You know it ain't right" 88 20
1963 539 Joe Hinton -"Better to g:l.ve than receive" 89
1964 541 Joe Hinton -"Funny" 13
1965 545 *Joe Hinton -"I want a little girl" 34
1965 546 Roy Head -"Treat her right" 2 2
1965 548 O. V. Wright -"You're gonna make me cry" 86 6
1965 555 Roy Head -"Apple of my eye" 32
1966 560 Roy Head -"My babe" 99
1966 571 Roy Head -"To make a big man cry" 95
1967 580 O. V. Wright -"Eight men, four women" 80 4
1967 583 O.V. Wright -"Heartaches, heartaches 25
1967 586 O. V. Wright -"What about you" 46
1968 588 Little Carl Carlton -"Competition ain't nothing" 75 36
1968 591 O.V. Wright -"Oh baby mine" 36
1968 598 Little Carl Carlton -"46 Drums and 1 guitar" 19
1969 601 Jeanette Williams -"Stuff" 39
1969 603 Little Carl Carlton -"Look at Mary Yonder" 42
1969 607 O.V. Wright -"I'll take care of you" 43
1970 609 *Jeanette Williams -"I can feel a heartbreak" 50
1970 610 Little Carl Carlton -"Don't walk away" 12
1970 611 O. V. Wright -"Love the way you love" 70
1970 613 Little Carl Carlton -"Drop by my place" 78 12
1970 615 0.V. Wright -"Ace of spades" 54 11
1971 617 *Carl Carlton -"I can feel it" 47
1971 620 O.V. Wright -"When you took your love from me" - 21
1971 622 O.V. Wright -"A nickel and a nail" 19
1972 624 Carl Carlton -"Where have you been" 86**
1972 627 Carl Carlton -"I won't let that chump break your heart" 20**
** Blues and Soul US Top 100
* Indicates the record first charted in January and w~s probably released in
previous year. -~Graham Coates mentions 2 Backbeat releases, one missed of the listing, Issue 1 -
Backbeat 626 O.V. Wright -"Drowning on dry land/Gonna forget about you" Backbeat 628 O.V. Wright -"Please forgive me/
and a couple of New Zealand releases, Kim Weston -"I got what you need" (MGM) and Sam Cooke "Sugar dumpling" (RCA). Also I've just remembered Ben E. King "I who have nothing" Green Atlantic (N.Z.).
If any of you readers out there wish to know if your favourite group/ artist ever made it into the U.S. 'Billboard' Soul/Pop Charts or 'Blues and Soul ' U.S. Top 100 during the 60's or 70's -write to me and our resident Record Chart Statistician Pete Gregory will hopefully be able to supply all the required info.
Quiz Time -Issue 1 -Answers
Several persons wrote to say Clifford Binns "You got to help me" was originally released on an orange Carrie label then re-released on a green Carrie label. The orange release (see front page) has a slightly different label design to the re-issue.
Eddie Hubbard (Banbury) -wrote to say the missing words from Jerry Williams "If you ask me" were 'Alpha and Omega' which means 'first and last' as 'Alpha and Omega'were the first and last letters in the Greek alphabet (cultural eh and you thought this mag was only about records). Eddie also remembers seeing a Tamiko Jones 'Spellbound' Golden World issue on Soul Bown for £25 many years ago.
info . wanted on records released by Betty Lavette, "Die Masqueraders and Betty Everett for future discographies.
SPOTLIGHT ON THE SMASH LAIBEL
The Smash label was a division of the Mercury Record Corporation, and though it released many white acts, it has several releases of interest to the Soul music fan. Here's 3 releases which you'll probably only hear on tape.
TEMPESTS 'What you gonna do' Smash 2126 'What you gonna do when your girl is leaving
you, and you realise you just lost a good thing, think of all the fun you had together and there was nothing any better' . A record ripe for reactivation, not often seen, value around £5. One of several releases by this
THE TEMPESTS
Arranged by The Tempests &group on this label, taken from the album 'Would you believe it'.
RENALDO DOMINO 'You don' t love me no more' Smash 2160
Nice (2:46 mins) mid-tempo song arranged by Renaldo, with lots of 'ooh oohs and yeah, yeahs from the backing vocalists. Typical 'boy loves girl' lyrics that were common in the late 60's . 'We don't walk together hand in hand, I never see you smile, you used to call me each and every night, but I haven't heard the phone for a while ' . A sound that turns up quite often at venues priced at around £1-2.

IRENE AND THE SCOTTS 'I'm stuck on you' Smash 2138
A short (2:06 mins) Theo-Coff arranged mid paced sound, that pounds along with the infamous Detroit 'twanging' guitar, a wi cked horn section in the middle, an incessant backbeat with Irene screaching the lyrics along with her raucous voice 'I'm stuck on my baby, stuck like glue, stuck on my baby and there ' s nothing I can do'. The lyrics are rather weak , with the title being repeated many times, part written by M.Cambell and R. Monette -better known as Michael and Raymond for their
'Man without a woman' RCA and 'If only you knew' Giant outings, it's rumoured they were actually in the Scotts, I doubt it tho' as it sounds like a female back-up. Check the other side 'Why do you treat me like you do' a mid-tempo dancer that also could be played. Detroit all the way!!

"GOOSEPIMPLES" -by Stuart Raith 19
Hello there all you Soul people, gonna take a look at a few tasty L.P . 's, plus the usual northern tracks that are only destined for the front room or somebody's tape in the car, so here goes

JIMMY COBB 'So that nobody else can hear' Contempo Vibrato L.P.
As Jimmy is a jazz session drummer, this late '83 L.P. is as one would expect jazz orientated, but wait! The title track on. side one is brilliant Soul, the slow shuffly intro reminds me of Nina Simone's 'My baby cares'. Greg Hines and Marilyn Redfield are the 2 singers and the overall structure of the song is in the classic 'Marvin and Tammi , boy loves girl mould! 'Speak softly darling, whisper gently in my ear . . . . so that nobody else can hear' . Greg and Marilyn's mellow voices blend into each other so skilfully they tend to distract the listener from the distinguished backing musicians, who include 'Freddie Hubbard and Pee Wee Ellis'. I hope you all get to hear thi s, it could just have easily come from '63 instead if 1983.

YOUNG HOLT UNLIMITED 'Just ain't no love' MCA L.P.
From a jazz L.P. with a difference, to a jazz duo with a difference . Eldee Young and Redd Holt are well known on the scene via their brilliant version of the film score ' California montage' which first gained exposure at the Highland room. This instrumental doesn't add or detract to the Barbara Acklin vocal, but if instruments ever came back into vogue, this would be right there, leading the way, definitely one for Stafford's oldies room. Taken from the excellent 'Soulful' strut' L.P.

GARNET MIMMS 'Right in the palm of my hands ' AristaL.P.
New York recording from 1978 and unlike the mainstream Soul records from this area and this time, it has a lightweight 'fresh' feel about it, almost to the extent of being blatant pop, but the man ' s voice drips Soul on this great little shuffler. The L.P.'s 'Has it all' which also contains the full version of his semi-disco smash ' What it is'. Pity poor old Garnet is only remembered for 'Looking for you'.

OTIS REDDING 'The match game' Atco L.P.
Eh!! . . .. good time, Soul time. Now aost people either love or loath our old Otis and I must admit that I've gotta be in just the right sort of mood for him, but there ain't no doubt that he is the main man. This track taken from the
'Tell the truth' L.P. makes you wanna stomp in the way he wanted us to. 'You strike me and I'll be the flame ' !! Don't worry Otis yer flame is still burning, no way will Russ Coe believe he's dead.

IMPRESSIONS 'You want somebody else' Curtom L.P.
From the 'This is my country' L.P . , this must go down 'as my fave Impressions recording, and you don't have to be clever to realise how aany gems these blokes have churned out. This track really epitomises their incredible style, a nice mid-tempo plodder which gradually works itself up and down in tempo, carried along by the cool vocals of Curtis. Nice to see the Kent label showing interest in re-issuing this groups L.P.'s, but they shouldn ' t have overlooked this one, cause this is 'Soul class'.

MARV JOHNSON 'So glad you chose me' Tamla Motown L.P.
From the classic Chicago sound , over to the classic Detroit sound. It really is a pity that this man only received minimal success with motown and it's suprising seeing that he went way back with Berry Gordy, in fact he was the first artist ever to be released by him. This L.P. 'Pick a rose' is faultless, pure motown all the way. Recorded in 1969 this track is a classic dancer, written by Dean , Weatherspoon and Bowden , it belts along in true motown fashion. The true roots of northern? Well!! that goes without saying.

FOUR PROS 'Just another girl' Carla
(Ed. -thi s isn't a quartet from Soho) . Back to the singles and we've got this fast loud Detroit tune with screaming tortured vocals, screaming tortur ed sax and that compulsory tinkly piano. Unless you're extremely fit or doing
naughty things, this one wil l put you out of action for at least fifteen minutes .
'You can't let one girl get you down, it 'll make your pulse beat slow' . . . well this one certainly won't. Northern Soul , loud and proud.

MARVELOS 'Somethings burnin' Loma
Now this record doesn '·t need a title like it has, all it needs is a few spins at any all-nighter and the dance floor will be set on fire. It's that magic full group sound, up-tempo, full of strings, good backing vocals, sounds slightly echochamberish. The lyrics are brilliant 'Smokey the bear, would pull out all his hair, if he could see this heart of mine'. Please somebody out there in 6T's land give it a spin and just watch 'em burn.
(Ed . -Better than Burning bush eh!!)

SOUNDBREAKERS 'The jerk is catching/Trying' to get back with you' Symbol
New York sixties recording from a label more famous for the Poets. In fact this group could easily be the Poets, as the style of T.T.G.B.W.Y. is very similar to 'I've got two hearts' the Poets 60's dancer. Both the above tunes are first class. 'The jerk is catching' is a title that needs little explaining, 'Tryin' to get back' is the usual'lost a love' saga, again 2 good sixties dancers that are just too good to be ignored.

INFORMATION WANTED PLEASE -on the following releases to fill in gaps in listings ONEDERFUL 0/1/2/3/5/9/13/36/42, OMEN 1/4/14, THOMAS 1/2/5/8, M-PAC 17/18/23. Twilights -"No greater thing", ST. LAWRENCE l/2/3/6/15/16/17/18/19/21, SATELITE 1/4/9/11.
I've also started work on the New York based BIG WHEEL label, the Chicago based ALTEEN label, the Detroit based WILD DEUCE label, the Pittsburgh AMERICAN ARTS label and the nationally distributed GARRISON label -Can you help? Still need info. on the SHRINE, NOTE and SOUND GEMS labels. If there are any listings you would like to see drop me a line. Can anybody provide info./track listing on the Lupine records compilation alb\.DD entitled the 'Original Sound of Detroit ' released on U .K. Speciality. The L.•P . contains tracks by The Falcons and The Corvettes . Recently read that Gino Washington's "Gino is a coward" was released on 6 different Detroit labels -I know of Correctone, Ric-Tic, Do Re De and Sonbert, do you know of anymore? For the last 22 years I've been working on a J.J. Barnes discog./life story, I'd welcome any snippets of info. on his recording career (either under his name or a psuedoname) prior to and after his much publicised Groovesville/Ric-Tic/ Revillot period in Detroit, especially his early 60's outings on MicKays, Rich,kQbl&, Ring, etc. Thanking you in anticipation of your help.

''It's a heartache" was c/u as Sam Coltraine by Pat Brady circa 82, current value around £15. Little Charles also had a release on the Detroit based Drum label entitled "Got my own thing going/Hello heartbreaker" (D-1202). It could be possible that 1/ there are 4 releases on this label which was Voul With previously thought· to have only one release the Famous Billy Hambric "She said goodbye/Found I'm trying to prepare an article on issues of Mot for Stl•Haw ld ¦a• Jrl,usk: c;o,
late 60's Chicago label was set up by Johnny Haygood who previously worked with the New York based 'Groovy' label but left this label as he was unhappy about the fin~ncial rewards that his son Darrow Fletcher had received for his 4 releases on the label. Johnny Haygood had a hand in co-writing some of his sons releases and also helped produce several sides.
1001 Paul Smith 'I'll run' {Maurice Simpkins) MW 738 (Both sides produced 'Ain't that something' (P. Smith) MW 739 {by Ted Daniels 1002 Darrow Fletcher 'What have I got now' {M. Simpkins) 1002A {B.S. Prod. by 'Sitting there that night' (Haygood/Fletcher) 1002B{Ted Daniels 1003 Darrow Fletcher 'Infatuation' (Simpkins/Fletcher) 1003A (B.S. Prod. by 'Little girl' (Haygood/Fletcher) 10038 (Ted Daniels 1004 Paul Smith 'Only one in a lifetime' (Daniel/Smith) 1004A (B.S. Prod. by 'Ain't that something' (Smith) MW 739 (Ted Daniels) 1005 Bobbie Brown 'I gotta have you' {Daniels) 52267A Prod. by Daniels/Gosev 'Love won't give us a chance' {Daniels/Jackson) 52267B Prod. by Daniels/Jackson 1006 Darrow Fletcher 'What good am I without you' {McNeir/Mancha/McNeir) V4KM 7329-2 'Little girl' {Haygood/Fletcher) 1003B A -Prod. by Don Mancha, B -Prod. by T. Daniel, arranged by Mike Terry. 1007 1008 1009 Lovemasters 'Pushin' and pullin' (J. Moore/Simpkins) 1009A (B.S. Haygood 'Love train' (Don Mancha) 1009B (productions 1010 Joe Savage and 'All power to the people Pt I' (J. Moore/D. Mancha) lOlOAR
the Soul People " " " Pt II'( " " ) lOlOBR Both sides a Haygood production. Stereo recording 1011 Pam Colquitt 'I done got over loving you' (Johnny Moore) 1011A (B.S. Prod. 'It's gotta be love' (J. Moore) 10118 (by D. Moore
Several persons mentioned the Detroit Soul Masters 'Stirrin' up some Soul' as a Jacklyn release, but gave no release number or its flip side -can anybody add any info. on this or the 2 missing numbers.
The 2 best known sides are 'What good am I' and 'Pushin' and pullin', both have been played on the scene; 'Ain't that something', 'Pushin' and pullin' and 'I gotta have you' all have similar/same backing tracks.
3 different label colours were used -1001 had a white label with red/brown writing, 1002/3/4/5/6 had a yellow label with black writing and releases 1009/10/11 were on an orange label with black writing.
Demonstration copies are not thought to exist of any of the releases, whilst none of the issues are particularly rare or expensive, all sell for around £1-2 thanks to Eddie Hubbard (Banbury}, Bob Hitchcock (Ormskirk}, Gilly (Derby) and Roger Nicholls (Willenhall) for their help.

This article which we have Pete Gregory (Welling) to thank contains a chart analysis of every record to enter the Blues and Soul U.S . top 100 during the year 1970. This issue we deal with the artists with the surnames A to E, future editions will progress through the alphabet. Figures in brackets indicate the record
achieved a

DARRENS PAGE
Issue 2 at last, quite a lot has happened since last time with Bradford Bensons and Rotheram's Clifton Hall nighters closing down. All is not lost though with Bradford Bensons staging fortnightly all-dayers and the Loughborough all-ni ghters on the first Friday in the month. The last one (1 . 6 . 84) being the best all-nighter I've been to in a long time. It seems like years since the last all-dayer of any note, immediately springing to mind are Jaspers in York, the Todmorden all-dayers and of course the legendary Snaith all-dayers, the best thing that ever happened to promote 70's, SO's dance music .
By July, however, there should be a new all-nighter venue in Yorkshire, watch the Soul press for details. Right,on with the reviews; first off a memory from the Snaith all-dayers of 1980.
The Intrigues " I'm gonna love you" Yew
In my opinion their best ever recording, all the qualities that made "In a moment" so popular, but with an extra something added. Superb harmonies and an excellent lead vocal make this mid-tempo dancer a real stand-out record in any spot. Usually found for a couple of quid, a 'winnie' classic , give your ears a
treat.

Bill Harris "Am I cold, am I hot" RCA
One of Bradford's biggest 70's records after only a few weeks. The 'uptown Saturday night' man is back with a bang. Distinctive Soulful vocals on this 1975 mid-tempo outing, written and produced by the late Van McCoy, Bill asks where he stands with his woman, ' i s he cold, is he hot', the record is certainly hot!

Grey and Hanks "Love's is command" RCA 12"
A more up-tempo record which met wi th instant approval upon first play. Also produced by the talented duo, this b-side from 1980 is one of many fine dancers that they have recorded over the years . Solid beat and powerful vocals makes this a dancefloor winner.

Ronn Matlock "You've got the best of me" Cotillion L.P. 25
Another track from the superb "Love city" L.P. which contains "Backstreets" (See Issue 1). One I've been playing for a few months now and finally getting the recognition it deserves. An amazingly Soulful down-tempo record which took over from Walter Jackson as my finishing record. Ronn's voice really complements the laid back strings 'n' things of the Detroit Symphony (a real 60's cover up name if ever I heard one), one of the best records I've heard in years, if you're into quality Soul music, buy the L.P.,you won't be disappointed.

Ujima "I'm not ready''
A record which picked up a few spins at Cleethorpes via Mr. Hampsey. Excellent Mecca/Pier type up-tempo dancer from 1975. With light vocals and crisp backing, the lead proclaims his undying love for his woman; deserves to be a classic.
Keni Burke "Can't get enough (Do it all night)" RCA
Another record I've been playing for a few months now. Taken from the L.P. "Changes" and released in the States as b-side to "Risin' to the top" in 1982. (Ed. -Had no UK 45 release) . A very catchy up-tempo dancer with excellent use of horns and bass complemented by Keni's vocals.

Jesse Anderson "Pick up the phone"
A record I've just started playing and already getting a lot of dancefloor reaction. Light vocals over a solid bass beat as Jessie pleads with her man to give her a chance and pick up the phone. A late 70's dancer to listen out for in the next few weeks to come, cheers Barty!

Detroit Sounds of Friction "I'm leaving you" Heavy Sound Inc.
Originally covered up as Mel Britt by Richard and the Idle few by Arthur?! A record first played at Snaith around 4 years ago but never really gained the popularity it deserves! Mid-tempo early 70's recording. Brass intro and then in comes the deep lead vocals explaining why he must leave his woman and get himself together. Plenty of breaks, plenty of Soul, copies however aren't plentiful. Last time on Soul Bowl it was £10, but the value is already rising due to reactivation.

Jo Ann Courey "I got the power" Twirl
Memories of Cleethorpes dayers 1978. A record that Poke used to feature around the same time as Mickey Lanay, Bobby 'Guitar' Woods and Melvin Davis . All of which have stayed pretty obscure despite the latter two being pressed. "I got the power" really epitomises Northern Soul at its best, a superb up-tempo New York dancer. Good use of horns and a thudding beat makes this a gem of a dancer . Last seen on Soul Bown at £30, worth every penny.

Debbie Taylor "I don't wanna leave you" Arista
And now for something completely different. One of my all time favourite deep Soul records . How can anyone describe perfection, words really do not do this justice. Debbie's extremely powerful,almost gritty voice wails out "Why she can't stay with her man". Excellent sax rap perfectly finishes 5.30 mins. of pure Soul. Still sends shivers down my spine everytime I hear it. Would you believe a Tom Moulton mix from 1975, Soul as deep as you like and then some .... , buy it now!!

Until next time, ..... All the best, Darren. (June 84).

WANTED:
The following singles: Tamla 54026/30/32/43/44/50/52/67/81, Soul 35007
Gordy 7003, Motown 1000/l/2/5/6/10/19/20/25/26/47/49, V.I.P. 25002/3/11/18 Alternatively,would anyone be prepared to tape any of the above for me. I would be prepared to pay for or exchange for a casette of your wants. CONTACT: PETER GREGORY, 226 Montrose Avenue, Welling, Kent. DA16 2QX
FOR SALE: Vickie Baines "Country girl" (Parkway) £55 _ WANTS. p .
Pat Lewis "No one to love (Solid Hit), Eddie Day "Guess who loves you" (Shrine) Chandlers "Love makes me lonely" (Col Soul). Must be Ex/Mint, please contact George Sharp 0274 568042.
Graham Coates (Lincoln) mentions that a 'Modern' label listing appeared in fssues 7 and 8 of a mag called 'Blues Research' . Can anybody photocopy the listing and send'.. it in.
BONUS RECORDS
When buying singles one tends to get one good side and one not so good side, so isn't it a bonus to get two good sides, a typical example of a record that falls into this category is the Commands release on Backbeat 570. This was the groups only release on this label and what a release "No time for you" a brilliant slow/midtempo group harmony sound which is probably my favourite of the two tracks and contains typical lyrics about a guy who ' s been rejected by his girl, then she wants to return and he tells her •he's no more time for her and finds another girl, contains the rather suggestive line "it's been a long time since I held you in my arms and even a longer time since I felt your many charms"!? (Sexist humour} "Hey it's love"

DEEP STUFF FROM EDDIE

Carl Weathers "You ought to be with me" Mirage
Quite a recent release this, (1981) the song is built around Carl feeling lonely and attempting to persuade his girl to spend the night with him. With a classy vocal style similar to 'Peabo Bryson', full marks are also due to 'Hadley Murrell' on the production side for creating a romantic quality backing of piano, cymbals and strings for Carl's soulful tones to soar over.
Shouldn't be too hard to find as it's 'Atlantic' distributed, well recommended for those 'late night' soul sessions.

Banks and Hampton "Caught in the act" Warner Bros. (of getting it on)
Continuing the easy going theme of 'slowie', this is another of those 'slipping around' epics that were so prominent around '76, though this is a real stand out cut, with ace lyrics about a guy being caught bedding someone elses wife in a hotel room, i.e. "Get dressed baby, I'm afraid we're caught, your husband is here, somebody must have tipped him off, he's waiting in the lobby with tears in his eyes, and he'e not there alone, my wife is by his side." It's produced as well as sung by Homer Banks and Carl Hampton, another sound that's near to perfect in all departments.

McKinley Travis "Baby, is there something on your mind" Pride
Although a true deep sound,· this has 'northern' stalwarts Art Freeman and Bobby Sanders (who also issued this recording on his own 'Soul Town' logo) on the production side.
McKinley asks his girl what's wrong with her as she's acting 'quite strange' as he puts it. "I've only been out with the fellas once or twice this week, I came home one night with lipstick on my shirt, is that's what's blowing your mind?"
Similar to an early '70's 'O'Jays' number, my thanks go to 'Ady Pountain' ·• for putting me onto this slice of Soul magic.

Rozetta Johnson "Who you gonna love" Clintone (your woman or your wife)
Sam Dees at the writing and producing helm again on this amazingly brilliant item from 1972, the ultra-soulful Rozetta is giving her man an ultimatum as the title indicates, to make up his mind where his true love lies, displaying with bitter irony all the hurt and despair of a ditched wife. "You could have at least got a room for the night, instead of loving her in my sight." Sympathetic male backing gives this wa ing a full sound, wistful strings flow in and out creating a vinyl masterpiece that's once heard, never forgotten -great!!

Jerry Butler "I don't want to hear it anymore" Vee Jay
The ever consistent Jerry Butler's achingly soulful voice has (for me) never been displayed to better effect than on this early 'Vee Jay' cut, especially at the beginning of the song as he sets the scene with just a piano for accompaniment "In my neighbourhood, folks don't live so good, the rooms are small, most of the buildings made of wood, I hear the neighbours talking about you and me." What he hears through the thin walls is the heart breaking news that his girl has found another, and though he realises it's true, he'd rather not hear about it. The backing is very simple and dated in style, but a vivid and nostalgic reminder of a Soul style sadly erased in the passing of the years.

Bobby Womack "American dream" Beverly Glen
After the last review, I felt it would be a good idea to come right up to date (April) and mention this pure Soul outing from the superb 'Womack Poet 2' album, to attempt to show that true Soul still exists in 1984.
Bobby sings in typical harsh gritty style of his hopes that the 'American dream' of love, hope, peace, etc., will become a reality, using the great idea of dubbing one of 'Martin Luther Kings' speeches to the track to create a real spine chilling opus
The whole cut reaches a climax near the fade out with Womack and the girly backing singing in true gospel tradition, while 'Martin Luther' preaches his famous 'I have a dream' speech in the background.
A truly inventive idea, great uplifting Soul!!
Mike Williams "Lonely soldier'! Atlantic
One of the all-time Soul greats this, highly rated by anybody who's heard
it, but probably quite unknown by the mainstream of collectors. Maybe now that
the likes of 'Ray Pollard','Gene McDaniels' style of 'slowie' are being spun at 'nighters'this will garner a few plays as an 'ender'.
Set at a slow to medium pace, and held tightly together by organ, drums and stabbing guitar, Mike's plaintive story of a sold.ier sent to fight overseas soon hits home to the listener, via the heartrendering lyrics "I'm a lonely soldier, many miles from home, with a heart that's heavy, but with a will that' s strong. " An all round winner, if you're only slightly into slower sounds you should dig this. American copies sell for about £2 to £3 and UK Red Atlantic issues around £5.

Jimmy Holiday "The turning poin,t" Liberty
Of all the sounds I've reviewed in this column, this is undoubtedly my favourite, a definite for my all-time top 10 (if I were ever fool-hardy enough to compile one!) (Ed. -Guess what I was going to ask you to compile next, Eddie?!!)
From the opening groove this is a truly magical record, just listen to the flowing strings and strumming guitar as Jimmy sobs "I'm a man, no not a boy, God made me human, not a toy, then my love went wrong and my heart got broke, now I stand alone at the turning point._" It's tear-jerking stuff all the way and Jimmy sounds as if he isn't going to get over his lost love as he wails remorsefully on the fade-out. "I don't know which way to go, left or right, crying myself to sleep each and every night."

Credit for recommending this to me goes to 'Pete Widdison' thanks mate, for putting me onto a record to end all records.
That just about wraps up the reviews for this time; if anyone out there would like to hear these records (and more like them) just mail a tape (plus an s.a.e. ) and I'll record them. Also would like to trade tapes with other 'deep' Soul collectors, as I ' m sure there must be many more goodies hidden away in collectt.oas. Write to Eddie Hubbard, 34 Longleat Close, Banbury, Oxon. OX16 9TG

John Pugh (Wolverhampton) wrote in and asked for a Teri De listing (Ed. -I'm already working on it) anda U.K. Jay Boy listing. He mentioned that it was suggested to him that Chris Bartley and Chris Jackson are one and the same person - anybody know?

