Magazine

Soul Source music magazine feature.

Here's an advertising industry insider's perspective on the making of the ad. It's an interview with the director, Finn McGough, who has an endless amount of praise to heap onto the participants.
Putting the one or two fashion/music-reference faux pas aside, it's an excellent read on the how and why of the ad...
Wonderful quote at the end, which I won't spoil by posting here.
http://lbbonline.com/news/your-shot-shredded-wheat-meets-northern-soul-in-super-cool-campaign/
forum thread

video clips
https://www.soul-source.co.uk/videos/view-605-shredded-wheat-live-from-the-heart-dave-extended-film/

By Amsterdam Russ in News Archives · January 15, 201510 yr

Cynthia Harrell, the daughter of Leslie Felton (baritone), one of the original 1960's Showmen, has just informed me he passed away 16 December. I was about to interview him for my book "Rhythm Message". It wasn't to be sadly, but she said it meant a lot to him to know that he had been recognised over here. If ever If there ever was a group to connect the beach music and the northern scene together, well they were simply it. RIP Leslie.

added by site
memorial link
http://www.beachfuneralservices.com/sitemaker/js/highslide/graphics/memsol.cgi?page=documents&user_id=1482003&MAIN_EVENT=MEMSOL&SUB_EVENT=VIEW_GUESTBOOK

By Windlesoul in News Archives · January 14, 201510 yr

William was a member of the Huntington, West Virginia, group The Parliaments, that had a number of releases on the local Cabel label, named after the county their city resides in. Along with himself and his song writing brother Issac and Archie Hyman aka Little Archie they first formed the group in the early 60's. They gigged around their local area un-aware of the existence of a group with the same name from New Jersey, that was recording up in Detroit. The conflict with the name eventually came to a head and a judge found in their favour and the other group changed it's name to Funkadelic. Even though they kept the name, they never saw the same success as their namesakes fronted by George Clinton.

The group recorded two 45's on the Cabel label including the uptempo classic 'This is my rainy day', one on the Symbol label, produced by Juggy Murry and one on their own Unpredictable label. After trying hard to get a hit with little success the group broke up. Archie went on to record in his own right as Little Archie on Dial records. Most of the band stayed around the Huntington area. In their short time together they created some classic soul sides and where much admired as a on stage group. William passed last week aged 74. Thanks to Steve Foehner for letting me know.

http://youtu.be/T6g14AAK7ag

By Dave Thorley in News Archives · January 13, 201510 yr

Last years much talked about film 'Northern Soul' does feature in the just announced Bafta award nominations
The film makes a showing in the nomination list via the announcement of Elaine Constantines nomination in the 'Outstanding Debut...' category as per below
Outstanding debut by a British writer, director or producer nominations
Elaine Constantine (writer/director) Northern Soul
Gregory Burke (writer), Yann Demange (director) ’71
Hong Khaou (writer/director) Lilting
Paul Katis (director/producer), Andrew LotbiniÃ¨re (producer) Kajaki: The True Story
Stephen Beresford (writer), David Livingstone (producer) Pride

Quite an impressive listing, full details of all the awards can be read via the links below
http://www.theguardian.com/film/2015/jan/09/baftas-2015-full-list-of-nominations
http://www.bafta.org/press/press-releases/nominations-announced-film-awards-2015

The awards take place on 8 February 2015 at the Royal Opera House in London’s Covent Garden.
Fully deserved congratulations and good luck wishes go out to Elaine and all involved for the award night

By Mike in News Archives · January 10, 201510 yr

From Ila:

'I’m so happy. My autobiography is finally complete. You can order a paperback copy or an eBook edition at the following link:

http://www.lulu.com/shop/search.ep?keyWords=ila+vann

I hope you enjoy my story!'

added by site

From humble beginnings in North Carolina, Ila Vann started singing at the age of five. She rubbed shoulders with many legendary gospel stars and even toured with Mahalia Jackson. She eventually made her way to New York to fulfill her dream of singing rhythm and blues. A chance meeting with Sam Cooke led to a career that's spanned over fifty years and two countries.

Ila now tells her story in this inspiring memoir. She’s still performing and has received newfound recognition in England. Her life has been full of many incredible highs and heartbreaking lows. This is the story of a survivor who refused to give up.

Published 09 January 2015

Available via download (free epub preview) or paperback version via the above link

By Guest in News Archives · January 9, 201510 yr

Morning all,

Happy new year and apologies for being a bit later than usual getting this thread off the mark.

Got a bit more on me plate this year, even than usual!

It's 12 months since we did the last 'Top Tips' thread... and it's now a Soul Source tradition (this is the ninth, as it started in 2007) so here we go again!

Although we may be at risk of inferences that this thread only exists cos we've run out of things to play (me in particular ) we'll give it another shot, shall we?

I'm sure if you're a Soul Fan we all enjoy and benefit from being made aware of something new!

And lord knows... some of you might well need to freshen up those playlists! So here's your opportunity to tip the tunes in your box for future greatness, during the forthcoming year... or simply list any number of records that you'd like to recommend to other Soul Sourcers.

You might be a DJ with that tasty unplayed, unknown, hardly played or semi-known 45 stuck in the back of your box that you'd love to play out... but haven't quite got around to it... yet!

You might not be a DJ, but a collector, sitting on a tune that you know, if it got into the right hands, it could become massive in the next 12 months.

The tune could be an LP track that, for whatever reason, has never been given the recognition it deserves.

It might be a tasty 'B' side that, given the right exposure, might just have what it takes to become a monster!

We're talking, Northern, Modern, Crossover or 'Just Soul' - Whatever floats your boat! With the increased diversity around these days, and lots of new folk getting into the music, this should be a really interesting list!

How about those funky groovers. Are they now providing a