John Anderson (Soul Bowl) informs me that Singing Sam of "Move it baby" fame is not Sam Ward of 'Sister Lee' fame, but the guy from Sam and Kitty "I've got something good" on the 4 Brothers. A fact confirmed by Graham Anthony (Derby) who says both records used the same writers (Weems/Dandridge) , the same productions (wee-dan) and the same music publishers (Fairshake). Possible that the ' Dandy' label was connected to the '4 Brothers' label. Interesting, but it still raises the question whose Kitty and what's Singing Sam's surname?

S-O-U-L FROM THE 70s
A lot of people have differing opinions of 70' s Soul music, but one thing'.s for certain, the 70's produced some of the finest "L.P.'s" of all time; if you don't believe me please read on

CURTIS MAYFIELD "Curtis" U.K. Buddah 2318015
This 1970 released album was a natural progression from his 'Impressions ' days. A concept album i . e. Social awareness/status etc. , which was 'in vogue' during the early 70' s e.g. 'What' s going on' -Marvin Gaye, 'Ship ahoy' the O' Jays, 'The devil is dope' -Dramatics. If one can imagine determination, degradation, pride, hope, sufferance, deception and love conveyed in lyrics by one of Soul music' s greatest songwriters, then this is one of the finest L.P.'s of all time. The full version of 'Move on up' is a gem, complemented with bongo , sax and string breaks, a typical Mayfield inspirational song. The gentleness of 'The makings of you' , the reality of 'We people who are darker than blue', the thought provoking
'If there's hell below', the hopeful 'Miss black America' and the sad and depressi ng 'The other side of town' all combine to make this his first and probably best album; although his 'Roots' L.P. isn't far behind.
I've just played J . Blackfoot's 'City slicker' U.S. Steeltown album,certainly the best L.P. I've heard for years, do yourself a favour and give it a listen too.

HAROLD MELVIN AND THE BLUENOTES "Ditto" U.K. C.B.S. 565350
Gamble and Huff certainly ruled the waves with the 'Philly' boom of the early and mid seventies. I.'m sure all connoisseurs of slow/deep Soul ballads will love this 1973 L.P. Everyone knows the classic 'If you don't know me by now', but that to me is overshadowed by classic cuts such as 'I miss you' with it' s ingenious telephone rapping and pleading vocals of a young Teddy Pendergrass. The bluesy tinged 'Yesterday I had the blues' is great and 'Be for real' is a rappers delight. Also included is a good rendition of the O'Jays oldie 'Let me into your world' and there's nice falsetto wailing in the final track 'Let it be me ' . An L.P. full of emotion and drama with an essential factor running throughout, one of sheer CLASS!

AL GREEN 'I'm still in love with you' U.K. London SHU 8443
To be fair Al was one of my idols of the 70 's, so this review is biased to say the least! I rate this 1972 album my fave by a short head in front of hi s other L.P.'s 'Call me (come back home)' and 'Living for you'. Al had a unique sytle, laid back yet emotional and intimate, complemented by an amazing vocal range, not the power house of Otis Redding, but still unforgettable. All of Al's best songs were either about Love or Religion, the latter of course he dedicated his life too. All the tracks are typical 'Green' with stabbing brass, sparse strings and a female backing. My fave cuts are the title track, the up-tempo 'Love and happiness' (years later ripped off by Greg Jolly with 'Love is' on the Enjoy label !) , the intimate 'Simply beautiful', the marathon version of 'For the good times ' , the chirpy 'Look what you did for me' and even a bouncy version of 'Pretty Woman'. It's such a pity that we'll never see the name of Al Green gracing the charts again -happy days!

DRAMATICS 'Dramatically yours' Volt VOS-9501 (U .S. only)
Like the former reviews, a name linked with the past and well known in the 'Northern fraternity' for 60' s releases on 'Wingate and Sport'. However, the link ends there as this 1974 album (their third L.P.), is full of masterly ballads, the hallmark of the group. To me, like the previously .mentioned H. Melvin set, this is Soul group perfection. A mixture of gritty lead vocals , faultless falsett o and ace group harmonising. The stand out cuts are 'And I panicked' , 'Toast to t he fool' (released on U.K. Stax 2025-117A), the mid-tempo swayer 'Highway to heaven' and the highly intensified 'I made myself lonely' . Rumour now has it that the group have split, so after L.P.'s on Volt, ABC, MCA and Capitol so ends the career of one of the most underrated (and unplayed in the U.K.) Soul harmony groups of all time . One of my greatest disappointments in life was never seeing them ' live' but at least I do have their L.P. 's to cherish and play forever.
(P.S. -I'm in desperate need of the 'Dells v's Dramatics' L.P. on Cadet -anyone got one for~ or could tape for me?)

JACKIE MOORE 'Sweet Charlie babe' U.S. Atlantic SD 7231
A 1973 L.P. split by two producers, the Miami tracks by Dave Crawford and Brad Shapiro and the 'Philly' tracks by the 'Young professionals' (i.e. Lebaron Taylor, Phil Hurt, Tony Bell and Bunny Sigler on title track} . Side one contains three tracks from the 'Philly' sessions, starting with the bouncy 'Sweet Charlie baby', the classy up-tempo 'Clean up your own yard' and the haunting 'If', certainly a 'grower' after a few spins; next is a great cover version of the Elgins motown classic 'Darling baby'. Side two starts with the 'Philly' dancer 'Both ends against the middle' which got a few spins on the 'Northern' scene.
The Dave Crawford 'Miami' sounds are classics, 'Time' a gritty, funky protest song with laid back horns, followed by 'Precious, precious' which has a great southern feel to it, with its flowing sax. This is an album that has great appeal to any
Soul fans.

Till next time -happy listening, Dave Hitch.

(Ed. Dave is interested in swopping tapes of Soul music, be it 60's, 70's, 80's, deep or whatever, please contact him at 107 Westbrook Avenue, Walsall, West Midlands,

KENNY CARTER
In the true tradition of this mag, we bring you another in-depth report on one of Soul music's forgotten singers -Kenny Carter was born somewhere in America, several years ago; he became interested in music and over a period of years released at least 6 records
RCA "I ' ve got to find her" (Larry Banks/Bonnie Head) 2 :30 TPKM 3410 47-8791 "Body and Soul" · (Green/Heyman/Sour/Eyton) 3 : 12 SPKM 5124
B.S. produced by Paul Robinson and arranged by Garry Sherman.
RCA "Got to get mysel1 together" SPKM 5126
47-8841 "Showdown" TPKM 3411 RCA "Don't go" (early '67) 47-8970 "How can you say goodbye!"
Renee "What about the children" (Kenneth Head/Troy Davis) 2:20 R223 RE 3001 "Why do you have to go" (Verve Allison/Ewart Abner) 3:15 R224 B.S . produced and arranged by Dimp Paco and Deep Down Atlantic "I ain't got love" (J. Northern/K. Head) 3:21 A.24678 45-2898 "It's sad when love is gone" (K. Head) 3:20 A.24680
B.S. arranged by Tony Camillo and produced by Kenneth Head (1972) United Artists 308 "Hey lover"/?
Kenny's superb mellow voice really excells on his RCA outing~yet in my opinion was let down by 'average' material for his later releases. As implied by the song titles, the lyrics convey Kenny's disappointment in having no love or having lost his love. All his releases fit into the sad ballad category, it would have been interesting songs.
The Renee Label RE 3001 Kenny Carter "Why do you have to go/ What about the children" 3002 Jungle Jim "Masai,(do the masai children/ Inst." 3003 3004 Midnight Movers "Follow the wind, Pt. I /Pt. II" 3005 Midnight Movers "Truckin'/Put your mind in your pocket"
( Graham Coates ) The label was basically all black in colour with the name Renee in orange, (see photocopy) . I would be grateful for any info. on this label re-town of origin, release dates, missing numbers plus anything about Kenny Carter.
site note - the above rough text was just added as a reference aid (site search) best to use our inbuilt pdf viewer at the top of the page for viewing, saving, printing the issue

By Seano in Articles · October 9, 20195 yr

Los Angeles Soul Volume 2 - Kent Modern's Black Music Legacy 1963-1971 CDKEND 486
Spotlight falls on a recent release from Kent Records, as the title says its a collection of 1960s and early 1970s tracks taken from Kent/Modern. 24 varied tracks making up this volume two. Details and previews follow below...

Preview

Los Angeles Soul Volume 2
Track listing
1. I'll Be Standing By - Chuck Walker & The VIP's
2. At Last - Jimmy Bee
3. Hungry Children - Rudy Love & The Love Family
4. Mighty Clouds of Joy - B.P.S. Revolution
5. Honey - Felice Taylor
6. Slow and Easy - Vernon Garrett
7. Where She At - Z.Z. Hill
8. Don't Believe Him - Stacy Johnson
9. Nobody But Me - The Other Brothers
10. Like I Do - Bobby John
11. Whole World Down On You - Larry Davis
12. It's Getting Late - Al King
13. Jodine - Earl Foster
14. Then I Found You - Rudy Love & The Love Family
15. The Good Side of My Girl - Clay Hammond
16. The Thought of You - Jeanette Jones
17. You're Still My Baby - Venetta Fields
18. Rock Me Baby - Millie Foster
19. What Is This World Coming To - Charles Taylor
20. What the Heck - Lowell Fulson
21. Funky Duck - Four Tees
22. I Need You (2nd Version) - Arthur K Adams
23. Ghetto Child - Johnny Copeland
24. Peace of Mind - Chuck Walker & The VIP's

Release Notes from Ace Records
Authentic, occasionally obscure, but always groovy, West Coast soul. Southern blues abounds, while gospel and Motown’s influence are also present.
Here are 25 more tracks from the deep reserves of Kent/Modern 60s and early 70s soul. The selection is a thorough cross-section of the company’s favoured stylings – blues, funk, straight soul, jazz-tinged ballads and deep wailers along with a handful of appropriate soul dancers for those with a pulse.
Prolific performers such as Z.Z. Hill, Johnny Copeland and Clay Hammond are alongside one-off 45 artists like Jeanette Jones, Earl Foster and Chuck Walker. Walker’s little-known deep soul ballads open and close the compilation and there are stunning slow soul performances from Jimmy Bee and Venetta Fields. Blues meets soul with Larry Davis, Al King, Lowell Fulson and Millie Foster, whose version of ‘Rock Me Baby’ is sensual and previously unissued.
Moody, early soul dance tracks come from Bobby John and the Other Brothers, while uptempo offerings are sung by Z.Z. Hill, Vernon Garrett and Stacy Johnson. The newly discovered ‘Honey’ by Felice Taylor was penned by Steve Cook and Charles Tate of ‘Too Darn Soulful’ fame and gospel choir BPS Revolution contribute a terrific, largely unknown, mid-tempo LP track. Funkateers will undoubtedly dig the Rudy Love, Charles Taylor and Four Tees sides.
The compilation features the type of music that LA’s black record buyers wanted in the soul era. The Biharis undoubtedly knew their market.
ADY CROASDELL @ady croasdell
Leaflet Images

This product is also available in these versions:
Los Angeles Soul Volume 2 - Kent-Modern's Black Music Legacy 1963-1972 (MP3), MP3 (£7.99)
More info, images and purchase options via Ace Records website
https://acerecords.co.uk/los-angeles-soul-volume-2-kent-moderns-black-music-legacy-1963-1971

By Mike in News Archives · October 9, 20195 yr

Shades Of Soul #1 Jan 1984- Fanzine Scan
Editor Derek Pearson aka @Derek Pearson
site note
A quick intro to a new ongoing series of pdf based reference articles
This and other fanzine scans were originally posted in our forum by our members
As time allows work is ongoing to convert the pdf scans uploaded of various fanzine/mags to a lighter and a more searchable format and then present them in a stand alone user friendly format
As you can see you can now search these articles fanzines content and copy and paste the text (though results may be mixed depending on the original quality)
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Credit and deserved thanks go to the members who scanned and cataloged/grouped the uploaded forum scans/posts including Bob, Sean and Chalky @Theothertosspot @Seano @Chalky plus others

Text version of above - this is a rough (very rough) text version of the above scan and is added for reference (so the site search engine can index the document - suggest use the above pdf to read)
Shades Of Soul #1 Jan 1984
Editor: Derek Pearson, 17 Crooke Lane, Wilsden, Bradford, BD15 OLL, West Yorkshire. Tel: Cullingworth 273758
CONTRIBUTORS - Darren, Stuart Raith, Eddie Hubbard, George Sharp

Hope everybody's had a Merry Christmas and here's my best wishes to everybody for a happy 1984. Thanks for buying Issue 1 of the mag (the first of many, I hope) . I trust you will find it both informative and interesting and also stimulate people to send info to me. If all you collectors send me a trickle of information, I can let it flow together to form a river of knowledge (corny or what). I hope I will not knowingly reproduce articles/label listings which have previously been printed. Without having read or seen every Soul magazine printed in the UK over the last 20 years, one is not aware of every article that has been prEpared. Certain discographies may be reprinted if the new one is an update of the old version with additional facts and figures . Providing s~several years has elapsed since:e t the initial printing of a label listing, I think there's enough justification to reprint the listing if it's an important and interesting label which will advance thE! readers knowledge of Soul music. For example, after spending a lot of time and effort trying to piece together the 'Backbeat' listing I was informed that it had originally bE!en printed in a 1973 edition of 'Hot Buttered Soul ' . Since that was 11 years ago, I thought that the number of collectors (both recent and of long standing) who had seen a listing of this important Southern State label was very small, thus making a reprint justifiable. If there are any:" label listings which you would like -to see printed, send in your request to the address a t the top of this page and I 'll see what we can do! (Ed -Don't anybody dare suggest a U.S. RCA label listing! ! )
Note the two different label designs on the Dynamics Top Ten white demos. Thanks to George Sharp for his photocopy, he owns the one on the left, mines the one on the right. Anybody know why there's a difference? Both (light blue) Top Ten issues and white demos retail at around £12-15.
Rumour has it that Keith Minshall recently sold his copy (the only known copy) of the Executive 4 "Good thing going" for £180 . Also Larry Clinton "Wanted in 3 States" Dynamo recently fetched £120. Also a copy of Jimmy Burns "I really love you" Erica recently turned up on a U.K. Blues list on sale for £1 -somebody got a bargain.
(Ed -Understatement of the year! ) As the title of this rag (Ed -ma1~ not rag!) suggests, I'd like t o cover all aspects of the Soul scene be it Northern. deep, modern, even jazz/funk/blues if there i s sufficient interest. If you have any ideas for articles, jot them down on a piece of paper and send them to me .
At the recent Preston. Gatsby's all dayers on New Year's day, I obtained several D. J . 's all time Top 5. (N.B. -These are NOT playlists)
Gary Rushbrooke
Gwen Owens - "Wanted and needed"
Jimmy Mack - "World on fire"
Jackie Wilson - "Whispers"
Vibration - "Get along without you"
Temptations - "Why you wanna make me blue"
Keb Darge
Chandlers - "Your love makes me lonely"
Big Joes Ivory Brass - "She won't see me cry"
Salvadors - "Stick by me baby"
Trade Martin - "The hurt on you"
George Kirby - "What can I do"
George Sharp
Herb Ward - Strange change'
Lester Tipton - "This won't change"
Donna King - "Take me home"
Rita and Tiara's - ''Gone with the wind"
Billy Prophet - "What can I do"
Kev Draper
Magnetics - "Lady in green"
The Group - "I don't like to lose"
Yvonne Vernee - "Just like you did me"
Gwen Owens - "Wanted and needed"
George Blackwell - "Can't lose my head"
Also got Tommos all time top 5:
Don Gardner - "Don't let him get you down"
Magnetics -"When I 'm with my baby"
Yvonne Vernee - "Just like you did me"
Rose Valentine - "When he's not around'"
Melvin Davis - "l must love You"
My top 5 for Jan 84:
Gloria Jones - "Come go with me" Uptown
Con funk shun -"Spirit of love" Mercury
Gloria Jones -"Come go with me" Uptown
D. D. Warwick -"Kept on talking" Atco
Catolinas -"Laughing' thro' tears" Pagoda
Danny Woods -"Had me fooled" Correctone
Recommended Reading:
New Blackbeat from Steve Guarnori, 101 Seven acres , Orton Brimbles, Peterborough PER OXJ out every 2 months .
Midnight Express from Rod Dearlove, 10 George Street, Hedon, Hull , HU12 BJH 50p
The Drifter from Gary Evans , 7 Linstock Ave, Riverdale, Cockermouth, Cumbria , CA13 9ES 60p plus s . a.e.
Support them all, buy them a l l!! !
All articles in this mag prepared by me (Derek Pearson) unless stated. Thanks to George Sharp for photocopies o:f' the Revlons (ex .Al Williams c/u) Honey & the bees Mr . Caldwell (ex. Bud Harper c / u) and Rayford Tucker (ex. George Blackwell c / u)
'BRATFUD' REVIEWED LATE '83
My home town of Bradford (or 'Bratfud' as it's known to us locals) used to have quite a following of Soul fans mainly due to the fact that there was a well known Soul Club in Station Road, Wigan, within easy travelling distance . During the last few years of the Casino and after its demise, a large percentage of local fans ceased to travel to other venues and the interest in Soul music in Bradford· began to wane . Around this time , various all-dayers and all-nighters were tried at the Queens Hall in Bradford. This building in Morley Street is situated behind the famous Alhambra Theatre and house.s the Bradford College Students Union offices and bars . These all-dayers and all-nighters proved unsuccessful,that is until
'After Dark ' promoter Steve Croft too.k charge. All-nighters began on a once a month basis, then onto once every 3 weeks as their popularity grew. During the summer of 1983 on any regular visits I noticed the attendances in both the newies and oldies rooms were gradually increasing as people started to travel from further afield to hear the sounds spun by Pat Brady, Richard Searling, Soul Sam , Steve Croft, Adam, Darren and a variety of guests. As time went on I realised more and more record dealers and collectors were attending, making the night for me, more interesting as I was able to browse throughgh hundreds of records.
My only complaint as regards the Queens Hall was that there was no particular area where record dealers/collectors could gather, the main hall and newies room were too dark , so that left us all crowded into the area between the toilets , the main entrance door, and the door lead.ing into the main hall. I didn't mind the pushing and pulling that went on (Ed. -Memories of the record bar on a Friday oldies night at Wigan) , it was that one couldn't hear the music from either the oldies or newies room properly! After every visit to the Queens Hall, I looked forward to my next visit more and more, then on the 13th of August 1983 the last all-nighter was held, due to renovations and repairs to the Queens Hall. The Soul scene in my opinion had lost one of the best venues for all-nighters, in a long time, yet there are rumours that all night dances may reappear at the Queens Hall in the future.
TNighters were transferred across town to the 'Bierkeller and Bensons' Club owned and run by those 2 long ti.me promoters of northern events -Chris King and Terry Sampson. In fact, all-dayers and all-nighters were promoted at 'Bensons' (prior to the opening of the 'Bierkeller') by Chris and Terry through the last year or so. All-dayers on a Sunday llLsed to follow Saturday all-nighters at the Queens Hall.
On Saturday 24th September I ma1de my first visit to the ' Bierkeller'. After paying my £2. 50 entrance fee (£3.00 for non-members), I entered the Bierkeller (60's and oldies room) which is a squareroom with the stage and record decks on one side, a square dance floor in the middle of the room, and seating comprising of heavy wooden tables down the other 3 side walls. The 'newies' room (_70 's and 80's) is situated in Benson' s night c:lub which is adjacent to the Bierkeller, this room is slightly larger than the oldi.es room, and has more of a nightclub feel to it with its smart decor and comfortable seating.
Both rooms aren't very large when compared to other venues such as Stafford,
Hinckley or Clifton Hall, yet the advantage of this , is that both rooms fill up very quickly and always look busy. The newies room doesn't open till around 2 (the nighter runs from 12 till as i t's full of beer drinking disco fans lurching to the sound of Culture Club, David Bowie, Rod Stewart etc. etc. This means that everybody crams into the Bierkeller for 2 hours, packing into the room like ' sardines in the proverbial sardine tin' . When one stops to think that if a large percentage of the people who attended the much larger Queens Hall venue, come to the much smaller Bensons/Bierkeller venue, one can see why it's always full. As I wasn't armed with a chalk and slate on my initial visit and my memory is pretty bad, I couldn't remember much of the D. J. 's play list except to say that Steve Croft played one of my favourite sounds Lost Souls -"Love Men" (Glasco). I listened intently to the top class c/u's spun by Pat Brady in his hour, which received good dance floor response in the oldies room. For me it was the first time I'd heard many of his c/u ' s and I can sincerely say that such such was the quality of his 60's sounds that I couldn't help dancing to them on my initial hearing, normally I have to hear new sounds, be it 60's, 70's or 80's, several times before I can decide whether I like them or not. One of Pat's most 'Instant' 60 's sounds is the Tay records release -Brook Bros. 'I need a woman' . . .. . ... . . . (Ed. -I need a copy in my collection!)
My next visit to the Bradford venue was on October 8th; this time I came adequately supplied with pen and paper:r. Steve Croft was on first in the oldies room from 12 till 1.30 his playlist included the Tymes 'What would I do' (MGM), Glories 'Worship you baby' (Da·te) and the immortal Linda Jones 'Just can't live my life'. He also spun Chapter Five's 'You don't mean it' on 'tasty' looking UK CBS label plus 2 sounds which have been played constantly at both Bradford venues over the last few months and have reached monster proportions -Belles 'Don't pretend' and Johnny Sayles 'I can't get enough' .
At 1.30 am Pat Brady started off with his Johnny Hampton c/u 'Got to know
her name', then the Twans 'I need yo\llr love' c/u, followed by the Gene McDaniels 'Stop tearing me apart' c/u. I was t:hen seem to make a fool of myself on the dance floor to that 60' s stormer by t:he Brook Bros. 'I need a woman' . Pat also played his Leon Washington c/u 'I found somebody new' and the Chandlers 'A change is gonna come' c/u. Some uncovered sounds which were spun were John Bowie 'You'll miss a good thing' (merben) v.-hich has become a Bradford biggie after months of playing, Larry Hale 'Once' (diamond), Wilbur Walton -24 hours of loneliness an Id ,the superb Lolleta Holloway 'Moth.er of Shame' . (Ed . -I remember seeing a white Aware demo of this record on sale for £3.00 about a year ago and left it as I wasn't keen on the record then, but after hearing it regularly, it's now gone on my want list).
The Esquires said they could ' Dance A hole in the world' , well I could have danced a hole in the floor to Pat's excellent Jimmy Raye ' In the one' c/u.
From 3 -4 am, Adam played established sounds like Larry Santos ' Got me where you want ·me , now• •, plus ., the 2 Bierkeller biggies, Belles 'Don't pretend' and Johnny Sayles 'I can' t get enough' keeping the dance floor as full as ever. I apologise for not providing a more detailed account of Adam's session but as I was constantly 'bobbing' in and out of' both rooms trying to catch people, I didn't make a note of what was being played (moral -man with one body, cannot view two rooms at the same time!)
We left at 4.45 am, so I was only able to catch 45 minutes of George Sharpes spot. George D.J. 'd to little dance floor action with some excellent 60' s sides such as Sonny Herman 'What about me' (Utopia), Ray Agee 'In losing again' (Soul Town), Monique 'Love me or let me go' (Maurci) and Jo Ann Corey 'I got the power' (Twirl). Also spun were obscure sounds by New Yorkers ' Ain't that news' (Tac-full\singing Sam 'Move it baby' (Dandy), and Elaine Jones ' Their doing it' (Angel Town) • After playing hi s 2 cover-ups Verdelle Smith 'Love me and leave me ' and the catchy Donna Washington 'Someone else's turn', my ears were treated to the sound of 'the Prophets/Temptations/? 'Suspicion' and the Proffesionals ' That's why I love you' (Groove City) which filled the floor more than any other record played that night in the oldi1as room. I'm sure that if George who was willing to spin a selection of rare :~nd lesser known sounds was able to do a regular spot every two weeks at Bradford, the dancers would soon come to know and appreciate his records and in turn would fill the dance floors just as if he was playing established oldies .
I apologise for not commenting on the newies room playlist; I hope to do this on my next visit.
It's a pity that the Queens Hall all-nighters have finished, as there was a cafe called 'The Olympus' (known as 'The Pus' to locals due to the Chef ' s excellence in preparing fried egg sandwiches) conveniently placed at the rear of the Queens Hall which stayed open till 3 am on Saturday nights. A lot of nighter-goers used to congregate in the cafe after the pubs had shut prior to the midnight opening of the Queens Hall. Since the nighters have moved across town, the cafe isn't frequented by 'Soulies' anymore on Saturday nights before Bensons, as it's quite a long walk between 'The Pus' and the Bierkeller.
Sorry if this article is slightly outdated, but I thought I'd include it as I haven't seen a report on Bensons/Bierkeller in any of the Soul press except a brief report in December's Blues and Soul .
BACKBEAT LABEL
I would very much like to thank Roger Nicholls of Willenhall, and Graham Coates of Lincoln for all their time , effort and valuable assistance in helping to prepare this listing. The Backbeat label was based on 5208, Wylie, Houston, in the State of Texas, the home state of J.R. Ewing and the land of oil rigs. This Texan label had a 'well' of excellent Soul records and ' gushed' forth with a total of 128 records , many to become classics on the rare Soul scene. Records such as "All of a sudden", "Something's got a hold on me" both by Jeanette Williams and Carl Carlton "Competition ain't nothing" still pack the dance floors up and down the country. Without knowing release dates for any of the records, I estimated that the company probably operated during the years 1967-69 as 8 records from the latter end of the catalogue were issued on the U.K. ACTION label during the late ' 68/mid '69 period. I could be way out on the dates, ao if anybody can offer any assistance, please do! Nearly one third of the releases on the label were divided between a group of 5 well-known artistes, some of them having over 10 releases on the Southern State label . For example (by my calculations) veteran Soul star O.V. Wright had 16 releases , Joe Hinton also had 16 releases,northern hero Carl Carlton provided 10 releases, whereas Roy Head had 8 releases and Jeanette Williams "All of a sudden" chipped in with 5 releases,
Several releases on this label, prompt me to ask the following questions
Are the Catolinas on Backbeat 513 the same group who recorded "Laughing' through' tears" and/or "You haven't the right" on Scepter? Was release number 584 "The flea pts 1 and 2", an attempt by this label to promote a dance of that name, similar to those North American dances such as the Jerk, Philly and the Temptation Walk? Whilst researching into this label I was informed by Roger Nicholls that the Backbeat listing was originally published in a 1973 edition of Hot Buttered Soul, from where a large percentage of this listing came from.
I would be grateful for any information on the 14 missing numbers, I know of a record by Jean Elias "You make me anybody's woman" on Backbeat, but I have no release numbers .
The colourful red based label design incorporating a drum and drumsticks is exactly the same for promotional copies as well as issues, except that on ' demos', the familiar words 'Promotional, not for sale' are printed, along with a line of 3 X's (XXX) indicating the plug side.
Call her your sweetheart/Too much of not enough I know/ Ladder of prayer What would I do/Your love Tell m.e you love me/ Tear down the house Action packed/ I make the love
Grapevine/Mary Lou Pretty little mama/Will you Song of love/Dollhouse Someone else, not me/Pauline My first love/I'm here to tell you
Handsome/Betty Joe Unloved/Hot seat A thousand cups of happiness/If you love me Everybody/Rain, rain, rain Lonely one Romeo The girls in my life/Come on baby Texas is going to be my home/Smile You know i t ain't right/ Lovesick blues
Better to give than receive/There's no in between There ought to be a law/You're my girl Funny/You gotta have love The crying man/I ' ll take love Teenage letter/Pain Don't ·want to sit down/Can't find true love I want a little girl/True love Treat her right/So long my love Everything/Darling come talk to me You gonna make me cry/Monkey dog You oughta see my baby/My one sin Kid n~med Joe/Pledging my love Poor boy/I'm i n your corner It's a sad world/The hands of time Dancing to the shotgun/You're moving too fast Alright/Wonderful you Apple of my eye/I pass the day A friend:a friend of mine/You didn't know then Backbeat 567 Shirley Lawson released on U.K. Soul City 108
DOUBLE DETROIT
Whilst gathering info. for an article on records released on local labels and then picked up for national distribution, I soon realised that there were enough Detroit records released in this category to form1 an article of its own. I haven't tried to indicate which of the several local relea.ses were issued first. Just because a certain label has been typed first on the line doesn't mean that it was issued first on that l abel, e.g. Gino Washington ' s "Gino is a coward" was first released on Correct One, then re -released for the second time as the opening release for the Ric Tic label.
'New Holidays "Maybe so, maybe Soul Hawk/Westbound Emanuel Laskey "Lucky to be loved Wild Deuce/Thelma (Some claim that the Thelma release doesn't exist, some claim to have seen a copy, I don't know myself, I only write these articles!!!) Little Rena Scott "I just can' t forget that boy" Black Rock/Grand Junction Joe L "It's love baby 24 hc,urs a day" Boss/Valtone Soul Tornadoes "Go for yourself" Burt/Magic City Steppers "Come on and get it" Bumpshop/Aware Dee Edwards "Tired of staying honie" D-Town/Tuba Soul Brothers ''What can it be/We ge>t heartaches" D-Town Wheelesville Emanuel Laskey "Remember me `` D-T / Stag Gino Washington "Gino is a coward" Ric-Tic/Corretone/Do Re De Juanita Williams "Baby boy" Wingate/Golden World Cody Black "The night a star was; born" Groove City/Rambrock Mike Jemison •~You' 11 never get my love" Geneva/Lake People's Choice "Ease the pain" Grandland/Palmer Johnnie Mae. Mathews "Lonely you'll be" Art/Jam (Was told that this record was also released on Northern and Atco) Jimmy Soul Clark "If only I knew then'' Karen/ Moira Jim.my Delph "Almost" Karen/Carla Jimmy Gilford "l wanna be your boy" Solid Hit/Wheelesville Fabulous Peps "With these eyes" Wheelesville/Wee 3 Buddy Lamp "Confusion" Wheelesville/Wee 3 Buddy Lamp "l wanna go home" Wheelesville/Wee 3 (Thi s was released 3 times on Wheelesville) J .J. Barnes "Won't you let me know" Mickays/Kable J.J. Barnes "My love came tumbling down" Rich/Kable/Mickays Al Williams "lam Nothing" L.A. Beat/Palmer
Records were released several times generally because on their initial release the record 'flopped' due to either insufficient promotion, the musical climate wasn't right at that time, or simply the standard of the record wasn't good enough. Another company or sister group may have faith in the record (or have been talked into it) and release it again on a new label at a later date, perhaps when the musical climate was better suited to its release.
When a record was released on a local label, there were probably one of two options why it was picked up by a large company for national distribution 1) the record achieved good local sales, and it was released on a national label in an attempt to get a nationwide hit, 2) the record didn't sell well locally, but the record scouts for the ' nationals' were convinced that because of the quality of the record, given good promotion and a push in the right direction, it could result in a nationwide hit.
Records which were released on local Detroit labels first, then picked up for national distribution or released in other towns (Detroit labels first)
Timmy Willis "Mr. Soul Satisfaction'' Sidra/Veep Derek Martin "Sly girl" Tuba/Volt (Also released on U.K. Stax) Innocent Bystanders "Frantic escape" Pameline/Atlantic Masqueraders "A family" L.A. Beat/Tower Jimmy Soul Clark "Tell her" Moira/Cotillion Emanuel Laskey "I need somebody" Thelma/N. P.C. (Pittsburgh) Lorraine Chandler "What can I do" Giant/RCA Tony Hestor "Watch yourself" Giant/Karate Tommy Neal "Going to a happeilling" Pameline/Palmer/Vault (Also on U.K. Vocalion) (Los Angeles) Ronnie Taylor " l can't take it" Revil~ot/Nassau (Cleveland) Just Bros . "Things will get better" Empire/Music Merchant (Hollywood) Edward Hamilton "I'm gonna love you" Mary Jane, Carrie (Nashville) Virgil Murray "I still care" Kool Cat/Airtown Johnny Griffin Inc. "Grand central shuffle" Geneva/RCA (1973) Dynamics "Yes I love you ba.by" Top Ten/Laurie Marv Johnson "Come to me" Tamla/United Artists J . J. Barnes "Just one more time" Mickay,/Ring/Scepter Shaine. Hunter "Sweet things" Awake/Sue Wilson Picket "if you need me" Correctone/Lupine Wilson Pickett " I can' t stop"
Thanks to Cliff Steele of Northampton for photocopies of above Detroit rarities .
Many thanks must go to Graham Anthony of Derby, Stuart Raith of Gt. Harwood and Cliff Steele o:f Northampton for all their time and effort spent in obtaining :facts for inclusion in this article.
In Issue 2 there will be an in depth comprehensive list of records released on local labels then picked up for national -distribution -any additions would be most welcome . Please send them in, listing A 8t B sides, label number and record numbers if possible.
"Wants List" -Contact Derek Pearson, addr and telephone number at front of mag
Kenny Carlton -"Lost and found" Bluerock. Ad Libs -"Think of me" Karen De~o . Informers -"Hard way to go" Blackjack. Ga:rland Green -"Rained 40 days & nights Gamma. Joseph Moore -"I still can't get next to you" Mar.v.lus. Ascots -"Another: day" Mir.a.don. Bobby Kline -"Say something nice" M.B. Holidays -"I've lost you" Groove City. Falcons -"Love look in her eyes" Big wheel. Lou Lawton -"I am searching" Capitol Patti Drew -"Stop and listen" Capitol. Sbo:rty Long -"Baby come back home" Soul. Five stairsteps -"Don't waste your time" Windy City . Blue Jays -"Point of view" Jay•
Wanted Pat Lewis "No-one to love" Solid Hit SH 109 -Contact 0274 568042, your price paid, must be in ex/m nick.
The main aim of this article is to draw attention to lesser known sounds produced by major American labels. OIK, I know this sort of article isn't a new idea but I think I'm justified in printing it as there are so many excellent sounds on major labels that stay hidden in the shadows of more well known sounds.
Many of these 'hidden' sounds a.re well known to collectors through the growing Underground tape scene that continues to flourish, yet I think it's a crime that these records are not played every now and again at venues to gain acceptance by the masses. (The word REACTIVATION springs to mind straight away).
OK enough of the waffle and on with the first label under the spotlight 'the MODERN label'.
The label which produced one of the all-time stomping classics Danny Monday's "Baby without you", Mel Williams "Can it be me" and released six records from the immortal Mary Love including her 'tasty' masterpiece "Bitter into sweet". Here's 3 sounds everybody should have in their boxes.
Mel Williams "Can it be me" Modern 45
I agree this is probably well known by a lot of people, but I must admit I haven't heard it pounding out of any speakers at venues for a long time. Powerful start to this up-tempo dance:r that never lets up. Mel seems really struck on his lady friend, but is unsure of her love for him as he repeatedly sings in the chorus
Shrine and Jacklyn labels and discographies/ articles on Kenny Carter and Darrow Fletcher. I would be grateful for all info.
The selling prices of U.K. rarities has stayed relatively constant over the years with no increase, taking into account the rise in inflation. However, I think prices are set to rise again from what I've seen and heard over the past 4 months with mega rarities like Hoagy Land's 'Next in line" Stateside Demo on sale at £60 , April Stevens "Wanting you" MGM Demo for £40, P.P. Arnold "Everything's gonna be alright" Intermediate Oemo £40 and Barbara Mills "Queen of Fools" Hickory Demo for £80.
by Eddie Hubbard
Kenny Carter "Don't Go" RCA Victor Stunning ballad this, beginning with a big drum roll, as Kenny steps forward, feeling down and out "What more can I say, you've said goodbye . " The girly chorus confirming the point as they call "Bye bye baby", lovely strings and gentle piano make this a razor sharp production in the fashion of other great 'enders' such as "Walk with a winner""uphill climb to the bottom''etc. In actual fact, Kenny sounds very much like Walter Jackson on this 45, as he tries to convince his girl that her new man is of ill repute, "He just wants to use you, he wants to mislead you" feeling so strongly about her that he uses the 'B' side "How can you say goodbye" to emphasise his point. Also an ace side though more 'late night' style with tinkling piano and Kenny getting quite gritty at times (probably desperate by now) "Before I lost my control, tell me how can you say goodbye". Great double sider, which is so good, I can't make my mind up which is the best -always a good sign.
Raw Spitt "Songs to Sing" U.S. United Artists
Deep Soul fave. Charlie Whitehead is the voice behind this gritty, testifying opus, this change of name was used apparently at the Company's request. With lyrics from the prolific pen of Jerry Williams Jnr., this 1971 outing is still topical today, as Charlie sings of his hope for peace and harmony in the world. " If songs to sing, I had a choice, Lord and the whole world could hear my voice , I'll sing about war, completely unjust, I'll sing about a nation the world would no longer trust, I'll sing about the riots, Lord you see on T.V. and how after five hundred years, people still are not free". The name 'Raw Spitt' reflects exactly the mood and style of this record, but it's raw Soul in the best possible way. Very hard to find apparently, (despite the huge label name) but for lovers of James Carr style ballads an essential purchase.
Freddie Scott "Johnny's Hill0 U.S. Elephant V/U.K. Roulette
another Soul man who really excels on slow moody ballads, his strong blues tinged voice combined with mournful horns and piano make this a real killer. The sad story-line is about ~merica's Vietnam war dead being brought home to rest on 'Johnny's Hill'. Here's a few lines from the song which really bring home to the listener the sheer waste of life war brings. "They gave us an old medal but it doesn't mean a thing, Johnny's little brother asks why did Johnny have to die, the Captain says I'm sorry, but I have to tell you again, he was a hell of a soldier, he was one of our best men". A really depressing heavy song then, but tells it like it is and is superbly sung and written. As Kenny Gamble says, "There's a message in the music"!
Mattie Moultrie "That's how strong my love is" U.S. Columbia/U.K. CBS
From 1966 and issued on U.K. CBS (though ultra rare) this is the version of the classic song also recorded by a wh,ole host of Southern Soul stars such as Otis Redding, O.V. Wright and Eddie Giles . Mattie's intense, powerful vocals i nterprete the R. Jamison lyrics with real conviction and feeling. "If I were the sun way up there, I 'd go with my love ,everywhere, I ' d be the moon when the sun goes down just to let you know I'm still around ." Thundering backing and sweeping strings add to the already smouldering wax, reaching a climax in the last seconds with a crescendo of gospelesque wailing from Mattie's trembling vocal chords, "Baby, baby please, oh my, oh my, I just can't save myself, everyday I find myself calling your name, on 11y, that's how strong my love is". Recently re-issued on
U. K. Epics "Lost Soul" L. P., get it or regret it!
Barbara Mason " You did not stay last night" WMOT L.P.
More up to date for this one, a ibeautiful sensual slowie taken from Barbara's 1980 album "A piece of my life". Possibly her best waxing of all time, she brings it all home to her man what he missed the previous night, dig these purring lyrics you did not stay last night, you missed the best thing of your life, you could have kissed my lips, right down to my fingertips, you did not stay last night, missed all the wine and candlelight, I put on my 'best for you, just so I could undress for you". A really sophisticated late night sound, that's a million miles production wise from the 'Raw Spitt' single, though equally as good in its own right.
by Stuart Raith
"GOOSEPIMPLES"
This is the first time my name has gone into print, well regarding Soul anyway. I'll try and review any kind of Soul be it easily obtainable , on one-off, deep , new, anything as long as its got a good tune, and it gives me goosepimples so here goes:
1) SAM AND IRIDESCENTS "WITHOUT MY SUGAR" CAPITOL
Ah pure sixties magic, I know that everybody uses that pun, but it really does sum this disc up. I've seen this record go for as little ,as three quid, and yet it'll probably never be heard by the masses . Nice mid-tempo dancer, which starts off with Sam pleading for his sugar to return, followed by such poetic lyrics like "A nightingale without a song to sina,, like a gambler without a chip, like a captain wjLthout his ship. " Now iiow can you justify not playing records like this pure magic, pure class and miss it at your peril !!!
2) SHEP "FOOL TO FOOL" T.N.T.
Not really hard to find, and at one time a much sought after record, but by gum, wouldn't it be good to hear this belting out of a pair of loud speakers again, during any oldies spot. Shep, in Shep Pettibone who has since made his name in the States producing and mixing a lot of up and coming Soul artists. All one can say about it i s that he sounds ultra Soulful, and with the Don Gardner Orchestra behind him, belting out a crashing sixties uptown beat which is both raw and powerful... need I say more!!?
3) WOMACK AND WOMACK "LOVE WARS " ELEKTRA 12"
From a powerful sixties disc , to a powerful new eighties disc. Cecil and LiDda Wommack have come up with 1;his gem. I read the review in Black Echoes and a week later heard it off a tape from Robbie Vincent's Soul show , and was instantly knocked out with it. Very heavy solid beat, not funky and not your disco dross, very different and very very Soulful, in parts the vocals remind me of those early Philly gems, pj,ty one of the brothers was killed a few years back, I believe they were thinking of reforming the Valentinos, they would have been brilliant.
4) BUDDY LAMP "THE NEXT BEST THING" D. TOWN
Now then, we all know our Buddy don't we, you know the bloke who sounds like he has half a dozen crushed brown ale bottles in his throat. The most striking thing about this record is it's incredibly-simple backing. Starting off with a low key , but brilliant trumpet intro followed by a plodding drum beat and Buddy's great baritone '70ice, again just screaming (literally) to be played . For me his best.
5) CLARENCE CARTER "WHAT WAS I SUPPOSED TO DO?" RONN
Like I said , I 'll review anythin1~, taking a break from the up-tempo sounds, hows about this for a lovely little deep number. Now it' s the sort of record you put on when the telly's finii1bed, the lights are low, bottle of plonk, ten Woodbine and the girlfriend by your side. The songs simple enough, it's all about this guy who keeps acting up Clarence' s bird, and like the rest of us, he ge~s a little upset, aJld eventually , loses his cool and causes a scene, not surprisingly really won the following lyrics slip out, "l just couldn ' t stand to see him rub your behind, be disrespected you and he disrespected me." Dead slow, for1~et the fox, this is a stunner, if you see it, buy it.
6) MONTCLAIRS "PRELUDE 1W A HEARTBREAK" PAULA
Go on then, seeing as you liked 1(;the one above, I'11 review another deep gem. From the partner label of Clarence Carter's release comes this stunner, you could be mistaken for thinking it's called "A lonely man's appeal" and from the title you've probably guessed what it's all about. Soft spoken intro, again dead slow and I must add that the solitary sax which weaves its way through this record is incredibly!, and it' s the sax that really hits you first . I can't really review records of this class, you've simply got to get to listen to 'em.
7) EMANUEL LASKEY "OUR WORLD" THELMA
Back to the sixties , with this splendid little toe tapper, i t's actually the
flip side of "Lucky to be loved." But for me, this is the better side,
coming a close second to "Peace lovin' man" as the best Emanuel Laskey from
this era. It was his fourth rel1~ase for Thelma and was also released on Wild Deuce. The songs great, catchy clip clop beat with clicking fingerpops and handclaps , simple vocal backing and it's almost Mock Mouton great man .
MILT GRAYSON "SOMETHING THAT GETS TO ME" M.G.M.
I 'm totally in the dark regarding: Milt Grayson. This is his only record I 've had the pleasure of hearing, and what a pleasure. It' s enough to send a sixties freak into a frenzied fit. Milt ' s incredible 'baritone voice (makes Roy Hamitton, sound a whimp) is c:arried along by a 100 m.p.h . fully orchestrated backing, with girly voices screaming behind him (yes it's that that good) . I first heard it off Guy Hennigan about four years ago, and it 'll always remain one of my faves, catch it i f you can.
9) LEW KIRTON "JUST CAN'T GET ·ENOUGH" (BELIEVE IN A DREAM (LP)
From the new L . P. the whole album is well as some great cool dancer. Soul how can you argue . playlist. "Talk to me" c:comes this outstanding track, well in truth outstanding including some nice punchy up-tempo tracks as ballads . But this one comes over real Soulful and almost is still being made, with sounds ,of this quality around Almost sounds like it's from Blackpool's late seventies
10) DONNIE BURKS "SATISFACTION GUARANTEED" DECCA
Seeing as this is the last one, I've decided to plump for this little oddball. It starts off like Tom JoD.es 's "It's not unusual" (honest), then you hear this bloke introducing Donni., like he's about to take the stage at a Vegas nightclub . But the thing i s, it isn ' t live, it's just some bloke introducing him in the studio. But I ipore the beginning and you've a great dancer, which is very, very fast, this record I love, great vocals of Donni, great sax break in the middle and again those great girlies backing him up to the hilt. Now this would do business at any all-nighter
Have you ever noticed that when talking to somebody who isn't on the Soul scene or seriously interested i n record collecting, whenever the subject of record prices is mentioned, there's the 1iieyjl table gasps and signs of shock/horror. If I ever mention I've paid £5, £10 or £:rn for a single the most common replies are
" You can get records like that for £1,. 35 in town': or "You've paid a fiver for a s i a single, you must be some sort of head case! " After suffering years of abuse, it's time to get your own back by quoting these following facts
1) Did you know that rare original copies of the programme from the first F.A. Cup final to be played at Wembley between Bolton Wanderers and West Ham Utd on April 28th 1923 sell for around £1.00.
2) Did you know that in November 1983, the butts of several cigars smoked by Sir Winston Churchill were sold by Auction. Two of the butts , one 3½ inches long , and the other 2½ inches long fetched £120 .
OK people can justifiably say that the programmes and cigar butts are memorabilia, articles of history , examples of a time gone by never to be replaced, well surely these statements are ·also true when directed at the collecting of rare American Soul records from the 60's and 70's. If someone can spend £100+ on a cigar butt, then in comparison someonE~ spending £100+ on a copy of Yvonne Vernee ' s "Just like you did me" (Sonbert) is gE~tting a bargain, in the sense that the cigar butts will probably stay eternally locked away in a showcase for all interested parties to see, whereas with a record one can enjoy both seeing and hearing the record, it has twice as many functions as a static exhibit.
My younger brother who collects football programmes informs me that there are also 'shady' dealings going on in the programme world with persons counterfeiting old and rare programmes and sElling them at prices equal to the originals . The Soul scene is not alone in its tre>ubles with counterfeits, pressings etc. , mean who's to know that the Churchill articles aren't "butt legs" . (Ed. -Groan)
A FUNCTION AT THE JUNCTION' 19/11/83
On Friday 18th November my girlfriend and I went down to London for a weekend visit -as we hadn't planned specifically to coincide a shopping/sightseeing visit with any Soul events, we were lucky that 2 days prior to the weekend, we discovered that there was a Record Convention at Kensington Town Hall and a 'Function at the Junction' at the Cornet, Lavender Hill.
After arriving at Oxford Street around 10 o ' clock Saturday morning, we departed ways , Gillian went to the shops and I went to Carnaby Street looking for Terence Stokes record shop, as I had been told that his shop may still have back issues of a London based So.ul mag entitled ' Right tracks' , a mag I 'd heard about but had never seen a copy. I wasn't in luck as non of Terence Stokes 2 record shops had any back issues, however, I did buy a mod fanzine called 'Patriotic' mainly because I saw the magical words 'Ric-tic revue' on the front cover. There was little of interest to the serious Soul fans in the mag, but one thing I did notice was the frequent mention of venues playing 6T's/ Soul music that had ceased to operate, due to violence amongst the patrons. I must admit I did wonder if there was going to be any large scale scuffling at the F.A.T.J.
A quick journey over on the tube and I was in Kensington Town Hall browsing through masses of records. The hall itself was warm, well lit and roomy, although I didn't buy anything, there were a lot of interesting stalls both· for the Soul/ non-Soul collectors.
I always like to look through rare records whether they are Soul, Rock, Rock ' n' Roll, Country etc. etc. as it's always advantageous to know about collectable records from other forms of music, as they sometimes turn up whilst looking for Soul records. I ' ll never forget overlooking a White German Polydor demo of a Beat Bros. record in a Bradford Junk Shop for 25p. I was reliably informed that the Beatles recorded under the name 'Beat Bros.' whilst in Hamburg in the early 60's and that the record I'd missed was worth around £18.
Around 9 o'clock in the evening we decided to get a taxi from our hotel in Hammersmith down to Lavender Hill. I was very suspicious of the taxi driver as during the journey he asked~ for directions to the Coronet pub! What appeared to be a relatively short distance (3-4 miles) on the map, seemed to take ages , (l remember thinking at the time ' we ' re going from Hammersmith to Lavender Hill via Southampton'), well when I heard what he wanted for the fare, I'm damn sure we went via Southampton! As the driver couldn't find the pub, we got out somewhere in South London and started to trudge up Lavender Hill Road. I kept asking people if they' d heard of the place and all I got was blank looks until a guy in an off licence told me 'it was about! of a mile up the road!' We stopped off en route to half eat/throwaway the worst fish 'n' chips I've ever had the displeasure of buying. Eventually we arrived at around 10.15 pm, both in a bad mood praying that the event would be worth all the trouble. We each paid out £2 admission entrance and made our way to the 'heaving' bar to buy our coca-cola' s. Then into the main room which was a long rectangular shaped room with a large dance floor, tables and chairs down 3 sides and the decks at ,one end. The first D. J. I hear whose name I cannot remember {sorry) kept the da1nce floor busy with classics such as Franky Beverly "That's what you wanted", Beverly Ann "Mind on other things", Rose Batiste "Hit and run" and Philp Mitchell's "Free for all". Also spun were Mikki Farrows "Heart at ease", Martha Starr's "Part-time love" and the Volcanoes "Laws of love". An excellent sound we:touch I was surprised to hear, as I don't think I ' ve ever heard it before at a ·venue was Joe Simon's goodie, "the girl's alright with me ."
The next D.J. on kept · the atmosphere going by playing Frankie and the Classicals ''What shall I do", Marvin :Smith's "Have more time", Fidels "Try a little harder" and Benny Spellman's "Fortune Teller". Also played were Motown dancers such as Four Tops "Shake me, wake me", the Detroit Spinners "I'll always love you", and a couple of slower items, C.O.D.'1s "Michael" and Aaron Neville's "Tell it like it is". On my return to the bar for 1more drinks I had a quick chat with well known
U.K. record dealer/collector Pete Widdison and a look through his box of U.K.
U.S. goodies. He had a copy of Mike Victor's "On the brink" (Inst . ) on U.K. Columbia for sale at a tidy sum,<:'°Boogaloo investigator} The record was used as a BBC film theme tune, and had been covered up recently~and was filling dance floors throughout the U.K . . Around 12.15,popular D.J. Ian Clark took to the decks and proceeded to spin Jackie Wilson's "Sweetest feeling", Willie Tee's "Walking up a one street", Richard Temple's "Beating" and William Bell's "Happy". We were then treated to a phase of Motown sounds like Barbara Randolph's "I get a feeling", Junior Walker's ''Shake 'n' finger pop", Martha Reaves "Nowhere to run" and Edwin Starr's· "My weakness is you, `` a request from me. After hearing Fascinations "Girls are out" (U. K. Stateside demo) two of my favourite top 1000 were heard booming out the speakers. Norman Johnson's "You're my everything" and Jack Montgommery's "Dear beloved" . The night finished promptly at 1 am, and we went back to Paul Temple's house in Chiswick to listen to some of his large impressive collection till 4 am. (Thanks for the coffee Paul!)
My conclusion to the night was ·that we both really enjoyed ourselves, it was well worth the hassle getting there. There was a large trouble free turn out at the function, and everybody danced themselves silly. My only gripe was that on the advertising handouts, we were promised "an evening of 6T' s Rhythm and soul plus a dash of Northern floor shakers", well during the time we were there, the large percentage of sounds played were 'northern floor shakers', so instead of having a nice relaxed evening, getting steadily drunk listening to a selection of sounds I didn't know, I ended up getting :rapidly drunk and having a hot sweaty night charging around the dance floor like a Rhino on heat, listening to sounds that I knew.
JACK MONTGOMERY
Sorry for the lack of info. on this man, all I know is that he's a black American male who was well known in the Detroit area for his prolific writing and production talents, and recorded at least 4 records for 4 different labels during the late 60's.
If your into good quality Soul Records, I can recommend all 4 releases they all show off his superb emotional voice perfectly matching with a nice mid tempo backing. Buy ,them all!!
Baby take a chance on me/Baby take a chance on me(Inst) Revue Rll009 My dear beloved/Do you believe :i.t Scepter SCE 12152 Don't turn your back on me/Never in a million years (Inst) Barracuda WO 28030 Beauty isn't born/Beauty isn't born (Inst)
Thanks to Roger Nichols of Willenhall for mentioning his Austons release, one I didn't know of, and I agree totally with his comment that it's a shame that besides his scepter outing, all the 1B sides were all instrumentals, as he has such a good voice. Perhaps the rarest of ·them all is his scepter release currently on sale around £10, the other 3 should cost around £2-3.
On the reverse side of the Honey Bees "Let's get together" (Garrison) is the vocal to the "Never in a million year:s" (Inst) .
GOLDEN LINES
I've always enjoyed listening to the lyrics on Soul records, which tend to be very meaningful,. truthful and one can always relate to them during everyday life. Here's some snatches of my favourite lines from a variety of records, I know they're out of context, but I hope you'll agree that the writer(s) who penned these lines knew what life was about. Do you have any face. lines from records, send them in, Issue 2 will have a readers 'golden lines' column.
Eddie Hill "You got the best of me" (Thelma) -I stuck to you like a stamp to a letter Richard Parker "Sugar love" (Right on) -I'm like an empty shell, I'm like a sick man that can't get well Gladys Knight "Heroes" (Vision L.P. Track) -I can fly higher than an eagle, with your wind under my wings
Joe L "Worried" (Classic) -If he wants to fire me, that's the way it's gotta be, and I'll get another job you'll see (Not these days I'm afraid Joe!)
Exits "You gotta have money" (Gemini) -You gotta have money so true, so very true)
Willie Hobbs "Till I get it right" (Sound Sta9ee) I'm like a wounded bird, hungry for the sky Luther Vand rc,ss "Never too much" (Epic) -You must have known that I had feelings deep enough to swim in Sherlock Holmes "Standing at a standstill" -I must be under water, 'cos my eyes are such a blur
60s 70, 80s RECORD REVIEWS
It seems as though at last the 'rare-soul only' barrier has all but disappeared; especially at Bradford B:Lerkeller/Bensons all-nighters, £100 records go hand in hand with £2 fairly easily obtainable items. Surely it is in the interests of the punters to play qual:Lty Soul music in preference to rarity alone. (Ed -Here, here!) The following are all doing the business at Bradford/Cleethorpes all-nighters:
Four Tops "Let me set you free" Casablanca L.P .
Taken from the "Tonight" album which spawned the hits "Used to be my girl" and "Don't walk away"; this up-tempo dancer was an instant success upon first play.
With Levi Stubbs on lead vocals, how could it fail? Comparable with any of their
Motown dance tracks, a real gem from :L981.
Locksmith "Blackjack" Arista 12"
Stomping instrumental from 198011 perhaps considered too Jazz/Funkish for the purists, but complete with necessary breaks, this Steaker/Blake composition is currently proving popular. First big 70' s/80's instrumental since Nightline Shadows!?
Gwen McCrae "The melody of life" T .K. 12"
From the lady more associated w:L th deep Soul ballads, this 1979 mover really shows Gwen's ability to record up-tempo numbers as well. Written, produced and arranged by another Southern heroine Hetty Wright , a floor packer after 2 allnighters . Another Mick Godfrey bargain!
Ronn' Matlock "Backstreet" Cotillion L.P.
Stand out dance track from the ~1uperb "Love City" L.P., check out "You got the best of me", eh Robin!! Ronnie signs of a lady who disappears down the backstreets after dark for seemingly rathE!r dubious purposes. Got to be the bargain of the year at 19p from the local cheapo shop, get it now if you can, bound to be in demand in the months to come.
Sydney Joe Qualls "I don't do this" 20th Century L.P.
Not as instantly memorable as records such as the Four Tops, but this midtempo floater is certainly picking up much interest. Taken from his 1979 L. P . "So sexy", under the guidance of Carl Davies, this track may take a while to sink in, but is well worth the inclusion itl any 70's spot.
Charles Russel "It ain ' t easy" Psyche
A "Cleethorpes classic" from yeB1rs gone by. Re-issued on BIONIC as Image featuring Charles Russel. But this VErsion was also remixed and proved to be not a patch on the original version first issued in 1974. Wailing intro and we're into 3:23 of pure mid-tempo magic and so vastly underrated. Took me a couple of years to get the still very rare PSYCHE version, but definitely well worth the wait .
Bands of Gold "It' over" Smash
Superb 60's stamper that's been around for quite a few years without ever really gaining the popularity it so richly dEserves. 2:18 minutes of traditional northern Soul at its best makes this a sure-fi1·e winner that is setting many a good dance floor light. Have been offered some decent money for this, well worth it at any price! (Ed . -I 'm also after a copy, anybody got one for sale?)
Tommy Bush "I don't like it" Rika
Another memory from the original Cleethorpes all-nighters courtesy of Rick Todd. A real 'Kim White' back-dropping classic if I ever heard one. Tommy doesn't like the way his woman walks Bill over him, but he needs her love so badly, he apparently just grins and bears it. A record that has always remained quite rare over the years and usually commai:1ds around a £10 price tag·,
Masqueraders "do you love me baby" Wand
Now this really is a record in a million. Excellent 'gritty' vocals make this my favourite track from the extensive Scepter/Word Catalogue, even ranks above Jack Montgomery. Sixties mid-tempo, sis Soulful as you like and then some . . . . . ... .
Soul Brothers Six "I'll be loving you" U.K. Atlantic One I finally managed to prise away from Sean Hampsey. Put out in this country as the B side of the first issue of "Some kind of wonderful" on Red Atlantic in 1967. The easily recognisable vocals more than make up for a rather sparse backing track, so raw, so good it's almost unbelievable. Oldies D. J. 's forget Barbara McNeir, she's had her day, get behind this one and keep Northern Soulful.
Until next time, all the best. Darren.
AUSTPALIAN /N.Z. SOUL RELEASES
Australia and New Zealand are surrounded by the Tasman Sea, The Pacific and Indian Oceans and together have a combined-population of around 17 million. The capital City of Australia is Canberra, whereas Sydney is the largest port (pop. 5 million) on the island {Ed -Sounds like a Geography lesson, get on with the interesting bits!) A land well known for kangaroos, Fosters lager and Maori tribesmen who go around baring their buttocks and :frightening members of our royal family. As one can imagine, it's an impossible task to list all the Ozzie Soul releases that I know of (around 400), so I've prepared a summary of the most interesting releases.
Toni Lamarr -"I'll do anything" Astor Franki Valli -"The night" Mowest Glories -"I stand accused" CBS Metroes -"Since I :found my baby" RCA Balkmore/Ohio Band -"Condition red" Stateside Lynne Randell -"Stranger in my arms" CBS T1tms -"Hey girl don't bother me/Take me away" (July 64) Ampar MK 691 Tom and Jerrio -"Boo-ga-loo Boomerang" A.apar MK 1003 Sapphires -" Gotta have your love/Gee, I'm sorry baby" Ampar MK 1014 Dean Parrish -''Tell her/Fall on me" Ampar MK 1435 Ray Charles -"I don't need no doctor/Please say your fooling" Ampar MK 1580 Troy Keyes -"Love explosions/I ' m crying" Ampar MK 2191 Okaysions -"Girl watcher/Deal me in" Ampiar MK 2417 Impressions -"Woman got Soul/Get up and move" Ampar MK 950 Joe Simon -"Nine pound steel/Girl's alright with me" Monument 950 Marvin Smith -"Time stopped/Have more ti.me" (Jan 67) Coral CK 1550 Artistics -"Hope we have/I'm gonna miss you" Coral CK 1626 Jackie Wilson -"Higher and higher/I'm the one to do it" Coral CK 1945 Jackie Wilson -"Since you showed me how to be happy/Who who song" Coral CK 2097 Gene Chandler -"There was a time/The good old days" (Nov 68) Coral CK 2599 There 's a selection of releases on the Atlantic label of which, I have over 200 listed Drifters -"Vaya con dios/Land of make believe" Atlantic AK 526 (the female vocal quartet backing on this1 way Dionne Warwick, D.D. Warwick, Cissy Houston and Doris Troy) Barbara Lewis -"Someday we're gonna love again/Spend little time" Atlantic AK 628 WUlie Tee -"Teasin' you/Walking up a one-way street" Atlantic AK 913 Wilson Pickett -"In the midnight hour/I 'm not tired" (Aug 65) Atlantic AK 1057 Astors -"Candy/I :found out" Atlantic AK 1058 Sam & Dave -"You don't know like I know/Blame me" Atlantic AK 1219 Mary Wells -"Dear lover/Can't you see ye>u.'re losing me" Atlantic AK 1266 Percy Sledge -"When a man loves a woman/Love me like you mean it" Atlantic AK 1330 Capitols -"Cool jerk/Hello stranger" Atlantic AK 1354 Barbara Lewis -"What do you want me to clo/I remember the feeling" Atlantic AK 1587 Otis and Carla -"Tramp/Tell it like it j_s" Atlantic AK 1801 Sam & Dave -"Soothe me/I can't stand up" Atlantic AK 1874 Soul Bros . Six -"Some kind of wonderful/I ' ll be loving you" Atlantic AK 1936 Otis Redding -"Sitting on the dock of the bay/Sweet Lorene" (Apr 68) Atlantic AK 2184 Wilson Picket -"She's lookin' good/We'vu got to have love" Atlantic AK 2317 Jimmy ' Soul' Clark -"If only I knew then/Do it right now" Atlantic AK 2409 There were also several E. P . 's relEased by major artists on Atlantic Aretha Franklin -"Respect 3" (pie. cover) Atlantic Aretha Franklin -"Spanish harlem/Say a little prayer + 2" (p. c.) Arthus Conley -"Sweet soul music 3" (p.c. ) Atlantic Ben E . King -"Spanish harlem" E.P. -"T:itle/First taste of love/Don't play that song/ Misty mountain" AX 10693 Wilson Picket -"Land of 1000 dances" E.P. -"Title/You're so fine/Mustang Sally/ 3 timer loses" AX 11255 Freda Payne -"Deeper ' n • deeper/Unhooked generation" Invictus 3975 Chairmen o , t. Board -"Elmo Jones/Bittersweet" Invictus 4636 Holland-Dozier -"Why can't we be lovers/Don't leave me" Invictus 4872 100 Proof -"Sleeping in my bed/Come to save you" Hot wax HWK 3969 Al Wilson -"Now I know what love is/Do what you gotta do" Liberty LYK 2111 Al Wilson -"The snake/Ready for tomorrow''' Liberty LYK 2407 INu.+ Charlie Foxx -"Mocking bird/Hurt by love" United Artists WAK 2902 Mary Wells -"He's a lover/ I 'm learning" :rnth Century TK 1034 Charts -"Desiree/Fall in love with you" Scepter JK 1307 Roscoe Robinson -"That's enough/One more time" Scepter JK 1432 Dionne Warwick -"Don't know what to do with myself/ In between the heartaches"Scepter JK1535 Shirelles -"Last minute miracle/No doubt about it'' Scepter JK 1887 Bobby Bland -"Call on me/That 's the way love is" (Mar 63) Festival FK 326 Chiffons -"The real thing/Nobody knows what's going on in my mind" Festival FK 990 Wooden Nickels -"Should I give my love the>night/ Take my love" (Jan 66) Festival FK1181 Earl Grant -"Hide 'nor' hair/ I love you" Festi val DK 1685 Patrick Bradley -"Just one more chance (Voc)/Just one more chance (Inst)" Festival FK1854 Candy & the Kisses -"Chains of love/Someone out there" Festival DK 2702 Bobby Patterson -"T.C.B. or T.Y.A. /What s. wonderful night for love" (Jan 69) Festival 2948 Tommy Hunt -"Fine morning/Sign on the dotted line" Interfusion K6652 O'Jays -" I love music pt. 1/ pt. 2" Phil. Int . PS 1001 Barbara Mason -"Keep him/Yes I'm ready" London HL 2231
I also found 2 series of releases on the famed 'Stax' label, one set of releases prefixed by KK, the other 2025 . Carla Thomas -"Where do I go/ ?" Stax KK 2643 Eddie Floyd -"Girl I love you/ Got to have your love" KK 2848 Booker T -"Time is tight/ Johnny I love you" KK 2888 Soul Children -"Hearsay/ Don't take my sunshine" St ax 2025 102 Mel & Tim -"Starting all over again/To want it so bad" (1972) Sta.x 2025 125
Then of course there's a few mind blowing Ozzie releases -Lada Edmund -"La rue/?" Decca. Sheila Ferguson -"Broken hearted memories/?" Stateside Belles -"Don ' t pretend/?" Action (though some claim it's a New Zealand release!) Cheryl Gray -"You don't love me anymore" HMV (femme version of Johnny Caswell's classic -only released in Australia).
One of the interesting things about foreign Soul releases that makes them very collectable is that sometimes certain songs a r e released on foreign singles but not on a '45' in the U.K. or U.S . One such record was a Jackie Wilson Coral E.P. which had "Who who song/Showed me how to be happy/Soul ville" and a good version of Darrel Banks "Open the door t o your heart" . I'm reliably told that this version of
O.T . D,T.Y.H. bas never been released on a '45' in the U.K. or U.S . A lot of singles are released in p:lecture bags , sometimes with previously unreleased photos on the covers e.g. Jackie Day's E.P. on the 'W & G' label.
George Sharp of Bingley (who used to be a good friend, now ex-friend} recently out-bid me for several items on an Australian Auction list. Here's a few items that the 'dirty rat ' got that I wanted.
Jackie Day -Without a love/Before .it's too late/Oh what heartaches/
If to lose you W & G WGE 2740 Volumes Gotta give her love/ Can' t live without you Stateside 055 149 81:barbara Acklin Just ain't no love/Please sunrise Coral CK 2704 Sapphires Gonna be a big thing/Yc:>u'll never stop me Ampar MK 1210
Tamla Motown also had its fair share of releases , in fact you try to name a country where there haven't been any records released under the T. Motown logo!
Isley Bros. -"Tell me it's only rumours/?" . Kim Weston -"Helpless/?" Supremes -"Up the ladder to the roof kWh,when are you coming home" TMO 9086 Jimmy Ruffin -"I'll say forever my love/Sad and lonesome feeling" TMO 9214 Supremes -"You can't hurry love"E.P."Title/Love is here/No stopping us now/
Keep me hangin~ on" (1967) TMEO 1004
D. Ross & Supremes -"Love child" E, P. -"Title/Reflections/Time changes things/
Forever came today" (1968) TMEO 1010 Note the '45' and 'E.P.' release numbers are prefixed by the letters TMO and TMEO respectively. Supremes -"Baby Love" E. P . Title -"LOV43light starts/ See about me/Where did our love go" (1964) Stateside OSE 1001 New Zealand
Bev Bremmers -"Get smart girl/ ?" Scepter. J/B Purify -"Shake a tail feather/ ?" Stateside. I know that T. Mot own had releases in this country on a nice looking pink label , tho ' I haven't got any details of release except -Temptations -"Oh girl/?" T. Motown.
I would like to thank Graham Kelly and Ron Pedley (both of York) and Graham Anthony (of Derby) for all their assistance in helping me compile both this article and all future articles on foreign Soul releases.
I was fortunate to obtain a copy of George Crotty's listing of the Festival label releases between 1961-69, (3000 rE~leases). Festival was a parent company who released a lot of records of interest to the Soul fan on labels such as Atlantic, St ax, Festival, Ampar, Coral, Scepter, Monument etc. George's very interesting and informative booklet enabled me to add many 'B' sides, release dates and numbers to the already impressive list of records that I had .
Foreign Soul collectors seem to be very few in number, this is probably due to several reasons -1) the scarcity of foreign releases actually on sale in the U.K.
2) the time and expense required in hunting records in unfamiliar and uncharted countries, often for little or no reward,
3) the lack of established contracts in these areas, and finally 4) the lack of info. about foreign Soul releases, which handicaps collectors who want to send 'wants lists' over. Most serious collectors/dealers usually know the selling/buying price of both U,K. and U. S. records, whereas with foreign items who's to estimate their true value? I suppose we 're back to that old saying "a record's worth as much as your willing to pay for it, depending on how much you want the record. "
Well that about wraps up that article and I've only scraped the tip of the iceberg. Next issue of S .O.S. will contain a review of Dutch Soul releases.
I've been unable to gather any in:f'o. on Soul releases in Switzerland, Norway or Russia! ! -I know that Tamla Meitown had releases in Sweden but haven't got any facts -Can you help with any releases f:from these countries?
If anybody has any other info. on Foreign Soul releases be it from France, Germany, Holland, Italy or anyway send i t in please, also after info. on Canadian or Irish releases. I've found very lit1:le info. on Austrian, Polish, Rumanian, ~wedish, Norwegian Soul releases , or anything released in Luxembourg All offers of information gratefully acc:the accepted.
Thanks to George Sharp for photocopies of above Aussie rarities.

During recent all-nighters I've been boring people to death with my incessant quest for information on foreign Soul releases. I've heard it rumoured that people haven't been attending venues when they knew I was going,due to me constantly pestering people for info:r:-mation, on a variety of topics. Then again I'm not one for believing silly reno·urs ! ! !
KIM WESTON LJVE.AT HINCKLEY 26-1-83
We arrived at Hinckley Leisure Centre at 12.30 am on a rainy Sunday morning and as there wasn't the expected large· queue, we were soon in through the doors after paying £5 for members (£6 for non-members). A quick rwi up the steps and we were into the room where all the record dealers/collectors gather, which conveniently overlooks the large dance floor. The large hall at Hinckley always reminds me of one of those college gymnasiums that one sees on American films with different coloured lines marking out basketball/tennis/netball courts on the floor (which play havoc with dance floor routines) and tiered seating pushed against the walls. The first D.J. played all recognised stuff such as Garnet Mimms "Looking for you" , Sandi Sheldon "Gonna make you love me", Lynne Randell "Stranger in my arms", NF Porter "Keep on", and a few 70's items like Charles Johnson''"Never had a love" and Larry Houston "Let's spend some ti.me". A quick look on the dance floor revealed a surprisingly sparse number of dancers·s, however, by the time the next D.J. Mark Bicknell of Reading was on, the attendance had swelled considerably. On previous visits to Hinckley to see live acts such as Edwin Starr/Major Lance/ Ric Tic Revue, there's always been a g:reat abundance of record dealers but this time they were notable by their absence, however, well known faces such as Derek "I've got a Seven Souls okeh W. Demo for sale at £20" Greehoff of Barnsley, Cliff Steele of Northampton, Mick Godf'rey, Rob Smith and Clive Jones were all present . Mark played a more varied set mixing some sounds I didn't know with some goodies like Jimmy McFarland "Lonely L,over" , Seven Souls "I still love you" (which several years ago, one couldn't sell o,ne for £2 ! ) Gloria Jones "Come go with me" and the Steinways "Leading me on" tho\l1gh I prefer the other side "My heart's not in it anymore" . Tony Clayton D. J .'d next and mixed rarities such as Arin Demain "Silent treatment,'' John Drevars "Closer she gets" (Ugh!) and Prophets "Suspicion" with not so rare, but just as good,sounds like Superiors "What would I do", Bill Crosby "Little old man" and another favourite of mine the Showmen "Our love will grow". He also played a sound which I'd heard about, but hadn't heard J .J. Barnes version of Frank Wilson's "Do I love you" produced by Chris King in a recording studio in Cleckheaton, a sma.11 town near Bradford. From where I was stood, on first hearing it sounded quite good. Around 3.45 Steve Whittle followed on with Jerry Cook "Hurt on the other side", Laura Lee "To win your heart" and a selection of Motown sounds like Tammi Terrel "Old heart of mine", Velvel~ttes "Lonely girl", Marvin Gaye's "Ain't that peculiar" and "Shake me, wake me", "Something about you" both by the Four Tops. Due to an unexplained hold up Kin Weston was on later than planned, but when she did arrive, she gave us 45 mins. of soulful singing which included cover versions of "My girl", "Dancing in the street" and "I can't help myself'' . Proving that time hasn't dulled her vocals, she sang a trio of up-tempo dancers "Two can have a party", "Helpless" and "Take me in your arms", her voice ably competing with the slightly loud backing group. She finished a competent set with the Supremes song "Reach out and touch" showing us the gospel side to her voice. Up in the record bar Tommo and Eric had arrived from Stafford with Tim Ashibendes box of records, amid rumours that Tim A. had recently returned from the States with 1,500 records. I heard conflicting reports as regards the attendance at Stafford, some said it was quite full, some said it was empty. Pete Finn took to the decks around 5.30 and spun mainly 70's sounds such as moments "9 times", Doug Parkinson "I'11 be around", Alfie Davidson "Love is•·• Atlantic Starr "Circles", Lew Kirton "Heaven in the afternoon" and Johnny Bristols "Love has no longer got a hold on me", as well as 60's sides like the Professionals "That's why",Seven Souls (again) and the Apollos "Mr. Creator" (which he'd bought on the night for £4) . Around 6.30 Dave Evison took over (as well as D.J.'ing, Dave was there to interview Kim Weston, for his spot on Radio Derby) and played an interesting spot with sounds like Gwen Owens "You'd better watch out", Magic Night "If you and l" Jackie Beavers "Trying to get back to you", Tavares "It only takes a minute girl" and Earl Connely "Make your mind up" plus several other sounds that
I didn't know, I didn't manage to 'catch' the titles either to include in this article. Brian Rae finished off the night confirming his title as Britain's top oldies D.J. with sounds like Presents "Many's the slip", Billy Butler "Right track", Freddie Chavez "They'll never know" (One of my all-time hates), Holly St. James "That's not love" (memories of baggy pants) , Pookie Hudson "Gets to me" (Great) . Frankie Beverly "What you wanted", Dean Parrish "Determination" and the melodic I la Van outing on P. I. P. records "You made me this way". Soon it was time to go home and a long 2½ hour journey back up the M. 1 awaited us. My opinion on the night was, it was a good night, though not as good as on previous visits to see live acts, the attendance was good though I suspect it was down due to Stafford being on the same night and Morecambe being on the previous Friday night, I felt that the event was slightly spoiled by the sound system, on previous visits the sound system has been crystal clear, but on this occasion I felt it was slightly off and I was unable to hear the D.J. s speaking clearly. I look forward to seeing other live acts from the States at Hinckley which is undoubtedly one of the best venues for live acts in the country.
P.S. -Any chance of seeing Oscar Perry on stage?
Soul -WHAT IT MEANS TO ME
If I had to search for a record, that to me epitomises Soul music at its best, the record I would be after would be Eddie Parlter' s "Crying Clown" written by Detroit's Jack Ashford and Lorraine Chandler, and produced by Lorraine Chandler, released on Triple B (T-B0001B) records.
This record was previously accurately described by Graham Anthony in Issue 6 of Rod Dearloves mag "Midnight Express",. As Graham mentioned it's not a dancer, iL t 's just Soul music at its best , the record was also released on the other side of " I'm gone" (Awake) and Billy Sharae mmg on uninspired version on Spectrum/U.K. Action.
It's A 60 's record that has evf~everything you could ever want in a ballad -a talented voice, simple but effective lyrics and a beat set at a British Rail working p11ce. I can sincerely say that I'm proud to be part of a music scene that listens t<) and appreciates such quality sounds as this . In fact everybody I've taped this record for, raves over it. Thanks both to Eddie Hubbard of Banbury and Roger Nilchols of Willenhall for informing me of a track entitled "They say I'm afraid of losing you" on a Freddie Butler Kapp L.P. which has the same backing track as "Crying Clown" but uses different lyrics. Having recently heard this track on tape (courtesy of Roger Nichols) . I can say that only Eddie's emotional voice can compliment the plodding backing track to its best advantage.
This 2 . 36 minute masterpiece starts off with a femme back-up singing "Crying Clown", a quick roll of drums and in comes Eddie's plaintive voice
" Everybody sees me standing here, with a smile on my face, but no one will ever know, I'm the saddest one in the place, fame and fortune belongs to me , but a happy man I ' ll never be, for my heart is broken imd I'm feeling let down, and I call myself the crying clown, (back-up -a crying clown) they all think I'm a carefree guy (back-up -a crying clown) outside I smile, inside I cry I used to be such a happy man , but things don't always go like there planned, when things have all gone wrong, I know, I know I've got to be strong, for my heart is broken and I'm feeling let down, and I call myself the crying clown (back-up -a crying clown) I don't want you to pity me (back-up -don't pity me) I let my life go on as tt stands, though I'm sad and it's plain
to see and keep on pushing without a helping hand, for my life has been so blue, little girl since I lost you so I keep on walking with my head held high, no no, no no, just can't, just can't baby, listen to me, don't want you, don't want you to see my face, no no baby , just can't, oh my soul baby, just can't, just can't let you see my face . "
Are there any Eddie Parker collectors out there, that would like to produce a discography of his release::1 for publication in a future issue of this mag?
George Sharp
LOVE WHATCHA DOING TO ME
Collectors of original label 'northern' records, often have to pay large sums to obtain their records. However at the other end of the price scale, there are hundreds of records available to the collector, many of which are good value for money.
Eugene Jefferson "A Pretty Girl Dressed in Brown" Open 1617
This west coast gem starts with a bouncy guitar and trumpet rift and then Eugene starts to sing the praises of his pretty ~~girl. The very danceable beat is maintained throughout with drums, horns and guitars. It sounds like an up-tempo Darrell Banks "Open the door". An excellent record, vel~Y catchy , should cost about £2, worth every penny. I wonder if Eugene has any relation to the other West Coast veteran 'Jo Jefferson'.
Janet and the Jays "Love Whatcha Doing to me" Hi 45-2129
This female group sound starts in a very similar way to the Steinways flip 9' My heart 's not in it anymore", with a burst on the sax, in fact the whole record is in the same vein as the Steinways cut. The delicate wispy vocals are very infectious, backed with sax and pianos. The choruses are especially catchy, well worth watching out for at about £3 or less.
Companions "Be Yourself'' General American TH-COM-IX
To Philadelphia, for this soulful male group sound. Originally played at Blue~ckpool Mecca years ago but since hasn't seen much of the DJs turntables. The ~ecord starts with really haunting horns setting a mid-tempo pace for the whole record. The lead vocals soulfully plead with his baby to 'be yourself' while the rest of the group ooh, ooh their hearts away, all jour.Long as one at the chorus. Haunting mid-tempo brilliance is possibly the easiest way to describe this one. Up to now I have seen 3 different label designs, one green and silver, one yellow and black,and one black, red and white (D.J. copy), with the latter possibly being the rarest .
Lee Rodgers "Sock Some Love Power to me" Premium Stuff 6
One of the better releases on this label, and has the same backing track as Buddy Lamp "Save Your Love" on Wheelsvillei, but only usually costs a 1/3 of the price, around £2 or £3, maybe £4 for a D.J. copy. However, the demo is only single sided. I think this is a better record than Buddy Lamp's because the lyrics fit better to the gutsy horn backing.
Lavells "Sheire him" CTB C-700
This girl group sound starts with a pounding bass guitar and organ. Harmonic vocals are maintained throughout this up-tempo dancer. It's only a pity that the organ backing wasn't substituted for a saxophone. As far as I know this has never been played and perhaps could go if someone got behind! it. A really great atmospheric dancer.
LATE 70/EARLY 80s SOUL MAGS
When I first became interested tn Soul music , I was an avid reader of the more readily available Soul mags such as 'Blues and Soul'" and 'Black Echoes• which could be bought in most large newsagents throughout the U. K. However, I soon became very interested in reading and collecting underground magazines which were only available by post or by purchasing a copy at venues. I admired the people behind these fanzines as these literary works were produced as a labour of love for the music and not for the money, these people were still active on the scene attending venues, they had their finger on the pulse of the northern scene. The first mag I can remember buying was 'Soul Cargo' which produced 12 issues between late'77 to late '79 . Its editor was the respected Chris Savoury of Stoke and his magic included a wide range of material , ~60's, 70's Soul reviews , album reviews and U. S. listings of the Wand, Karen, Carla, G. S.F. , Invictus, Suresbot, Fairmount labels, Discographies of William Bell, Laura Lee and the Detroit Emeralds, and U. K. listings of the Chess, Action, Moj o and Contempo labels. A very valuable mag to have for all that precious info. it contained, I recently managed to obtain several back issues from Chris Savoury to complete my collection.
I have memories of leaving the Casino on several occasions with a copy of the latest 'Soul Source' in my sweaty little hands , waiting to read it on the way home. Chris Fletcher of Nottingham was responsible for this and he released 9 1,issues (I think, well Issue 9 is the last mai~ I have), in the period late '78 to late '79. Interesting mag as Chris was well inte> 60's newies at that time such as Magnetics "Lady in Green" , Kenny Gamble "Jokel' e>n you", Don Ray "Born a loser" , Herb Ward "Strange change" (Ed. -Is it really S years ago since these sounds were first played, only seems like yesterday!) irhe mag featured honest venue reports , Rob Smith's record reviews and previewed the big 60 ' s and 70 ' s for Richard Searling, Soul Sam and Pat Brady. I think the n1ag suffered from devoting far too much space space to adverts and record sales. Also in the '78-'79 period, Ian Stewart of Weybridge , Surrey, released his mag 'Soul Symbol'. I only have Issue 8 (dated Sept. '79) of this neatly printed mag which has a Chairmen of the Board discog., plenty of record reviews and a very humorous outlook on the scene. Size of Manchester released his mag 'New Soul Time' during the '77-'78 period, I don ' t know the exact number of releases, but I've got a copy of Issue 6 in which he reviews such 'newies ' as Paul Anka "When we get there", KikiL Dee "Carpet ride" and Teddy Vann "Coloured man". Plenty of venue reports and interesting co~~ts on the input of pop stuff into the northern scene,which was all the rage at that time , e.g. Sue Lynne "Don't pity me", Muriel Day "Nine times" . WEill known DJ . and Black Echoes scribe Pat Brady released his own mag entitled 'Talk of the North' in the '78-'79 period. This mag covered the full spectrum of the Soul music scene (i. e. Northern/Disco funk) and ran to 4 issues; lotsa venuE! reports . As one can see the late 70 ' s were boom years for the output of fanzines . The early 80's were no exception. Sheffield's Glynn Thornhill's ran 7 issues of his mag 'Okeh Northern Soul' (get ready for the get down') during the late ' 81-mid'82 period. This well presented mag contained many interesting articles on 60's and 70's Soul and shed an interesting light on Glynn's love of 80 ' s releases . Good letters page . Richard Radford of Brighton's 'Soulside Rendezvous' mag was released during 1982 and ran to 4 issues. (Does anybody know what happened to Issue 5 11 my cheque was cashed, I sent a couple of letters but no replies were forthcoming), interesting record reviews. The ' Sound of Soul' mag Issues 1 to 5 wero issued by Stokes 'Martin Scragg' during the mid '81-mid '82 period. Wicked humouR~, plenty of record reviews, venue reports, lotsa label repros., well put together, good mag, much missed. Has the v . interesting 'gµide to cover-ups' for people like i~e who can't remember c/u titles after they've been uncovered! e.g. Frank Wilson "Guess who loves you" c/u turned out to be Eddie Day "Guess who loves you" on Shirine. One of the most clearly printed, most informative Soul music mags I've ever read is Steve Bryants of Ilford's 'Souled out' Issue 1 being released in Jan. •78, Issue 6 in Dec. '82. A very factual mag for the Soul fan, not particularly northern based, but full of honest to goodness facts on the Share, Vando, Music Merchant and Sound Stage labels, discogs. of Walter Jackson, Hoagy Lands, Montclairs and Dee Edwards, I've always been envious of all the Info. that this msg has been able to obtain. Solid reading, essential reading. It's a shame it isn't released more often. Hod Dearlove of Hull has released his excellent 60's based mag 'Midnight Express' dur:ing 2 phaseS1Issues 1 to 3 during '81 and Issues 3 to 6 in 1983. Contains interesting record reviews, venue reports and mind boggling photostats of records and artists lik.~ Yvonne Vernee, Mickie Lanay, Inspirations and Co-operett~s. D.J.s take note of Rod's thinking man's oldies chart.
Wigan Casino founder and D. J. Russ Winstanley released 4 issues of the 'Northern Line' during 1979-80. Remember buying it at the entrance desk in the Casino? It's the only time I can ever recall Richard Searling putting his articulate views forward in print. Wonder why!
Gary Evans of Carlisle has so far released 4 issues of 'The Drifter' in 1983, articles include the U.K. Contempo label listing, U. K. Tamla Motown discography of Martha Reeves and Junior Walker, Major Lance U.K. and U. S. Discog. and photostats. of advertising hand-outs for the U.K. Soul City label. An interesting mag with a bright future·. Last but not least is Steve Guanori of Peterborougbs 'New Backbeat' still in production after its initial release in the winter of 1979. I've spoken ' to both co-editors Steve Guarnori and Kev Griffin and both stories agree that the mag started life under the name 'Northern Life' late '79 with only 15 copies of Issue l being printed. After Issue 3 its name changed to 'Blackbeat ' and publication numbers increased up to 500 copies per issue. After Issue 17 around late '82, Kev and Steve parted ways aIILd both of them issued a copy of Blackbeat No. 18. Kev now writes articles for 'The Drifter' and sells records via mailing lists whereas Steve's 70's/80's based mag 'New Backbeat' continues to flourish. Perhaps the best all round mag on the scene at the moment, so much info. where does he get it all from. I can't ever get replies from U.K. record companies, never mind
U.S. record companies. (Psst -how about passing on a few tips Steve). Well, that's it folks a brief guide to late 70's/eArly 80's Soul fanzines from my collection. I'm sorry if I've not mentioned•IIJ ma11:s, I'm bound to have missed a few as I don't know everything, if you do know of any more send me brief details of the mag and I'll include it in the next issue.
Whilst collecting Soul mags I 've come across the mention of other Soul based fanzines such as 'Nitelife' published by Dave McAdden of Manchester who released at least 2 issues in the '78/ ' 79 period quote "Worth buying just to see who ' s getting slagged off" (Ed. -Sounds interesting ) also 'It's the Beat' editor and release dates unknown. Then there's a Merseyside based mag edited by Kevin Murray titled 'Deeper and Deeper' which as the titlE! suggests covered deep Soul, and ran to 9 issues. I must shamefully confess that I've never seen or read a copy of Chris Savoury's much respected mag 'Hot Buttered Soul' which ran to well over 50 issues during the early/mid 70's. It contained many label listings and discogs . and was a valuable source of knowledge! for interested Soul fans ; a Soul fan's bible so I'm told . I've just found a LondoDt Soul based mag from 1973, in my collection, this mag entitled 'Black Wax-Magazine~ was edited by Roy Stanton, I've no idea about the number of issues released though. Copies of any of the previously ft1 mentioned mags are highly collectable and very hard to pick up as generally~a few hundred copies of each issue were printed.
I have listed below my mag wants list, I need copies of any Soul fanzines from the 60's, 70's and SO's; if you have any for sale please contact~ me .
Blackbeat 1 , 2 , 3,4,5,6,7, 8 , 9 Any copies of 'It's the beat', ' Nitelife ' ,
Soul Symbol 1,2,3,4,5,6,7 'Hot Buttered Soul'
Soul Source l,2 , 3, 4 ,Deeper n' Deeper' , 'Soul Time' ,
Okeh/N. Soul 1,2,3
Talk of the North 2,3,4
New Soul Time 1,3,4,5
Was told that Matt Lucas "You better go-go" on Karen 803K-2524 was boot-legged (300 copies pressed) by Detroit record dealer Bob Maze many y1~ars ago as the B side "My tune" a piano instrumental was popular to collectors in the U. S. A. This Popcorn Wiley/M. Bonney composition is an unusual item as I 'v1~ never seen it listed on any Karen label listing.
My copy's original (I think) as it ha:3 a b::,t small stamp mark on the run out groove 1~. The run out groove number states SK4:M-252•l; this is unusual as there are only 2 release,is on the label whose numbers are prefixed by SK4M, the vast majority are prefixed by the letters K or KA or KR or TM. Blue eyed Souls·ter BABY YOU BETTER GO-GO
Matt Lucas had one other release on titlis
MATT LUCAS label "The Motor City twine pts 1 and 2" on Karen 321. I paid £8 for my copy of this 60's dancer about 1½ years ago and is still hard to find.
PRESTON ALLDAYER 1/1/84.
The all-dayer was divided into 2 rooms, the smaller one next to the entrance door played oldies, 70's and requests, whereas the much larger room upstairs played 60's newies . Gary Rushbrooke, Guy Hennigan, Kev Darge and Dev Draper all D.J. 'd during the time we were there (6 -11pm) and all played a wide variety of good quality 60's sounds, showing that there's still a lot of mileage left on the 60's newies road, despite what many people say. Also on was Richard Searling who played an uninspired spot combining his 60 's rarities which have been around for several years (Eddie Holman 'hurt' , maurice McAllister "Slipping away", Chris Bartley " Out of my mind") with 70 's items like Doug Parkinson "l 'll be around" and Greg:Perry "It takes heart". Indicating to me that has lost a lot of his interest in discovering new 60's, much preferring instead to launch new 70's and SO's sounds . The attendance was good (tho' I thought it would have been busier), the sounds were good, there were a lot of records to look thro', bar prices were reasonable 40p coke, 43p ½midnight rider (cider), admission price £2 . 50 (inc. 1984 S ,A.S . of G.B. membership card); when you think it costs that to get into the cinema for 2 hours, the entrance fees for dayers/night,ers are excellent value for money. All in all a very satisfactory all-dayer -will there be one at Easter?
Whilst listening to the new 60's item:s, most of which I liked, there were several which (how can I put this)'went straight in one ear and out the other' ,in the quest for unknown 60 ' s sides rarity musn't become the prevailing factor when deciding to spin a record, quality must come before rarity!
Nicest surprise of the day was to see a mate from yesteryear, Bob Hitchcock of Ormskirk who I haven't seen since the days of the Casino. Had a long chat with him about record labels which I'm interested in and this hopefully will provide quite a list of info. for certain label listings which I'm working on.
Mustn't forget other D.J.'s who were on before we arrived. -Keith Minshull, George Sharp and Pete Lawson.
With regards label listings, Detroit's always been well covered, obviously because of the large amount of rare Soul releases that have emerged from the motor city. However, Chicago, the 'Windy City' doesn't seem to have had as much coverage, ~o with your help I ' d like to try and put together a listing of the following labels
M. Pac, Mar.v.lus, One-der-ful, St. Lawrence and Windy City, also whilst on this , ~~the object, I'd like info. on the Sound Gems, Note, Omen and Karate labels. Get writing!!
Speaking of Culture Club, I personally think (and I know of other Soul fans that agree) that Boy George has a good voice, but the real star who stays out of the limelight is the rotund white back-up singer Helen Terry, who has a powerful voice like a black gospel singer. Look out for her and listen to her on the next Culture Club video/record.
Recently read in a paper that Geno 'Washington (U.K. Version) has a new band the 'Mo-Jo Kings' on the road and is look:ng for a recording contract. Geno who runs a French Cuisine restaurant in West Hampstead was thinking of looking for larger premises where he can display his skills as a singer, mind reader and hypnotist.
Tape Sales •------------------------------------
Send me £2. 50 and I'11 send you a qua,li ty TDK-D60 cassette with the following sounds on, (many of them mentioned in this issue) .
Side A -60's
1 . Eddie Parker -"Crying clown'' '2. Companions -"Be yourself" 3 . Eugene Jefferson -"Pretty Girl" 4. Masqueraders -"Do you love me baby'' 5 . Kenny Carter -"I've got to find her" 6i. Mel Williams -"Can it be me" 7 . Mary Love -"Let me know" 8. Jackie Day -"Oh what heartaches" 9. Dynamics -"Yes, I love you baby" 10. E:xits -"Gotta have money" 11. Joe L. "Worried''
Side B -70's
12. Willie Hobbs -"Till I get it right" 1.3. Bobby Taylor -"Roses somewhere" 14 . Con Funk Shun "Spirit of love" 15. Four Tracks -"Charade" 16. Vivilore Jordan -"Put your loving on !Ille" 17. Cissy Houston -"Think it over" 18. Jones girls -"You're the only bargain" 19. Denise La Salle -"I get what I want" • 20 , D. D. Warwick -"She kept on talking" 21. Luther Vandross -"Since you stopped loving me"
THE URO CLUB
Daft joke time: What have Geoffrey Boycott and the Magnetics 'Lady in Green' got i~l common -they both always go for a hundred or more (Ed -It was the best I could i:think of!)
If you've got a spare £100 and are willing to spend it on one record, take your pick from the list of the following U.S. original mega-rarities, that is providing they ever come up for sale!
Gwen OWens -"Wanted and needed" Velgo White Demo . Frank Wil.son -"Do I love you" Soul Jimmy Burns -"I really love you" Erica. Yvonne Vernee -...Just like you· did me" Sonbert
Larry Clinton -"She's wanted in 3 States" Dynamo . Magnetics -"Lady in green" Bonnie
Robbie Lawson -"Burning sensation" Kyser. Del Larks -"Job opening" Queen City Demo
William Powell -"Heartache souvenirs" Powerhouse . Norma Jenkins -"The aeroplane song" Maltese. Executive 4--"You got a good thing going"' -John and the Weirdest -"No time/Can't g:et over these memories" Tie Ramona Collins "You've been cheating" (Clarks), Court Davis "Try to think what you're doing" (East Coast) Chessmen c/u -"LikE~ I never did before"
All the above records have held theIr selling prices a.t around £100 for several years due to demand and rarity, there may be only a few copies in the U.K. or even i n existence.
Besides not having the odd £100 spare, I personally couldn't bring myself to spend that amount on one record, I'd prefer to buy either 5 @ £20, 10 to' £10 or 20 @ £5. Remember, just because a recoTd's r are, dc>doesn ' t mean it's any better than a common sound.
Interesting to see that on the T.V . programme ' entertainment USA .A. ' Nov, 31st presenter Jon-a.than King implied during an interview with Jennifer Holliday that the smash Broadway hit 'Dreamgirls' in which she starred was based on the rise and rise of the Supremes . Ms . Holliday who gained praise on both sides of the Atlantic for her powerful Soulful telling you I'm not going" thought that 'Dreamgirls' was based on a story similar to the history of the Supremes and went on to say that Diana Ross wasn't too happy about the show for a variety of reasons.

O. K. all you knowledgeable people out there who can solve the answers to the following questions
l) Clifford Binns "You gotta help me" was issued twice on Carrie , what colour label was the first issue?
2) Which song does the following set of lyrics come from -· I 'm like a drowning man in a sinking boat, without your love I can ' t float.
3) In the Jerry Williams classic "If you ask me" on Calla, what are the words omitted from the following lines "my ambition, my reason for living each day, your the ... . . . and . .... . , there ' s nothing left to say .
Prize -14 nights for two in hotel of your choice, full board, all entries must be in by Jan. 14th 1984 to qualify for competition. Seriously folks if you do know the answers to any of the above questions drop me a line .
Does anybody know the real identity of the Rose Baptiste "When he's not around" c/ u? It ' s still covered after all these years! Has anybody seen or does anybody know of somebody that owns a Golden World Issue of Tamiko Jones "Spellbound" G. World?
Recent monster c/u Joe Rex and the Gossamers "Use me , lose me" rumoured to be the Slip Ons "Only ones needed" on the ' throwaway' label!?
I would like to start a readers in,formation page, where I would try to answer your questions ; if I don't know the answer or anybody I know can' t help, at least I can print the letter which will reach a wide audience, hopefully giving us the answer.

I'm a big boy now (I'll be 9 next year), so I won't cry that much if you've any complaints about or suggestions to improve this mag, just so long as it' s constructive criticism. Please don't use bad language in the letters as my mommy reads all my mail!
During an October 83 all-nighter, I had a chat with' Tommo' of Leicester about what Soul groups we would like to see if at all humanly possible, I said " l would like to see Chuck Jackson, he would have liked to see the magnetics, the Volumes, the Falcons (of Big Wheel fame) and the Hesitations! ! Being already interested in these. groups, I decided after that conversation I would try and prepare an article discography on them with the help of you readers. Little did I know that plans were underway to bring Chuck Jackson to these shores in early '84.
site note - the above rough text was just added as a reference aid (site search) best to use our inbuilt pdf viewer for viewing the issue

By Seano in Articles · October 8, 20195 yr

Details of a most recent vinyl lp release from the Charly Records imprint 'Club Soul' setup.
Soul Shack - Time and Place Charly 326
R&B | Soul | Funk
Yep it's another vinyl release from those Club Soul people.This time around Club Soul, in association with Neil Rushton and the Soul Shack crew, offer up an album made up of funk/soul 'classics and rarities'
Here's the track listing and the previews, with the company release blurb following later...
Side One
Jean Shy - I'm a Bad Go Getter
Eddie Bo - Our Love (Will Never Falter)
Francine King - Two Fools
Little Buck - Little Boy Blue
Ricky Allen - Cut You Loose
The Soul Suspects - Funky Drop

Side Two
Gil Scott-Heron & Brian Jackson - The Bottle
Ohio Players - Love Slipped Through My Fingers
Brief Encounter - Get A Good Feeling
The Continental Showstoppers - Not Too Young
Uncle Remus - Number One
Lee Moses - Time and Place
Original recordings licensed from LicenseMusic.com.ApS courtesy of Charly Acquisitions Ltd.
Video/Previews

Release Blurb
The Soul Shack manifesto is stark - let your body take the place of your mind Pt 1/Pt 2 (and let’s add in an unreleased Pt 3 for the sheer fatback-drum-funk of it).
Soul Shack fave 45 “Keep The Groove” by Bostonian captures the mantra: ”Just remember in everything you do the bottom line is you’ve got to keep the groove”. That lovely Detroit 45 sold the not so grand total of 25 copies on release. In contrast the legendary Edwin J. Bocage (Eddie Bo) had a huge hit with his Crescent City anthemic call-to-dance “Hook And Sling”, another Soul Shack winner. So, to be clear to make our playlist a record does not have to be stupid rare, although as this tough-as-nails compilation confirms obscurity is not discouraged.

The Soul Shack sessions in the Midlands are a homage to mind-blowing and spine-tingling black music gems. They encompass the cerebral jazz fusion preciseness of Larry & Fonze Mizell’s peerless productions, the simple rawness of New Orleans funk (check out “Dap Walk” by Ernie And The Top Notes for quintessential Soul Shack), NuYorican Latin Strut frenzy, the rhythm driven angry polemics of Gil Scott-Heron, the sheen of Philly Soul, the Big Apple Soul Disco genius of Patrick Adams, and, inevitably, the Soul and Funk of Detroit’s many music alchemists.

The soundtrack is a potpourri of blistering horns, splintering percussion, haunting flutes, discordant trumpets, metronome beats, emotions-tearing and goosebumps-inducing so-Soulful drenched vocals, sometimes sweet, sometimes bitter, (and often both), extravagant 12-inch remixes segueing into primitive street beats and dancing in outer space Brit Funk grooves designed to trip your mind. They are all integral parts of a time and place called Soul Shack.

The schizophrenia of the music selection is an essential part of the master plan. That is, perhaps, best summed up by skin-tight fetish funkateers The Ohio Players (maybe the best live band I have ever witnessed, but that’s another story) being somewhat perversely represented here by the quintessential Northern Soul perfection “Love Slipped Through My Fingers”.

Available direct from Club Soul via https://www.clubsoul.club and all the usual suspects

By Mike in News Archives · October 7, 20195 yr

A recent Doris Troy topic led to a dig through the shoe boxes to find this interview with Doris Troy by Dave Godin orignally published in Blues and Soul Issue # 28 February 27 - March 12 1970 Issue, only the first page though...

BLUES & SOUL 28
THE DAVE GODIN COLUMN
DAVE GODIN MEETS MOTHER SOUL
WHEN EDITOR John Abbey asked me if I would do a feature interview with Doris Troy to coincide with her forthcoming single release on "Apple," I protested on the grounds that I already knew her too well personally in order to deliver the goods. A certain amount of formality can often produce the most penetrating discussion for this type of article, but that, he said, was precisely why he wanted me to do the interview; with the formalities over we could more readily get down to the nitty-gritty Doris that everyone wants to know about.
Since arriving in Britain about a year ago, Doris has lived sensibly and modestly in a mews cottage fiat in central London, and it was there that I went for the interview. Wearing casual jeans and a tight black sweater Doris always manages to look every inch a Star. There is something about the way in which she uses make-up on her eye-brows that gives her a regal and imperious look. Not that there is anything aloof about her; when she smiles it is warm, natural and totally captivating.
Doris also has a charming promiscuity about her that results in her calling nearly everyone "darlin'" or "honey", which of course works wonders on the average British male's reserve. Amazingly Doris was alone. She is usually surrounded by a bevy of friends and fellow artists, but on this occasion she'd gone out of her way to make sure I could interview her with no distractions other than from her kitten who has the irreverent name of "Lord Krishna."
Ain't That Cute
First off we started talking about "Apple" and her recording and production work there. Her new single, "Ain't That Cute," could well be the record to establish her in the pop market over here in much the same way as she is already firmly established in the Soul and R&B field since "Just One Look." Doris smiled with true modesty when I stated that this song has now be come something of a Soul classic. Like many American Soul artist however, Doris refuses to classify herself In one single category of musical expression, and, whilst she freely acknowledges that there is an indefinable "something" that is exclusive to real Soul music and exclusive to the would-be imitator, she sees nothing wrong with any cover version of any song she's written or performed.
'I've heard 'Just One Look' all sorts of ways," she said. "I even went to the West Indies and heard a ska version and I liked that too." Of course, she was speaking more as a composer than as a performing artist. "Just One Look” has been good to me," she confessed, "but I've done lots of other things that I like just as much if not more. I was really lucky with the song I helped write for Dee Clark called 'How About That'." She assumed a worried expression. "I guess you didn't have that one released over here?" I assured her it had in fact been released, but discreetly omitted telling her that it failed to repeat its American success this side of the Atlantic.
"That was the first real song I'd ever written, and I just took it along to this publishers, signed a paper and got $100 advance! The next thing I knew was that Dee Clark had recorded it on Vee-Jay and it was in the charts! All my friends had told me I was crazy the way I went about it, but I proved them wrong and it taught me that determination gets you a long way In show business."
I then asked her how she became inspired to become a performer herself. "Well that started when I was just sixteen, and I got myself this job In the Apollo theatre." I interrupted her at this point to ask lf that really was a factual event In her life, I'd always thought privately that that had been a hollywood style press release to perpetuate the rags-to-riches cliche so beloved of teen-magazine feature writers.
"No" she said with a wistful smile, "it was real enough. I had the uniform and a flashlight and everything, and when I saw them stars up there performing I said to myself that's where I want to be someday, and I ,started to spend my off-duty hours in this restaurant in New York where out-of work artists and composers hung out." "I suppose that was where you were discovered" I said, determined somehow to get the Cinderella-type story that I should have known better than to look for. "No, man, I discovered myself! I'd written 'Just One Look' and needed to make a demo. when the demo got made, and i.t was the demo that was released. I was performing at the time, but I'd never looked on my self as ready for making hit records. I'd had a previous release out on Everest under the name of Doris Payne, but it didn't mean a thing."
Demo Dub
You mean then" I asked, "that the record we all bought on Atlantic of 'Just One Look' was in actual fact a demo?"
"That's right. We'd taken the demo to Atlantic to sell the song, and as soon as they heard k they flipped and said they'd rush release It at once. I was on the road at the time touring with Chuck Jackson who was big then, and since I had no time to go in the studio and re-record it they Issued the record straight off the demo-dub I’d had made." She lit another cigarette and smiled. "Wasn't that a bitch?"
"Well" she continued, "the record took off so damn fast that it sold like crazy, and it was really lucky for me to be tourIng at the same time since Atlantic were able to arrange a sorts of promotional stints and interviews to tie in with the local radio stations where I was visiting."
Doris told me how she still likes performing in public, even though her heavy schedule as writer and producer leaves her very little time for it nowadays, "Sure, it's a gas. Them kids love me and I love them, and especially over here in England. Why, you go up on the stage and you can hear people say things like 'there's Doris' or 'that's The Troy,' and naturally being a human being, it makes me feel good. All my fans are my brothers and sisters you know; Soul brothers and sisters that is, and I really love 'em like a mother. They've been diggin me for so long, and I'm just happy to be able to entertain them,"
Doris, of course, was one of the highlights of the R&B Associations Ball In 1969, and she said how she hopes she'll be asked back again this year. She thinks the idea of the Association and its annual awards is a great encouragement to Soul artists. "You Soul cats over here are so in to the music that I'm just amazed with how much you all know about it. The songs, the singers and even the record .labels; you really take Soul much more seriously over here than they do in lt!he States. So, I figure that if I were lucky enough to get an award like that it'd be that much more of a personal compliment ·because I know wouldn't be given lightly, and, you know, you Soul people here, well " She stopped speaking and then swore. 'Let's talk about something else, you know I don't like talking just about myself.''

Deep thoughts
We both got up and went to the kitchen to make coffee. "I was married once so I'm pretty good about ,the house. It was when I was working at the Apollo, but it didn't work out." She carefully measured :the coffee into each cup. "You go through all sorts of changes in life, in addition to which you have to pay your dues. My upbringing was very strict since my Daddy was a Minister, and while we kids were encouraged to sing, it wasn't quite the type of singing that was taking place at the Apollo!" In the meantime she has put out more cat food for Krishna into a bowl that is already brimful. "He might get hungry in the night," she said with an impish grin and a slight rise of one of her magnificent eyebrows! "I'm in love right now, so I'm feeling good all the time. He's an ,actor, but sugar, you know me well enough to know I'm tel1ing you the truth When 'I say he could have been a garage mechanic and it wouldn't have made no difference. If he'd turned me on it wouldn't have mattered who or what he was." And she said it like she meant it.

She resettled herself in her armchair, and I noticed the magazines on her coffee table "Forum", "Jeremy," "Blues & Soul" (natch), and the latest fashion books. "Sure" she said after I'd begun to discuss an article I'd previously read in one of them, "I am a complete believer in free love. And it don't matter what changes you go through so long as you love. There just ain't enough love in the whole world to round, and people don't know how to Jove too well anyway. Loving is taking a chance, which is what Soul music is telling you ,all the time. Them heavy Soul records your label' (she was referring to "Deep Soul") "really tell it like it is-that's a love labeI that, and if you can dig what they're trying to tell you then you've obviously paid your dues and you're ready to and be loved."
I asked how much her previous unsuccessful marriage had affected her views in regard. "It didnt affect it too much. I was ready for my changes when they , and believe me I've been in to all of scenes. Sure, I dig what .Jeremy's 1D say, and I don't pay no mind to people might say about me because lit what must have been her mild garette. "I don't want to comment about the -drug scene, as I don't myself as qualified to comment. It's America, but you do have differentiate between the hard and the soft drugs and I can't seem that it do any harm to legalise soft drugs. But that scene don't bother me; I spend all my money on ordinary cigarettes. They're so damned expensive over here. Why is that?"

We went on to talk about her home background a little more. "I'd still regard myself as a religious person, but in a different way to what I was brought up to believe. My Daddy had his own chapel in New York, and on Sundays you could go in there for the whole day if you wanted. You could pray and sing all day long; they even served Soul food and refreshments in there. Now I feel all religions have something of the Truth in them to commend them to you, and so I wouldn't narrow myself down to any one religion and say that was mine !to the exclusion of all others."
Remembering the books that I had seen in her bookcase, I asked if she could fairly be described as a student of religion and ihe occult. "Definitely" she said. "I don't get 'the time to get into it as deeply as I might like to, but it's real to me, and, yes, you might say it was a kind of hobby with me. My young sister Violet is really in to astrology. I'm a Capricorn which makes me ambitious and determined. I guess that's why I like fellows who let me wear the pants. You know I dig gay guys -all guys in fact. Period." she looked· at the tape recorder I was using to capture the interview with an anxious frown. "l hope you're not gonna print all this shit." I told her that I thought such soul baring on her part could only serve to increase the warm regard people already have for her. "I guess there's not much that they need for me to veil 'em. If you dig Soul music then you already got a head start in life. There's white folks -and some coloured people -in the States who just don't know what Soul is aU about, and it's all around them! Over here you're starved of Soul music on the radio and everywhere, but you still know where it's at and don't miss out on a trick. I hope kids over here are going to go for heavier and heavier Soul -that's the thing to combat Mickey Mouse music."
Doris has a delightful way of stressing certain words and phrases. Often the stress will fall equally on every word in a sentence with the result that you hear it like she really, really means it. "I want to become successful over here because I want to do lots of things. I regard wherever I am at any given time as my home, but ideally I'd like to spend six months of any year in the States, and the rest here in England which is definitely my second home." I asked her how she came to come here when she did. "For the first time for many years, -I won't tell you the exact number of years because you might otherwise be able to work out my age from that ! I was free of all contracts and commitments. so l thought why not?"
Apart from recording herself ·with George Harrison producing at "Apple," she has taken a lively interest in all that has been happening around her, and if she can ever help anyone she will. "One of my best friends is Madeleine Bell. She can sing the ass off anyone and she was stuck doing backing work for far too long. Now with 'Melting Pot' she's had a hit, and I'm really happy for her. I used to do backing work with Dionne Warwick and Dee Dee Warwick on all them Solomon Burke records and nearly all the Atlantic records that were cut in New York at that time Those were real groovy days."

Memories
We were looking through her photo album which also contained her press clippings and other bits of memorabilia she's collected since she's been here. I commented on the number of people she seems to know. "Well, it's like I said. I'm Mother Soul and these are all my children, and I love 'em all." She identified the famous alongside the not-so-famous. "It don't matter if you're famous o.r not so long as you're real. I've seen more soul in people who can't sing a note than others who give themselves credit for far more than they've really got." I asked who her favourite singers were. "Dinah Washington is THE greatest THE greatest. Esther Phillips, who I know is your idol, is good too, but she's an ill mannered bitch. We went along together one night to see Dusty Springfield open in cabaret, and Miss Esther Phillips just sat there talking at the top of her voice all through Dusty's act! I didn't know where to put my face 'cos I really dig Dusty. Esther sure can sing though as well as talk!"

I asked how she and Billy Preston felt being the only two American Soul artist in the "Apple" complex, and she replied that she fully realised what a big chance it was for both of them. "Billy is a great guy, and George Harrison is a doll. George and I worked together on Billy's album, and if you listen closely you can hear Doris Troy singing away in the background. Just like the good old·days at Atlantic."

She answered the phone for what must have been the twentieth call since I'd been there. "Yes darlin', come ·right. on over now. I'm doing an interview for 'Blues & Soul' and I want you should meet Dave." She hung up and smiled, "That's my new boyfriend I was telling you about, and I asked him over because I want you to meet him." She handed me a pile of singles. "Sort out something nice. I always dig the sounds you dig," and she was off in the bathroom for a quick re-check of her make-up before her boy friend arrived.
This was the Doris I knew and loved. Warm, generous, flattering and always off somewhere or just arriving from somewhere; a human dynamo who is never so busy that she can't stop and say hello and rap awhile. Those who have been close to her over the past years know that she has had troubled times, but she keeps her troubles to herself. When she is making it good she is insanely generous and open handed. She'll feed anyone who is out of work; throw gigs their way if she can and gives people cab fare rather than mere busfare. When she once took one of my fingers and held it saying she'd buy me a big diamond ring when she was a big star, I can well believe she would actually do it, crazy as it would be. Doris does pay her dues, and there are times when her luck runs out or deserts her and she gets depressed and low. Much like all of us I guess, but Doris has a remarkable will, and she struggles on and endures.
Mother Soul
In this respect she is truly a child of Capricorn, but above all else there is a largeness of Heart about her that makes her a potentially great person. On her walls she mounts photos of people she loves and digs her boy friend, George, Billy, Marsha Hunt and Gloria Howerd, and, dominating the entire room, a huge photo-poster of the late Dr. Martin Luther King.
"Like you say, the situation between the races is a drag once you're an integrated person yourself, and it is hard to understand the mind of the segregationists. I think things are improving, and then I read something in the paper that convinces you that things have got to get worse before they get better. The way the schools are, in fact, most things in America, are very different to how things are over here. I don't really like to think about it, but naturally I try to be optimistic. "The progress over the past three or four years for the American Negro has been slow -very slow, and coloured people are tired of paying their dues for ever and ever Amen! God didn't give me a Black skin so's white folks could single me out for special praise or discrimination, and who knows, we might be more in his image than white folks are, but when it's all said and done we've got to try and bring people together rather than force them more apart.
"Inter-marriage is really the answer. I've several white friends, and I speak from experience when I tell you there ain't no truth in them myths and legends that people talk about." She burst into peals of laughter and slowly shook her head. "We do need a melting pot like the record says, and al] the while I'm regarded as Mother Soul I'm gonna make ,sure my children get this message. It's a bit of a cliche right now, but like the record says 'All You Need Is Love.' It's that simple.
The silence was interrupted by the door bell, and when her boy friend came in they were soon hugging ,and cuddling one another. Fulfilled and luxuriant she smiled and purred "Ain't that real now? Ain't that real?" I returned her smile and was happy for her, and I thought, who am I to contradict anything my Mother tells me !

David Godin 1970

By Mike in Articles · October 6, 20195 yr

A new month and so time for a look back at just what the top $ soul auctions were over September 2019...

Soul Record Auctions - Recent Completed Soul Auctions [sorted by value]
Ultra Detroit -dennis Edwards-johnnie On The Spot-prom.. $5655.55 ended 06 Sep The Tiaras Foolish Girl Surprise Op-art Ultra Canadian $5122.00 ended 19 Sep Volumes - Karen - Original - Hear $2627.95 ended 02 Sep Sound Work Shop Sws 113 Il Corpo Piero Umiliani Ps.. $2230.00 ended 29 Sep Mixed Feelings Sha-la-la Love Will Find A Way United .. $1913.00 ended 28 Sep Crossover Soul - August Tide - Far Away Places - August.. $1878.00 ended 22 Sep Modern Soul - Gary The Browns - Melo-melody - Vie - .. $1691.00 ended 22 Sep Modern Soul Boogie - Premonition - Don T Act Like A Foo.. $1413.00 ended 22 Sep Charles Mintz Lucky Guy Running Back Uplook Mega Ex $1324.00 ended 19 Sep Gail Nevels He Can T Do Without Me Taking Mind Off Love.. $1300.99 ended 29 Sep The Trends Thanks For A Little Lovin Abc Very $1284.00 ended 19 Sep Mikki Farrow Set My Heart At Ease Karate Listen $1282.99 ended 16 Sep J T Rhythm - All I Want Is You - Palmer - Mp3 $1204.79 ended 23 Sep Alex Brown In Search Of Love Sundi Original Soul Funk N.. $1175.00 ended 29 Sep Wee Teach Me How Try Me On Owl Wmo 2 From 1976 7 45 $1137.51 ended 02 Sep Monster - Betty Lloyd $1100.07 ended 02 Sep Tobi Legend Time Will Pass You Buy Mala $1026.00 ended 19 Sep Northern Sweet Soul The Superbs One Bad Habit Dore Listen $1000.00 ended 16 Sep Janis Prince-love And Devotion Patricia 45-radio City.. $977.00 ended 08 Sep 303 Soul Records-all Ex Mint Condition-all Listed $928.95 ended 29 Sep Rita Dacosta Don T Bring Me Down Pandora Records Rare $935.00 ended 03 Sep Modern Soul Boogie - Brian Zan - Schemin On You - Ho.. $918.00 ended 22 Sep Johnny Maestro I M Stepping Out Of The Picture 7 Scept.. $898.39 ended 01 Sep Tony Galla In Love Swan Mega Ex $897.00 ended 19 Sep Poindexter Bros - What I Did In The Streets Grail Fu.. $895.00 ended 15 Sep Acetate - Jimmy Day The Knights - These Windows - Unr.. $887.00 ended 23 Sep Jay Traynor On Abc Up And Over Great Very $882.56 ended 29 Sep Funk Sweet Soul Young Mods I Can T Hurt You Back Everbl.. $876.00 ended 16 Sep Is She In Your Town Curtis Lee Mira Demo $867.83 ended 26 Sep Sweet Soul - Domestic-five - It S An Empty World - Aqua.. $811.99 ended 23 Sep 70s Soul - Melvin Brown James Matthews - Love Stormy .. $810.00 ended 22 Sep Chuck Ray I Don T Mind Tam-boo Listen $808.00 ended 16 Sep Funk Underground Express I Never Found A Girl Uge Lis.. $805.99 ended 16 Sep Deep Soul Funk - Elois Scott - Broadway Love - Carol G .. $796.56 ended 22 Sep Jesse Butler - It S My Business Weekend Star Soul 101 $787.77 ended 14 Sep Sonny Parker Mr Romance Hitts Very Nm $776.00 ended 19 Sep Liuto Lrs 0057 La Ragazza Fuoristrada Piero Umilian.. $769.98 ended 29 Sep Ray Camacho Teardrops Lonely Town I Told You So Pro.. $767.99 ended 02 Sep Pookie Hudson Jamie Lbl Promo Mint This Gets To Me $765.00 ended 08 Sep Funk Garage - Gemstones - Cold Soul - Gemstone - Mp3 - $761.00 ended 22 Sep Jock Mitchell Not A Chance In A Million Impact Supe.. $760.00 ended 25 Sep Herb Ward Strange Change Argo Very Ex $750.00 ended 19 Sep Modern Soul - Fourth Phaze - Darlin - Alease - Mp3 - O.. $749.00 ended 22 Sep Sweet Soul - Laurene Lavallis - Key To Our Love - Troni.. $743.00 ended 23 Sep Banny Price Jewel 749 You Love Me Pretty Baby You Kno.. $698.00 ended 14 Sep Mel Williams - Burn Baby Burn B W The Real Thing - St.. $695.00 ended 02 Sep The Beatles Uk Please Please Me Gold Mono Northern So.. $684.49 ended 29 Sep Johnny James-you Ll Need Mylove Tellyouaboutmygirl Circ.. $688.69 ended 26 Sep Joe Medwick Whatever It Takes Ex 1969 Westpark Hear $687.99 ended 08 Sep Funk Soul R B Tabby Thomas One Day Soul International L.. $679.00 ended 16 Sep Edward Hamilton - Baby Don T You Weep - Mary Jane - Mp3 $678.00 ended 23 Sep Monster Latin Mulatu Ethiopian Quintet Afro Latin So.. $676.00 ended 08 Sep Sam Dees Lonely For You Baby Sss International Very Nm $672.00 ended 19 Sep Helene Smith - You Got To Do Your Share Willing And A.. $666.36 ended 14 Sep Marshall Donovan Broomfield Since I Found My Baby Mod.. $665.80 ended 19 Sep Funk - Harmonics - Be Your Man - Sock-it - Mp3 $646.00 ended 23 Sep Sam Fletcher I D Think It Over Vee-jay Pic Sleeve Promo $644.03 ended 16 Sep Sweet Soul - El Count Executives - Pot Of Gold - Gemini.. $639.99 ended 23 Sep Tony Ashley - Just A Taste I Ll Go Crazy Soul 732520 $626.00 ended 14 Sep Luther Ingram - If It S All The Same To You Babe - Hib .. $611.57 ended 23 Sep Charisma Don T Act Surprised Sweet Soul Harmony.. $610.00 ended 02 Sep Sugar Ray Roll My Heart And I Sweet Soul Harmony .. $610.00 ended 02 Sep Disco Modern Soul Zozobra Latin Lady Funk Fandango Hear.. $610.00 ended 26 Sep Soul Funk Apple The 3 Oranges Love Brings Out The Bes.. $609.99 ended 16 Sep Tempos - I Ll Never Forget Listen $609.00 ended 16 Sep Chicano Soul Thee Dupremes All 3 S Writing On Labels Vi.. $600.00 ended 07 Sep Linda And The Pretenders - Monster - Believe Me - Gre.. $600.00 ended 27 Sep 70s Soul - Doc Peabody - Here Without You - Both Sides .. $599.99 ended 22 Sep Crossover Soul - Leonard Adair - That Smile Upon Your F.. $575.00 ended 22 Sep Mickie Champion What Good Am I Musette Very Ex $572.00 ended 19 Sep Sam Fletcher I D Think It Over Tollie Very Ex $554.00 ended 19 Sep R B Soul Doo-wop - Contours - Whole Lotta Woman - Motow.. $550.00 ended 08 Sep Funk Rhon Silva Get It Right Got To Have Ex Uptight Hear $547.00 ended 22 Sep Modern Soul Boogie - Wreckin Crew Band - Cruisin With .. $543.00 ended 22 Sep The Vel-vets Got To Find Me Somebody Vg $539.99 ended 04 Sep David Bowie A Os De Oro - Golden Years 1976 Mexico 7 .. $534.00 ended 22 Sep Roy Roberts Got To Have All Your Love Bo Ro Very Ex $531.02 ended 19 Sep Very Judy Freeman Blackrock Walk A Mile In My Shoes H.. $530.00 ended 06 Sep 45 W Brslv Kal S Kids Long Lonely Broken Hearted 1967 .. $525.99 ended 08 Sep Sugar Ray Roll My Heart And I Sweet Soul Harmony .. $520.00 ended 16 Sep R B Soul Mod - Skyliters - Gonna Dance - Re-vak - Mp3 -.. $518.88 ended 15 Sep 70s Soul - Bitter The Sweet - I Wont Have Any Babies .. $517.00 ended 22 Sep D Dee Joe - Instant Happiness Alone In The Chapel .. $511.99 ended 14 Sep Charisma Don T Act Surprised Sweet Soul Harmony.. $510.00 ended 29 Sep Sugar Ray Roll My Heart And I Sweet Soul Harmony .. $510.00 ended 29 Sep Joblot 375 Motown Mod 7 Vinyl Record Collection Full .. $495.03 ended 22 Sep The Diddys Featuring Paige Douglas Agony And Extasy Sea.. $496.77 ended 18 Sep Acetate La Planete Sauvage Alain Goraguer Nm 1973 Lp Os.. $494.00 ended 22 Sep The Lightmen Free As You Wanna Be Lp Original 1970 Judn.. $483.99 ended 14 Sep Modern Soul Disco - Aged In Harmony - You Re A Melody -.. $483.00 ended 22 Sep R B Sherri Taylor He S The One That Rings My Bell Glore.. $478.64 ended 19 Sep Original - Bernard Williams - Focused On You Needless.. $470.59 ended 15 Sep Northern Sweet Soul The Enchanters There S A Look About.. $472.00 ended 16 Sep Funk Soul Aggregation A Child Is Born Charity Listen Rare $471.00 ended 16 Sep Frank Beverly The Butlers If That S What You Wanted S.. $465.00 ended 19 Sep Stormy -the Devastator - Funk - Ex Vinyl Ex Audio -.. $462.89 ended 30 Sep Crossover Soul Funk Bonnie Blanchard You Re The Only On.. $461.00 ended 19 Sep Nelson 3 Marvin Make It Soul New Sweat Very Monster M.. $455.21 ended 01 Sep Cliff Nobles My Love Is Getting Stronger Too Fond Of Yo.. $455.00 ended 04 Sep Monster Latin Har-you Percussion Group Original Latin.. $455.00 ended 08 Sep

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By Mike in News Archives · October 2, 20195 yr

This is the official compilation LP of the Hamburg Soul Weekender

>>> 500 handnumbered copies, limited edition
>>> printed inner sleeve with liner notes and photos
>>> vinyl only, there is no CD or any digital format

SHIPS ON OR AROUND OCTOBER 25, 2019

A1 What Should I Do - Little Ann
A2 My Life - Joe Jama
A3 Somebody Watching You - The Sacred Four
A4 Light Of My Life - Ben Pirani
A5 You Got Me Diggin' You - Roosevelt Matthews with Billy Ball & The Upsetters
A6 What's With This Loneliness - Chuck Jackson

B1 What Love Can Do - The Honey B’s
B2 Can We Try Love Again - Kool Blues
B3 Sha La La - Mixed Feelings
B4 Gonna Find A True Love - Patterson Twins
B5 What I Done Wrong - Big Lee Dowell & The Cannonballs Feat. Maxim Moston
https://legererecordings.bandcamp.com/album/hamburg-soul-weekender

By Thejan in News Archives · October 2, 20195 yr

New single - Who You Gonna Blame - Geoff Waddington featuring Tameka Jackson - Digital Release
Geoff Waddington has been in touch and passed on details of an upcoming digital release
Out on the first of October, it's a new digital single from Geoff Waddington titled 'Who you gonna blame' featuring Tameka Jackson
Can listen right now to a preview of 'Who you gonna blame' featuring Tameka Jackson below...

By Mike in News Archives · September 30, 20195 yr

Ace Records Newsletter featuring the lastest and coming soon releases for October 2019 from Ace Records

Yesterday Has Gone - The Songs Of Teddy Randazzo
Pop
Various Artists (Songwriter Series)
CD £12.92
With sumptuously produced classics such as ‘Goin’ Out Of My Head’, ‘I’m On The Outside (Looking In)’, ‘It’s Gonna Take A Miracle’ and ‘Hurt So Bad’ to his name, few would disagree that Randazzo ranks alongside Jimmy Webb, Burt Bacharach and Van McCoy as one of the finest and most successful songsmiths of the 1960s.

Shel's Girls - From The Planet Records Vaults
Girls
Various Artists (Shel Talmy)
CD £11.50
From beat belles to big ballads, here’s esteemed producer Shel Talmy’s small but perfectly formed coterie of mid-60s Brit-girls.
Music From Jarvis Cocker's Sunday Service
Eclectic
Various Artists (Jarvis Cocker)
CD £11.50
LP £29.01
Jarvis brings together an eclectic and exciting mix of records from his much-missed "Sunday Service" show which ran for seven years on BBC 6 music. Available on 180g double vinyl and CD digipak and with full accompanying sleevenotes by Jarvis.
American Tunes - Songs By Paul Simon
Pop
Various Artists (Songwriter Series)
CD £11.50
24 of Paul Simon’s most famous songs drawn from diverse genres. Includes covers by Aretha Franklin, the Hollies, Annie Lennox, Rosemary Clooney, the Heptones and Cher.


Soul releases coming soon from Ace records - Release date: 25.10.2019

Dave Godin's Deep Soul Treasures Volume 5
Deep Soul
Various Artists (Dave Godin)
CD £11.50

15 years on from both Dave Godin’s death and his fourth volume of “Deep Soul Treasures”. Kent has compiled a further 25 tracks saved by him for his Treasures series and including some he wanted from Day 1.

Jack Ashford's Just Productions
60s Soul
Various Artists (Producer Series)
LP £15.60
High calibre Detroit soul on vinyl from Jack Ashford’s Just Productions company.



Everything Is Gonna Be Alright
Funk
Various Artists (Westbound)
CD £11.50
Launched in 1969, Westbound Records was the last great Detroit indie. This compilation brings you 24 of their greatest singles, including hits from Funkadelic, the Detroit Emeralds, Denise Lasalle and the Ohio Players.

More info, listing , images and puchase options inc pre-order via the Ace Records Website here
https://acerecords.co.uk/

By Mike in News Archives · September 29, 20195 yr

Details of the most recent Leon Wares posthumous vinyl album release. Now available on vinyl and download
‘RAINBOW DEUX’, POSTHUMOUS ALBUM FROM SOUL LEGEND LEON WARE RELEASED
The melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, posthumously released on all digital and streaming platforms and double vinyl on September 13th via Be With Records. The album features twelve new songs written, recorded, and performed by the soul legend before his health turned, leading to his transition in February 2017. Rainbow Deux features an all-star roster of collaborators including Taylor Graves who co-produced the album, plus Kimbra, Kamasi Washington, Thundercat, Ronald Bruner, Jr., Rob Bacon, and Wayne Linsey.
It’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. “Leon was ALWAYS writing something or developing his musical palette,” notes his wife Carol Ware. Six of the songs go back to 2012-2013 and were released in the following year as part of Sigh, a Japanese exclusive CD collection, heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the works were birthed in subsequent sessions with Taylor, with Leon later finishing the album in August 2016 with his go-to mastering engineer in the UK, Toni Economides alongside Gerry “the gov” Brown, Leon’s long-time sound engineer, who was by his side throughout the entire project, recording and mixing.
Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep, and smooth as silk. The lyrical themes are eternal paired with Leon’s signature soulful and sensual musical stylings, as heard on standout tracks “Are You Ready” and “ We Should We Laughin’”.
During an apartment move, Leon and Carol rediscovered some watercolors Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork. Carol has overseen developing that draft into the final album artwork, bringing together quotes, photographs, and tributes in what is a reflection of the music, relationships and philosophy of the sensual minister.

By Mike in News Archives · September 25, 20195 yr

ANNOUNCING DIGGIN’ DEEP RECORDS NEWEST RELEASE!
TWO SUPERB SLICES OF GROUP SOUL!
THE NEWEST ‘DIGGIN’ DEEP’ LIMITED EDITION 45
RELEASE DATE FRIDAY 4th OCTOBER 2019
AVAILABLE TO PRE-ORDER FROM 23rd SEPTEMBER 2019!
Can You Dig It?
DD 008A - The Radiations “That’s The Way (Our Love Is)”
DD 008B - The Lovers “When You’re Poor”
It is with great pleasure that we announce the latest Diggin’ Deep 45. A pair of excellent group Soul tracks, available to pre order on 23rd September 2019.
The top side, ‘That’s The Way (Our Love Is)’ is a blistering, midtempo, number from The Radiations, a New York based vocal group, famed for their much loved 1969 outing on Valise ‘Love Be Not a Stranger’. This previously unissued record has been very well received by lovers of group and ‘crossover’ soul whenever it’s been played out. It’s bound to be a winner in discerning soul circles.
The Radiations were one of a stable of artists that New York producer David Blake worked with which included the Quotations, Frank Dell, The Headliners, Jackie Owens and Johnny Watson on Valise. They were all based around New York and this fine midtempo treasure is an example of soul group singing at its best.
The flipside ‘When You’re Poor’ from The Lovers is another ‘previously unreleased on vinyl’ number, written and arranged by Arthur Wright. Following its discovery and inclusion in the bestselling compilation ‘This Is Lowrider Soul’ last year, the track has become hugely appreciated across the USA, Europe and beyond by lovers of sweet and group soul music.
The Lovers were stationed at the Deal Air Force base in northern California and had releases on Vardan as The Emotions and Philips as The Lovers, and later on Minit, Boola-Boola and Fantasy recording as the Pacesetters. This Diggin’ Deep 45 is the first vinyl release from the group in over 40 years.
Take a listen to a minute of each side on the video:
Both tracks are now available on a beautifully mastered vinyl 45.
DD008 collector’s release is a limited pressing @ just £12 each plus postage and packing.
Avoid Disappointment. Pre-order ON WEBSITE ONLY now, while stocks last: https://www.diggin-deep.com
Diggin’ Deep Records – Sheffield, England. Making available a series of excellent Soul recordings from the 60’s and 70’s, most of which will be released as a limited edition 45 for the very first time, and the occasional, carefully selected, re-issue. Dozens more titles are already lined up for limited future release. Keep informed by collecting the vinyl, joining the mailing list, visiting the website and social media pages regularly and ensure you’re among the first to know!
Avoid Disappointment. Pre-order now, while stocks last.
https://www.diggin-deep.com

By Sean Hampsey in News Archives · September 24, 20195 yr

A selection of photos and comments marking the weekends 40 year landmark from Ady c aka @ady croasdell
The Spirit of 6TS

My favourite shot of 6TS at West Hampstead with the very recently departed Russ "Woofer" Taylor acclaiming all: surrounded by his and our great friends from Market Harborough. It's 40 years since the first night at Henri's in Covent Garden and it should never be forgotten what outrageously enjoyable nights those early evening events were. They formed the mould of great music from exceptional DJs but with fun and friendship being the most important part of the event. If that hadn't have happened it would have been knocked on the head decades ago and the legend that is the 100 Club all-nighters would never have developed. For Russ

Randy, Dawn and half of me admiring Randy's caricature of Woofer.

Randy was of course my original partner in the 6TS Rhythm 'N' Soul Society and hugely influenced our music policy and style. We remained best friends for his long - but not long enough - colourful life. He was one of the most influential figures in London's rare soul scene that the 6TS helped take off. We'll miss his presence on Saturday.

Two of the earliest 6TS DJs who are still at it today. Unfortunately Mick had to have a routine but important operation last weekend so he can't make it tomorrow - despite trying his darnedest. His big shoes will be filled by his oppo Pete Hulat who will fill his set with Mick's classic Northern sounds. Roger on the other hand is in strict DJ training and has promised to make this one a memorable return.

I tried for many months to get this legendary 6TS DJ down for the night but yet more bad luck meant just as he was about to agree to return for one last shebang, his partner was booked into hospital for an operation - those hospitals have a lot of work on! Hopefully when things have improved we can tempt him back to his and our spiritual home.

Too many people to include them all but here are more influential movers and groovers from the early years.

Never forgetting Sylv who was such a large part of the club for so many years

Original 6TS DJ Tony Rounce who span the first record at Covent Garden and can still be found beavering away on CD compilations in the office next to me at Ace / Kent

And Tony Ellis an original London Northern DJ from before my time in the Smoke and an ever-present in the first few years. Gracing us with his presence tomorrow.

100 club

By Ady Croasdell in Articles · September 20, 20195 yr

Stringfellow’s King Mojo set to live on
The ‘Dirty Stop Out’s Guide to 1960s Sheffield – The King Mojo Edition’ is set to be launched at a special ‘King Mojo’ night in a few week’s time.

Ben E King: Famed artist Ben E King inside the King Mojo office
The King Mojo – a teenage club opened in 1964 by the city-born entrepreneur Peter Stringfellow and his brother, Geoff – attracted musicians that went onto conquer the world.
Names like Stevie Wonder, Ike & Tina Turner, Jimi Hendrix, The Who and Pink Floyd all played early gigs at the venue that used to reside at 555, Pitsmoor Road.
Arguably the venue’s biggest claim to fame was introducing the Small Faces to the audience that set them on the road to fame.
The band were originally booked to perform at a nearby Working Men's Club but they were kicked off after a couple of numbers. The King Mojo mod audience thought they were manna from heaven and the rest, as they say, is history.

KingMojotoReady…: King Mojo-goers get ready to board the bus to dance on the legendary Ready Steady Go! programme

Neil Anderson…: Author Neil Anderson with his forthcoming ‘Dirty Stop Out’s Guide to 1960s Sheffield – King Mojo Edition’ book

The ‘Dirty Stop Out’s Guide to 1960s Sheffield – The King Mojo Edition’ is set to be launched at a special ‘King Mojo’ night in a few week’s time.
Scores of former club-goers from one of Sheffield’s most iconic clubs have contributed to a forthcoming book that is set to create a defining legacy to the venue.
Sheffield author Neil Anderson says the ‘King Mojo edition’ of his best selling Dirty Stop Out series will be a fitting tribute to Peter and Geoff Stringfellow who both died in 2018.
He said: “Few clubs anywhere in the country have a story comparable to that of the King Mojo. The contribution Peter and Geoff made to popular culture in the era was quite incredible. The club created lifelong friendships amongst its teenage audience and attracted acts that went on to conquer the world. ”
The book’s launch night will be re-creating the vibe of this incredible club via the dancefloor sounds of DJ Stevlor & The Spinning Orphans who spun the discs at the legendary sell-out Mojo reunion in 2011 at the Leadmill.

There will also be an exhibition of posters by celebrated King Mojo artist Colin Duffield.
The event takes place in the nightclub of Genting Casino Sheffield, on Friday, November 8th, from 9pm.
The event will be raising money for Cruse Bereavement Care.
Tickets are just £8 and available from https://www.dirtystopouts.com or in person from Genting Casino Sheffield.
More details from 0114 228 8980.

King Mojo flyer: The book launch flyer

MojoTicket: An original King Mojo ticket

By Mike in Event News · September 19, 20195 yr

Dear Soul friends, glad to introduce you all a new reference at my label Cuero Records!
In 1969 Mickey Carroll with the help of the two top ingeniers sound Ron & Howard Albert, recorded a couple of demos in Criteria Studios (Miami), those songs just came in a acetate that has been lost since now that 50 years later we've worked to put them in a 7". Hope you like it! I leave here links to listen and link to website to but it if you interested, any doubt, do not hesitate to contact me, thanks!
Best
Miguel Aránega

https://cuerorecords.com/mickey-carroll-think-love/

By Guest Miguel Aranega in News Archives · September 19, 20195 yr

THE 100 CLUB….. 40 YEARS ON

The 100 club allnighter celebrates its 40th anniversary in September, which makes it, by some distance, the longest running allnighter. In the greater scheme of things Northern, this is a unique milestone and for many of the northern soul fraternity, the allnighter has a legendary & iconic status, for some, go further, and see it as a national treasure! For those that have not ever visited, it’s situated in London’s famous Oxford street and is a compact, no frills basement club with a capacity of 350. It could be described as grubby, quirky, dark and very hot, but has loads of character and atmosphere. There are two bars at either ends of the dance floor, but only one is usually open. In true ‘northern’ fashion, the toilets are grim, but nowhere near as bad as the infamous Wigan bogs. One big factor in its favour is that it is a proper club, a perfect fit for the 6ts rhythm and soul brand.
It all began in the late 7ts, as Ady Croasdell explains: “Original London mod and soul fan Randy Cozens and I had been attending occasional London Northern Soul dances in the late 70s. By late 1978, one of these - OBJs at the Prince Of Wales in Hammersmith on a Wednesday evening - became very popular, with DJ Terry Davis playing a mix of Northern and old mod, club soul. When it closed there was a sense of loss over such a remarkable night. I knew of a perfect venue at the Bedford Head on Maiden Lane in Covent Garden and teamed with Randy to run a dance there on Saturday Aug 17th 1979 with DJs Ian Clark, Terry Davis, Tony Ellis, Barry Quinell, Tony Rounce and Randy. People travelled from Worcestershire, Gloucestershire, Bedfordshire, North Wales, the South Coast and Market Harborough - the DJs excelled playing a selection of classic and under-played 60s club soul that had largely been ignored in the Northern Soul clubs for many years. A good portion of young mod revivalists had their eyes opened. The 6TS was up and away.
After successful nights in Covent Garden, West Hampstead and a handful of one-offs in London’s West End the 6TS settled at the 100 Club, 100 Oxford Street starting on Friday 20th February 1981. The monthly newsletters we wrote and posted to members along with Clarkie’s latest flyers, really helped establish the club and give a sense of togetherness. Randy retired from promoting but stayed an influential DJ and enthusiast. After a few months of Friday night dances, we were told a regular club was taking over and we had to leave. I then proposed Saturday all-nighters after the jazz club had finished at 1am - a chance for the guvnor to double his takings! On October 24th of that year we had our first 100 Club all-nighter. The club classics continued, particularly in the early part of the evening, but inevitably the all-nighter attracted night owls from across the country, many of whom I and the DJs knew from around the Northern Soul scene. There was a split among the DJs over the music policy with some feeling the R&B side didn’t fit in with the Northern; a recently revived point of view! As the nights progressed the tempo upped and with the addition of Mick Smith, Pete Widdison, Roger Stewart and myself to the roster, by mid ‘82 we were a full-blown Northern Soul all-nighter”.

Keb Darge has his own unique recollection about that period: “I moved to London in February 1979 and very quickly hooked up with the 6t’s crowd. I went to their nights, if I wasn’t at Wigan or the Clifton Hall. I did used to hang around grumbling at the lack of proper northern being played so me and Mick Smith started a pure northern night in the West Hampstead Country Club in the summer of 79. Some of the 6t’s crowd came, but not many, as they felt themselves above the northern thing. We therefore filled up with curious mods.
When the first 100 club all nighter was announced I felt sure we would get more northern, but again hung around most of the night with some other exiled Wigan-going Scots, grumbling and pestering the DJ’s. I remember clear as day towards the end of the night Mick Smith saying on the mic ‘what the fuck is wrong with northern anyway’, he then played Lennis Guess “just ask me”. What followed was a rush to the floor by seven wild jocks and a throng of young mods standing around jaws on the floor watching the fancy dancing. From then on these young mods wanted more. I took a load of them up to Wigan on a coach not long after and guaranteed myself a much larger team of DJ pesterers, asking for northern at subsequent London nights. Eventually, in 1983, Ady gave in and said to me, if you want northern you play it yourself and gave me a regular spot at the 100 club”
Ian Clark is a dj who is synonymous with the 6TS story and he sums up his own experience: “40 years is a long time....who would have ever thought it would last the decades.....thanks to the likes of us, intelligent djing..and some crackin tunes, we all did it justice. So many fond moments, too many great tunes...so what does one say....its very very emotional...we were all in the right place at the right time. Ady and Randy had the vision and opportunity to find a cracking venue...100 oxford street and riding high on the apt. mod revival, more youngsters were into soul, a great group of soul friends were picked as djs and it worked. Ady created a magical world beneath London’s most famous street and folks loved it. It became a mecca for all soul fans from all over the world. It is one club that has flown the flag for soul music as high as the Mecca, Wigan and so many others. It bucked the trends to survive many obstacles and was fuelled by Ady’s luck and sterling work at kent records. That first lp. crackin cover by the way, was a turning point for us all, great fun, great music, great friends and it has given immense pleasure to millions....and the best music ever made. I do miss it and one 45 stands out, capturing the club atmosphere, Spooners Crowd, two in the morning on Cadet...it takes you there! With love and sincere thanks to Ady..... Clarky, the man in red spexs”.

A DJ that crops up a lot when telling the story of the Rhythm & Soul phenomenon is Mick Smith, the proprietor of the famous record list, MJ records and UK collector extraordinaire. A Northern soul fan since the early days and a reputation for unearthing very rare British soul 45s. I first ran into Mick in the record bar at Wigan Casino, where he was selling records next to Pete Widdison. I soon found out that he loved to take the piss out of young and gullible collectors, but as the years passed he became a warm and likeable friend. I spent twenty unforgettable years DJing with Mick, something ill never forget and found him to have a real passion and love for the scene and the music. He always seemed to have a deputy with him when he was selling his records. Firstly it was Taffy and then later Pete Hulat, two top blokes that I’m pleased to call mates.
Mick told me that “the longevity of the 100 Club imo is down to Ady, especially when he started getting the unreleased stuff via Kent and also getting butch on board playing the super rare records & C/Us. That’s what keeps people coming back because they can hear records that no other venues are playing. Just like the old days, when we travelled to hear exclusive sounds that only one club had. The 100 club gave me a chance to play some underplayed Oldies and reactivate some things like, Vicky Labatt-got to keep hangin’ on, the Differences-five minutes and Walter Wilson- love keeps me crying. I also procured a great unknown seventies record from John Anderson, at Soul Bowl and covered it up as Eric Lomax, which took off Nationally after its first airing at the 100 club. Later to be uncovered as Lil Major Williams and now a major spin by most top jocks”.
During the early 8ts, Roger Stewart was added to the DJ roster, with Dave Greet and Taffy joining a year later. By 1988, Keb was getting divorced and selling his collection, so he dropped out and recommended butch as his replacement. Val Palmer, the first female DJ at the club, was enlisted at about the same time. By the time the 9ts arrived the DJ lineup had unraveled to include: Ady, Mick Smith, Ian Clarke, butch, Val, Irish Greg & Shifty. As the years passed by, Ian, Val, Irish Greg and Shifty retired and following the millennium Keith Money, Joel Maslin and Tomas Mcgrath joined the spinners. I should not forget to mention the many guest DJs who have fulfilled their dreams and ambitions to get behind the sacred decks and spin their top tunes (too many to mention) At its inception, to gain entrance, you needed a membership, which after a number of cock-ups, was eventually phased out. By now the membership would have reached an estimated 35,000 if it had been kept in place.

The club has been run almost single-handed by ADY CROASDELL, who decided the musical direction it should go in by selecting DJs who could support him in that journey. The 7ts DJing tradition of unearthing and breaking decent new sounds is maintained, played along side Oldies, with a smattering of c/u’s to keep the crowd guessing. Ady principally cites the longevity of the allnighter to his excellent relationship with former owner, Roger Horton and currently his son Jeff. Ady says very little is planned; he plays it by ear and lets nature take its course! Of course we all know that’s absolutely true, as he can be slightly disorganised but in actual fact, Ady is a great ambassador for the club and most of the regulars look up to him with warmth, affection and respect. At the beginning of the night, he is usually to be found at the entrance, greeting clubbers with a smile and a handshake. He is also a pioneer DJ. who has introduced many wonderful new discoveries over the years and since the mid 8ts, he has worked for Ace, Kent, as their compiler of soul & RnB product.
As far as possible, Ady hasn't let the 6ts night fall into an Oldies night, even when on the occasion crowd numbers have waned. The music policy has always been to break new sounds and to keep the night interesting and fresh. Oldies are routinely played, but not predominately. He has recently been joined in partnership with Matt Bolton, a young curator, who has plenty of energy and clubbing know-how and between them aim to push the event into the next decade. Matt recently made this point to me, that in a world of instant access to music, that after 40 years, the club still offers us something to genuinely travel for; quality records that can heard literally nowhere else in the world.

Many of the club’s regulars are slightly younger than your average NS club-goer and have shared values of what to expect at a typical 100 club nighter. They are an extremely knowledgeable crowd and can be exceptionally receptive to records that are ‘going big’ at their club. The 100 club doesn't suit everyone who makes the visit: many aficionados and connoisseurs from an earlier time on the Scene have been to see if it measures up to their strict definitions of a Northern night and many have left, been sadly disappointed. They have probably been somewhat right in their judgement, the 100 club isn't like other clubs in Britain, it has its own bias and sets its own course. I remember Ian Taffy Guy referring to the allnighter, as ‘our thing’ Between 1982 and 1986 the 100 club ran along side the now famous Stafford allnighter and during that period was regularly supported by the Scottish soul clan, a chapter of the British 6ts mafia, a dedicated and enthusiastic group, who thought nothing of travelling the 800 mile round trip each week to listen to their favourite records of the day. Now that’s what i call dedication!
I also must mention the bouncers used specifically for the allnighter and for over twenty years Winston looked after any issues that might arise. Such a likeable and friendly chap, kept a low profile until really needed and over the years became just one of the crowd. During one night he had to eject some drunken lad, who wasn't too pleased getting thrown out and who came back with a sword to take some revenge. Winston with all his coolness and experience managed to convince the wannabe swordsman to ‘leave it out’ and go home to nurse his hangover. After Winston retired, at least another three of the regular bouncers used were just as much interested in the music as the regular punters, coming over to the decks to enquire and make notes about the current sounds getting played. For many years, not really bouncers, but more security, we had ‘backdoor Kenny’ and Jim Eddlestone.
When I think back over the years of the niters, a few things that happened still make me chuckle, like when Gaz Kellett DJ'd with a homemade cyberman helmet on his head; when Betty Lavette's breast popped out while singing live, when Barbara Acklin came over to perform at the Xmas party; her voice was so shot Ady waited until midnight for her to sing, when all the punters were pissed and then they all came up and said how great her singing was. I also remember Pete Lawson getting barred for 3 months, but he still turned up each month and sat in the back mews car park chatting to anyone who popped out to see him. And when Kitch, driving the Notts crowd down in a minibus, decided it was a good idea to knock down the bus stop outside the 100 club. Additionally, one night a couple of quest DJs had a particularly bad time behind the decks, when they played more of the slip mats than their records. Equally funny and strange was what became known as the ‘dirty protest’ when someone had a crap, in the corridor, outside the women’s toilet!
The anniversary night in September, which is usually well over prescribed, is an all-ticket affair. Customarily on entrance, each ticket holder is given a unique anniversary 45 record, usually with two previously unreleased northern tunes. By the time the anniversary night is over, these records become instant collectors items, commanding quite a wedge. In the early days of the allnighter anniversary, unbelievably these singles weren't that sought after and many of the clubbers left them on the tables as they left; hard to imagine these days.
During the 1990s there was a healthy augmentation from overseas soul visitors, mainly from Europe, but also from Japan, USA and Australia. Some of these soul-pilgrims enjoyed the experience that much, they decided to stay and now have become part of the 100 club furniture, such as Yann & Kim Vatiste, Cristina Naggar, Philippe Breauvais, Etsu Kinoshita, Adriana Ventura, Emmanuel Guerit, Bettina Lauk, Paul Duffy, Paul Davis, Lisa Wolverson and Andy Newman who flies in from Guernsey every month.
One such piece of furniture, Naoko Omasa, from Japan, reflects: “in 1993, i moved from Osaka to London to study art. During my first few months in the city, i was looking for a club with a Mod feel, as i had studied the British fashion and music scene. We came across a place in Soho, called the Wag, where Keb was playing Funk & Northern. I was immediately lured into the Northern sound and Keb suggested that i check out the 100 club, as they specialised in that genre. At first i was overwhelmed by the dancers and the music, but after a few visits and because of the friendly atmosphere I eventually felt I was part of it all. Northern Soul has a very strong following in the Kansai area of Japan, which sprung up around the millennium and some of the most enthusiastic disciples have made trips to Britain to sample the renowned venues, almost all wanting to dance in the Oxford street basement. Over the last 15 years, the DJs at the 100 club have included more Modern soul into their spots, which hasn't always gone down well with some of the clientele, but personally, it’s just up my street. When I'm feeling stressed, slightly down, or just in the mood for a proper dance, i usually head off to the 100 club allnighter to take my soul medicine- the place that for me, opened the door to soul music”.
Although the regular attenders are by far the most important component of the 100 club soul events, in passing we can mention the celebrities that have had a taste of the sweaty shindig; Billy Jackson, Ronnie McNeir, Bobby Patterson, P P Arnold, Shane McGowan from the Pogues ran the cloakroom and frequented regularly. Paul Weller, Cook & Jones from the Sex Pistols. Roisin Murphy and Sharleen Spiteri were regulars. One of the Gallaghers from Oasis came down, Liam I think. Andy Kershaw and Mark Lamarr. Mainly pop stars, half of whom I didn't know. Ady reckons he kicked out George Michael for being a prat with a water pistol and made Van Morrison & his minder go to the back of the queue to get into the dressing room to see Doris Troy. One night, I remember Bobby Patterson turning up out of the blue and agreeing to sing a few of his songs. So the DJs stopped for a while and Bobby got stuck into a few of his Jetstar classics, ‘my baby’s coming back to me’ ‘what a wonderful night for love’ ‘i'm in love with you’ etc. beautifully serenading us even without a backing band. What a talent!
On to the records, one of the main reasons that the club has sustained itself. Most people who have frequented the event, will have some fond memories of the following 100 club records (and many others)

Maxine Brown - It's Torture, Melba Moore - Magic Touch, Carla Thomas - I’ll Never Stop Loving You, Bobby Kline - Say Something Nice To Me, Jesse James - Love Is Alright, Sharon Scott - Lock And Key, Chuck Jackson - Whats With This Loneliness, Johnnny Maestro - I’M Stepping Out, Mayfield Singers - Dont Start None, Royal Esquires - Ain’T Gonna Run, Moments - Baby I Want You, Walter & Admirations - Man O Man, Antellects - Love Slave, Parliaments - This Is My Rainy Day, San Francisco Tko’S - Make Up Your Mind, Kurt Harris - Emperor Of My Baby’S Heart, Nancy Wilcox - Gamblers Blues, Little Nicky Soul - I Wanted To Tell You, Timi Yuro - It’ll Never Be Over For Me, Lil Major Williams - Girl You're So Sweet, Paramount Four - Sorry Ain’T The Word, Saints - Ill Let You Slide, Ben E King - Getting To Me, Luther Ingram - Baby Don’t You Weep, Hytones - Good News, Ruby - Feminine Ingenuity, Peggy Gaines - When The Boy That You Love, Sensations - Demanding Man, Proffs - Look At Me, Sammy Ambrose - Dreamsville, Esther Phillips - Just Say Goodbye, Magicians - Faith And Understanding, Mr Lucky - Born To Love You, Willie Kendricks & Nancy Wilcox - She’ll Be Leaving You, New Wanderers - Aint Gonna Do You No Harm, Appreciations - It’S Better To Cry, Robert Tanner - Sweet Memories, Patrinell Staten - Little Love Affair, Jesse Davis - Gonna Hang On In Their Girl, Harvey Averne Dozen - Never Learned To Dance, Unique Blend - Yes I'm In Love, Metros - Ooh It Hurts Me, Imperial C’S - Someone Tell Her, Barons Of Soul - You Need Love, Lorraine Chandler - You Only Live Twice, Charmaines - I Idolise You, Gerri Granger Why Can't It Be Tonight, Hank Hodge - Eye For An Eye, Oc Tolbert - You Got Me Turned Around, Arthur Willis - The Hurting Is Over, Diane Lewis - You Aint Got A Chance, Mixed Feelings - Sha La La, Lee Mckinney - I’ll Keep Holding On, Jimmy Andrews - Big City Playboy, Darrow Fletcher - Love Is My Secret Weapon, Peggy Woods - Love Is Gonna Get You, Springers - Nothings Too Good For My Baby, Annabelle Fox - Lonely Girl, Ebonies - You Got Want I Want, Bobby Rich - There’s A Girl Somewhere For Me, Tommy Knight - Don't Bring Back Memories. Etc. Etc.

One memorable and exciting music find for the 100 club in 9ts, was when Ady negotiated with RCA to dig into their back-catalog for unreleased soul records and then unleashed some magnificent examples of Northern, whipping the dancers into a frenzy. Johnny Beggs, former Torch DJ (and my co-driver to the 100 club for over 12 years) recollects: “one hot night down in the 100 club basement ...so Ady says..’we just bought a load of unissued RCA stuff and i’ve got a cassette of it if you wanna listen to it’?  We say yes. So four of us, (myself, Butch, Dean Anderson and Ady) slipped out of the back entrance of a sweaty, seedy, packed night club in the middle of London, into the dark back alley, squeeze into my 2.8 injection ford capri and listen to some unissued RCA material for the first time ever! It blew us all away! Priceless memories! Incidentally...i still have the cassette…”

One of my good & close friends from the Northern scene, Dave Peers (Campo) was a regular at the 100 club during the 1990s and makes the following insightful observations: “The 100 club seemed more of a secret scene tucked away underneath  Oxford St. - most people didn’t know about it or that we were there - it was like you needed to be given the nod. Being once a month it was more of an occasion. From the ashes of the Casino the embers still flickered on at Stafford but I felt my fire was only really ignited again at the 100 club. Part of the fun is in the journey; the drive down Oxford St. which is great for people watching & London gives it that extra buzz.
It was not in traditional Northern soul land - times had changed , this was a new exciting venue run by a fan for the fans - I felt it was that new beginning I’d been waiting for -the scene sucked me right back in. It didn’t seem to be a business just to make money out of you. It wasn’t like the typical dance hall environment that I d been used to eg. Casino / Mecca establishments, so had a very different “club” feel - much more like Yate than any other all nighter. As it was small you felt part of it all, where at the Casino you only felt part of your spot where your mates sat or the record bar. It was much easier to meet and get to know the crowd as the numbers were so much smaller and the atmosphere was enhanced as it was underground. It was small and intimate - you got the feeling that the people who went, were the cream de la creme; there was no room for that joe 90 style crowd.

It was  friendly with an accepting but discerning older crowd who wouldn't put up with any crap sounds or dodgy DJs  - even had a female DJ which made it more contemporary.
The d j line up for me was way ahead and ambitious - there was life after Searling after all - no old DJ s who used to play the ....or the .... I liked the DJs doing s double sets, great for introducing new sounds.

That Casino style dress uniform had gone - thank god. Having a smaller dance floor worked well to build up the reputation of new sounds - sometimes there weren’t many dancing , but that was ok as it wasn’t as obvious like those infamous Casino floor clearers.  What did I miss about the old casino days - no balcony for people watching! The clapping I remembered so well had largely petered out - the acoustics of the Casino gave some records that extra edged and turbo power. The toilets in the 100 club were def. not as scary. For me the Casino was all about the “atmosphere” the 100 Club was about style and substance”.

Tim Ashibende, luminary of the NS scene, writes of the 100 club: “When I think of the 100 Club, the first thing which comes to mind is the word ‘Subterannean’! From about the age of 12 or 13 onwards, for several years, like many many other 70’s teenagers, I regularly frequented a ‘Youth Club’, a long forgotten phenomenon now, and seemingly a completely alien concept to today’s cyber-focussed youth. But back then it was almost a right of passage. On Friday nights all activities centred around an archetypal wooden hut, within whose timber walls was the ever present 70’s Youth Club fixture, the table tennis table! While waiting for your turn, the older lads would command the small knackered Dansette record player to treat us to the likes of ‘Rescue Me’ ‘My Guy’ ‘Young gifted and black’ ‘Sweet Soul music’ Black Pearl’ ‘Walking up a one way street’ ‘I spy for the FBI’ and a host of other Motown, Reggae, Ska. Sunday night was the night though, coz on Sunday, as an incentive to go to the church there, the youth leaders would allow a couple of hours in the club room in the cellar under the church, after church service, where the older teenagers went to. No more Youth Club ‘light’, this was the real deal, where the real action was.
On walking down the stairs the first thing you’d see were all the walls painted brightly in metre high arty graffiti, with words which made no sense to me back then; Catacombs’ ‘Twisted Wheel’ etc. Those words  may have made no sense to me, but the music certainly did. That’s where later, I first heard ‘Free for all’ Skiing in the snow’ ‘Queen of fools’ ‘Love love love’ Doris Troy, Scrub Board, Mitch Ryder, Major Lance, etc etc. That’s where it all began for me; this incredible musical journey, lifestyle, and roller coaster ride which I’m still on.
Many years, many niters, and many 1000’s of great records later, I had feelings of ‘deja vu’ every time I visited the 100 Club. That same feeling of “this is how it should be”; underground music in a dingy atmospheric underground club, underneath a big city. Normal people above overground, and soul music lovers doin their thing below those City streets, oblivious to the mundane humdrum goings on above them in the metropolis. The 100 Club for me, has always had that claustrophobic, sweaty, 60’s throwback club, atmospheric vibe, which you know is gonna yield up some awesome tune you never heard before, and which will never sound the same again, as in that musical dungeon. I loved Wigan, and that huge ballroom venue format, but uniquely, the 100 Club has always had that intimate, 60’s ghetto ‘Speakeasy’ club feel to it, which reconciles so well with our music. So so many great records have been pioneered, played and broken there, but one abiding memory is sitting near the bar with Butch, and suddenly hearing Ian Clark for the first time play an unknown covered up as Eddie Banks. It was ‘Goose pimples everywhere’ time; reason being it was the first time we’d had the pleasure of hearing what turned out to be the Springers, ‘Nothings too good for my baby’….awesome.
A few years before that, It was only when I visited the 100 Club one time, that I realised that on the other side of my Soul Bowl ‘pound special’ ‘TCB’ lurked the beautiful ‘Say something nice to me’, brought to the attention of the masses, (and me) by Mick Smith, via its humble beginnings at the 100 Club. A universal Northern anthem now, but to me it will always have a ‘100 Club’ association. There can be no better venue on the planet for hearing Lorraine Chandler’s ‘You only live twice’ for the first time. The unbelievable synchronicity between the dimly lit, subculture venue that the 100 Club is, and the echoey ‘recorded in a subway’ sound of that iconic James Bond’ish Northern powerhouse was really something to experience. For me there will always be something magical about the memory of hearing my best buddy Butch play the ‘Just Brothers’ Go on and laugh’ ; a fantastic ‘one off’ mysterious soul record played in an appropriately mystical iconic unique music club.
Finally, when I see the 100 Club in my minds eye, I see the characters, legends and friends who always typified it for me, especially in the early days, Ady of course, Mick Smith, Ian Clark, Pete Widd, Roger Stewart, Pete Crampton, Eddie Hubbard, Tony Smith, Duncan Morris, etc etc; so many. Not forgetting the dance floor either; Keb’s classic northern dance floor athleticism, and Ion, lurching, always precariously backwards, to the audio mayhem of the Mello Souls or similar. These and many more, are just a few of the many ‘Subterranean Soul’ experiences which contribute to my memories of visits to the 100 Club”.
Elaine Constantine, the globally recognised photographer & director of the film, Northern Soul, with her creative edge gives us her slant on 100 clubbing: “I often spot a first-timer entering the doorway that brings you immediately onto a dark and packed out dance floor. It’s like watching yourself enter all over again for the very first time.  You see people almost fall in. They're trying desperately to recognise some music while re-setting their eyes’ ability to see. Barely in before they’re faced with a Kaleidoscope of murky, sweat-covered faces that emerge and retreat quickly through weak sporadic shafts of light. Is it possible to stay? Stay dry, or stand still. Will I remain intact? 
My first time… I was working for the Face magazine in the 90’s.This was an assignment, not a night out. I thought I could just go in there, get some good photographs, then leave, a one off visit, put it behind me. I had left the all-nighter scene in the 80’s since becoming a photographer and moving to London.  I know now that when I entered it must have been Butch or Ady playing as I didn’t recognise at least half records but they sounded good, new discoveries, great to hear, and that cheer and enthusiasm that I thought had gone away since I’d stopped going to these things up north was there again. That was a lovely thing to hear after the years away and experiencing other types of clubs.
I snapped away with my camera, trying to distill the atmosphere but my flash was killing it. I almost expected it when a bloke tapped me on the shoulder, ‘We don’t like that here’… ‘We’re not bothered’… Okay, I thought, fair enough, so I stopped for a while and sat on the edge of the stage taking it all in and trying to work out if I had enough images in the can or should try for more.  I’m not really sure what happened next but a track I knew came on. ‘You left me’ by The Admirations. I got up and my legs were moving around before I’d even had chance to think through that I was not an observer anymore, I was a partaker. 
Several tracks later, the guy tapped me on the shoulder again. ‘I didn’t realise', he said. He must of meant, ‘one of us'. I nodded back to him but I was in another place. I was becoming more and more focused along with the rest of the floor. Little did I know, but  I was subconsciously hooked in again and wouldn’t be able to leave it alone. I got chatting to a group of people near the stage who were into their dancing and they were very welcoming. We became friends and I still see some of them down there these days on a regular basis. 
When I finally ventured through that dance-floor I emerged literally right in front of a pretty impressive record bar. No corny merchandise on sale like you see elsewhere. Not a night-owl key ring or a beer mat in sight. Just tapes/cd’s and records and hoards of blokes shuffling at speed through boxes of vinyl, some with torches dangling from their mouths. 
I still don’t know what happened that night to make a difference but I knew I’d found a second home. I went along to other all-nighters again and had many great experiences, they certainly sometimes felt more welcoming and didn’t give you that sensory overload the second you are through the door like the 100 club did. 
Maybe it’s down to Ady’s music policy coupled with and the fact it’s just so bloody dark, it gives all these die-hards the opportunity to simply enjoying the music and dance without being on show which is quite liberating, especially since the age of social media.  I know there’s nowhere else quite like it. It’s kept me coming back. I met my husband on the dance floor there and many of my closest friends, so it’s not going to be easy to get away now even if I wanted to”.  

Currently, one of the younger members of the DJ team is Joel Maslin, an enthusiastic soul lover and general all round great lad, who on many occasions since starting to DJ, has gone without a decent meal, having spent his hard earned wages on vinyl instead of buying groceries! He describes how he got into the 100 club tendency:
“As a younger member of the 6t’s family my path to the club was through the early 2000’s mod scene. We’d heard talk of the nighters through word of mouth - often spoken of in revered tones - so this made the prospect of our first trip down there all the more exciting. Some familiar faces we’d begun to see regularly from the mod scene around Gerrard / Wardour Street asked us to join them ‘over the road’ at a 100 Club allnighter. Part of the Allnighter’s allure for me was not only the underground, slightly forbidding reputation it had but the fact it started at 1:30am - which felt like a real taste of ‘backstreet’ London nightlife.
Only having heard a very limited amount of rare/northern soul at the time our first visit was a mind blower - I can vividly remember hearing the strains of Luther Ingram’s ‘Baby Don’t You Weep’ as we barrelled down the stairs into a dark, sweaty, heaving atmosphere. It was that same dark basement vibe coupled with those first experiences of knock out sounds such as the Charmaines, Martha Starr, Brooks Brothers and so on (all of which i’m pretty sure we were treated to on that first visit) that instantly sealed it for us as THE club to frequent.
I remember also being desperate for the following date to come around so I could hear those same sounds and more, and we quickly signed up to be proud card carrying 6t’s members (another element of the night that gave it an exclusive, alluring feel). Subsequent visits found us dodging the spinning and back dropping moves of the regular dancers as we made our way to ‘mod corner’, but it wasn’t long before all that seemed to matter to us were these incredible new exclusive sounds…fresh to our ears…. hard rhythm and soul records… powerhouse northern… our first real taste of rare forgotten late 70’s soul… and of course a whole new vibe for us to digest - crossover.
After that musical box of tricks had been opened we visited as many times as possible, and quickly became immersed trying to listen to as many new sounds as we could. In doing so we also found that the club’s initially tough exterior faded away and we were soon being greeted by regulars of all ages and quickly forged what has turned out to be long lasting and great friendships. We’d already begun tentatively collecting original records, but this now seemed to take on a whole new sense of purpose and meaning - to say we began an obsessive relationship with soul records at this point would be an understatement!
It was quite some years before I was asked to guest DJ at the Allnighter, and I was of course hugely flattered and nervous on a whole new level. I’d never intended to regularly DJ but was always happy to oblige if kindly asked by friends. I’d been busily collating all the best sounds I could afford that pals had turned me onto… a varied mix of the various styles of soul music our scene encompasses. I was very lucky to be put onto some fabulous music by some of the most knowledgeable people through the club, and still am - something i hope never comes to an end! To then be asked by Ady to join the 6t's gang as a permanent member a short while later was of course a huge honour. It’s been a real pleasure to DJ for such a discerning and welcoming crowd”.
John Kerr, from Shrewsbury, was a regular at many venues in the 7ts, Wigan, Whitchurch etc. and returned to the scene in 2005, after which he hasn’t missed many 100 club nights. John reflects on his comeback: “Like numerous soul fans I was aware of the 100 club, Ady Croasdell and Kent records for many years. Northern all-nighters in London were not on my musical agenda at the time of my first visit in 2002. I reluctantly accompanied friends (who where regular attendees in the late 80’s and early 90’s) after a night out. Not expecting to, I really enjoyed the night. It was busy, and the atmosphere felt quite intense but had a happy, good- humoured vibe. I wasn’t that focused on the music I didn’t know, of which there was a lot. A lasting impression of that first night was how many rare oldies were played one after the other and how good they sounded (Mick Smith spots I guess). My friends all left after a couple of hours, I stayed until the end and was so pleased I’d been persuaded to go. It was meant to be just a one off visit – but the seeds were sown!
In 2005 I made half a dozen visits. That year I was attending a few other venues including some wonderful bank holiday all-dayers at the Orwell in Wigan. I mention this because the connection was one D.J. in particular (Butch) who I’d heard at these other venues but I just knew I had to hear him at his residency at the 100 Club. At the start of the year I knew virtually nothing on his playlist. As the year progressed I heard so many wonderful records from the 60’s, 70’s & 80’s and put together so well. Also importantly here was someone applying quality control and that had excellent taste. My first contact was at the decks asking the usual record trivia questions, I found him very generous with information and genuinely interested in any comments. This was to lead to further discussions and recommendations. He soon became a good friend.
The excitement of those first few visits convinced me that this was where I needed to be. From 2006 the 100 club became my priority over all the other events. Opening times were still 1:30 - 8:00am and usually a full house. I got to know more and more people so it became very sociable. I got to know the D.J.’s and their sets and learned so much. Anticipation was always a factor and still today and it’s my number one venue, I hate to miss it. I still make new friends and miss old ones. We still get to hear so much good music, always something new. I can spend much of the night in discussion about music, the collective knowledge is tremendous. I’m proud to wear the badge of a regular!
Through all the twists and turns, licensing issues, low numbers in, closer threats etc. Ady Croasdell has kept the faith. Thanks Ady. I remind myself often not to take it for granted. The 40th anniversary is a great reminder of the continued effort from Ady and the team that allows us to all come together and share in something special once a month or so. Not every time is a classic or the best night you’ve ever been to. However attending as often as possible supports the club and does mean when the best nights happen you’re there!! I’m always glad I made the effort. The nights usually fly by and I’m sorry to leave. The long journey home gives me plenty of time for reflection and of course to start building up a little anticipation for the next time”.

Another recent regular at the club is Jack Gadsden, one of the younger posse who frequent the night: “I remember my first visit to the 100 club quite vividly. It was the December 2018 allnighter and as I walked down the steps I heard the thumping bass of Soul Incorporated - My Proposal, through the doors as I walked down the stairs. The first thing which gripped me was the atmosphere, seeing a sea of people dancing under the low light. I quickly met other young people, had a great night and stumbled out at 6am in anticipation for the next. As I’ve attended more and more allnighters across the country, the 100 club still feels like my ‘home ground’. The consistent high quality in music, especially the presence of new sounds makes it a standout event in my calendar. Being able to hear beat ballads and mid-tempo throughout the night is a breath of fresh air. I now regularly try to bring other young people from various other subcultures to introduce them to the music and every time they leave wanting more.  The 100 club is certainly iconic and long may it continue”.
On a personal level, Ive now spent over half of my life attending the 100 club; it almost feels like a second home. Although not every night has been a corker, most have been well worth the 160 mile drive. I've thoroughly enjoyed the experience and have made some very close and first-rate friends there. Over my 30 years, the regular crowd has changed many times and that can mean friends that you've made over some years, sadly suddenly disappear to do other things. But there are two upsides to that: making new friends as a new patrons begin to become regulars and when out of the blue, an old friend pops back into the club again after a long spell away. Musically, no one can deny it’s been an enduring upfront venue, where many great new Northern records have been aired and I will always have top notch memories of its wonderful contribution.
The 100 club is still a thriving northern soul hub, but eventually as all events do, it finally closes its doors for the last time, I like many others will be gutted, just as we were after Wigan closed. And as Ian Clark predicts, that’s when this venue goes into NS history as an iconic club along side illustrious names such as the wheel, the Torch, Wigan, the Mecca etc.

Butch
September 2019.

By Neckender in Articles · September 16, 20195 yr

The much heralded documentary "Hitsville The Making Of Motown" will be available from the 9th October on Blu Ray & DVD.
Added by site
Directed by Gabe and Ben Turner, Hitsville: The Making of Motown focuses on the period beginning with the birth of the company in Detroit in 1958 until its relocation to Los Angeles in the early 1970s.
The story of Motown is told through interviews with the label's visionary founder, Berry Gordy, and many of its superstar artists and creative figures, as well as rare performances and behind-the-scenes footage unearthed from Motown s vaults and Gordy's personal archives.The doc is the first documentary about the iconic label with Gordy's participation.

By Guest Tam La Motown in News Archives · September 16, 20195 yr

Anthony Fontaine Bio:
Press Release: Anthony Fontaine   How Can I Lose (What I Never Had)/Stop That Old Grapevine   SJ1015

Release Date: Monday September 23rd   2019
Anthony Fontaine was originally from Memphis Tennessee.  During 1969 he signed up with Pasadena Texas record producer Claude Latimore Milburn, under whose auspices he recorded two fine songs. Firstly “Stop That Old Grapevine” which starts with a female monologue before a horn section kicks into a fine uptempo southern dancer, and “How Can I Lose (What I Never Had)” which is a more melodic soulful mid tempo outing, both songs were released as a 45 on C.L. Milburn’s ‘Souled Out’ record Label (Souled Out 36203. Both songs were written by Earl Rhodes which is actually Anthony Fontaine’s real name. Another act of note which features on the Souled Out label is the El Paso group Bobby (Rosales) & The Premiers. Who recorded two collectable 45’s, “Mess Up My Mind/What About One More Time” (Souled Out 36201) and “Man About Town/Gotta Have A Reason” (Souled Out 36202). Their song “What About One More Time” is a popular favourite with the Low Rider scene to this day.

Anthony later joined Willie Hill in a singing duo performing under their christian names of Willie & Anthony. As ‘Willie & Anthony’ the duo recorded two 45’s on the Albany, Georgia based Molly-Jo label (Albany being Willie Hill’s home town.) Firstly “One Hand (Wash The Other)/Selfish Lover”  (Molly-Jo 1001) followed by “I Can’t Leave You Alone/Selfish Lover” (Molly-Jo 1005) which was picked up in 1973 by Miami main man Henry Stone and released on his Blue Candle label. Stone released a further two 45’s on Willie & Anthony “Groovin/I’m Tired (Of A One Way Love Affair)(Blue Candle 1503) in 1974 and “Sugar, Sugar, Sugar/It’s Never Too Late (Blue Candle 1509, also UK Jayboy 94) in 1975. This was to be the duo’s last recording for almost a decade with their final release appearing on Jesse Boone’s Soul-Po-tion label “I Feel It Coming” with Willie (minus Anthony) being joined by Barry Richardson on the releases flipside “”You Can Depend” in 1984.

After Willie & Anthony parted company, Willie later went on to record for the Ichiban and Ifgam labels.  As for Anthony Fontaine his career might have taken a different path through his association with his former producer C. L. Milburn Anthony almost joined the mighty Stax label’s recording artist roster. During the early to mid 1970’s C.L through his friendship with Al Bell worked for a time at the Stax studio’s and tried to secure Anthony a recording deal, sadly a vote of 5-4 against by the label’s board meant that this was not to be, although Anthony was involved with some songwriting work with Little Milton.
According to C.L, Anthony Fontaine sadly passed away during 2012, so his remaining legacy is the clutch of recordings he made with Willie Hill and his now in demand solitary solo Texas rarity, which Soul Junction has now made more readily available as a limited 45 release.
As a foot note C. L. Milburn was the cousin of Shirley Ann Milburn, Shirley Ann being the first wife of the late renowned English Disc Jockey John Peel, whom John had met while working in Dallas as a insurance Salesman and later a DJ before he returned to the UK to work on the offshore pirate radio station, Radio London.
Words By: David Welding
With acknowledgements to: Claude Latimore Milburn.
For further information please contact Soul Junction at:
Tel: +44 (0) 121 602 8115 or E-mail: sales @ souljunctiorecords.co.uk
http://www.souljunctionrecords.co.uk/SJ1015.html

Anthony Fontaine - SJ1015 Promo.mp3

By Chalky in News Archives · September 14, 20195 yr

Greyhounds - Left Turn - CRED-153-Digital Single
Word about a new digital single,by Greyhounds, release blurb and audio below
Greyhounds - Left Turn - Digital Single
Release Date: 9/9/2019
Musical Influences: Chester Thompson, Lonnie Smith
Track Description: “Left Turn” by the Greyhounds is the most potent dose of organ trio soul you can pack into under three minutes. Organist and vocalist Anthony Farrell presents poised lyrics that remind listeners that life doesn’t always have to be scripted and that it’s OK to fly by the seat of your pants. His sentiments are echoed with a carefree, Dr. Lonnie Smith-esque groove laid down by Andrew Trube on guitar and Zack Littlefield. The end product is a perfect reflection of the signature less-is-more, straight-to-tape approach at Color Red inspired by a cooled down studio session on a hot summer day.
Artist Quote: "It was a lot of fun to do a back to basics style session. We wrote the song in the studio, rehearsed it, and laid it down straight to tape. Organ, Drums, and Guitar. 1 vocal overdub. We are definitely fans of the less is more approach. When you confine yourself to 8 tracks, it forces you to commit and be more creative within those limitations." - Anthony Ferrell
Credits:
Anthony Farrell - Vox/Organ
Andrew Trube - Guitar
Zack Littlefield - Drums
Tracking Engineer - Eddie Roberts
Color Red Studios
Mixing Engineer - Eddie Roberts
Color Red Studios
Mastering Engineer - Doug Krebs
Doug Krebs Mastering
UPC: 194694837728
ISRC: QZFZ71980604
Release Date: 9/9/2019
Territory: Worldwide
Genre: Blues - Soul - R&B
Artist Page: https://www.color-red.co/greyhounds
Hyperfollow: https://distrokid.com/hyperfollow/greyhounds/left-turn
SoundCloud:
Art Track Video:

By Mike in News Archives · September 12, 20195 yr

The Story of Motown Songwriting Team Holland Dozier Holland. Available in Hardback 10th October 2019

Brian Holland, Edward Holland, and Lamont Dozier, known as Holland-Dozier-Holland or H-D-H, were the greatest songwriting team in American pop music history. Seventy of the songs they wrote reached the Billboard Top 40, with 15 of these reaching No. 1 on the Billboard Hot 100 pop chart. No other songwriting team or individual has come close to equaling, let alone surpassing, this record. They've been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. As tunesmiths for the legendary Motown Record Corporation, and for their own corporations, Invictus Records and Hot Wax Records, they wrote and produced hits for Diana Ross and the Supremes, including Baby Love, Stop! In the Name of Love, Where Did Our Love Go, You Keep Me Hangin' On, You Can't Hurry Love, I Hear a Symphony, Come See About Me, Back in My Arms Again and Reflections. Now the legendary composers are ready to reveal the inspirations and stories behind their chart-topping hits, providing millions of fans with the first complete history of their songwriting process, and detail the real-life experiences that led them to write each of their most famous tunes. They will also reveal their creative and intimate relationships with Motown's biggest stars.

added by site

Product details
Hardcover: 336 pages
Publisher: Omnibus Press (10 Oct. 2019)
Language: English
DAVE THOMPSON is the author of over 150 books, including co-written memoirs with New York Doll Sylvain Sylvain, Motown legends Brian and Eddie Holland (forthcoming), Hawkwind s Nik Turner, the Yardbirds Jim McCarty, Fairport Convention s Judy Dyble and more. A columnist for Goldmine magazine, his work has also appeared in Rolling Stone, Alternative Press, Mojo, Record Collector and many other major publications. He has contributed to music documentaries produced by VH-1, A&E, the BBC and others. Born in the UK, Thompson is now a resident of Delaware, USA.

motown music

By Guest Tam La Motown in News Archives · September 12, 20195 yr

Amazon UK are advertising the new Blinky Williams complete Motown recordings Anthology "Heart Full of Soul".
Scheduled for release 1st November 2019. 2 disc set comprising 46 tracks that includes her never before released solo album.
Really excited, a long overdue compilation of Blinky's work

added by site from Amazon USA
Track Listings
Disc: 1
  1. I Wouldn't Change the Man He Is
  2. Rescue Me
  3. How You Gonna Keep It
  4. This Man of Mine
  5. It's Gonna Be Always
  6. How Long Has That Evening Train Been Gone
  7. Shine On Me
  8. For Once in My Life
  9. I'll Always Love You
  10. Is There a Place (In His Heart for Me)
  11. This Time Last Summer
  12. Your Love Is Worth Waiting For
  13. God Bless the Child
  14. The Hunter Gets Captured by the Game
  15. Can I Get A Witness
  16. T'Ain't Nobody's Bizness If I Do (Lady Sings The Blues Version)
  17. Money (That's What I Want) (Single Version)
  18. For Your Precious Love (Single Version)
  19. T'Ain't Nobody's Bizness If I Do (Single Version)
  20. What More Can I Do
  21. You Get A Tangle In Your Lifeline
  22. I Can't Turn You Loose
  23. I Wouldn't Change the Man He Is
  24. God Bless the Child (Previously unreleased)

Disc: 2
  1. Heart Full of Soul
  2. Don't Leave Your Baby
  3. I'd Feel a Lot Better
  4. (I Can't Get No) Satisfaction
  5. Let's Stay Together
  6. Mr. Soul Brother
  7. Thank You God
  8. It's Been a Long Time Happenin'
  9. I've Gotta Get You Back
  10. The Fool on the Hill
  11. A Little Bit of Heaven (On A Little Patch Of Earth)
  12. How Can I Go On
  13. Inside
  14. You'll Never Cherish a Love So True ('Til You Lose It)
  15. I'm Just a Woman (Not Strong)
  16. You're the Loser Now
  17. You Keep Telling Me Lies
  18. One Half Of Love
  19. I'll Make It Up To You
  20. Don't Let Me Be Lonely Tonight
  21. You're My Morning Light
  22. People Make the World Go Round

Amazon Blurb
The story of Sondra "Blinky" Williams has long been shrouded in mystery. The soulful singer came to Motown Records in 1967 following stints at Vee-Jay and Atlantic, bringing her passionate and powerful deep soul sound to Hitsville, USA. Despite recording dozens of tracks between 1968 and 1973, only a small handful saw release: a mere four 45s plus an album of duets with Edwin Starr, two live cuts, and a couple of one-off recordings, including a key moment on the best-selling soundtrack of Lady Sings the Blues.
Over the years, Blinky tracks would emerge on compilation releases, prompting fans worldwide to clamor for more and even launch a "Free Blinky from the Vaults" campaign. Now, Blinky is free at last and her full story can be told.
Heart Full of Soul The Motown Anthology is the ultimate collection dedicated to Motown's great lost superstar. Over two CDs and almost 50 songs, Blinky's Motown journey is chronicled with songs written and produced for her by the label's greatest talents including Nickolas Ashford and Valerie Simpson, Clay McMurray, Frank Wilson, Hal Davis, Gil Askey, Deke Richards, Jerry Marcellino and Mel Larson, Don Hunter, and Stevie Wonder. The first disc presents her 1970 album Sunny and Warm in complete form for the very first time along with all of her released singles plus rarities and live tracks.
The second disc premieres over 20 never-before-heard recordings, both in original Motown stereo mixes and brand-new mixes by Kevin Reeves, that showcase the depth and breadth of Blinky's remarkable voice. Released with the full cooperation of the artist, Heart Full of Soul: The Motown Anthology has been produced and annotated by the team of Joe Marchese and Andrew Skurow (Bobby Darin's Go Ahead and Back Up: The Lost Motown Masters, The Supremes' The Ultimate Merry Christmas), and mastered by Kevin Reeves (The Supremes' Expanded Editions) from the original tapes.
The deluxe booklet (housed inside a 6-panel digipak) features rare photographs and extensive liner notes drawing on a new interview with Blinky. Gospel, jazz, R&B, and the classic Motown Sound all come together with the distinctive voice of Motown's greatest "lost" artist, Blinky. Heart Full of Soul has to be heard to be believed.

By Guest Tam La Motown in News Archives · September 11, 20195 yr

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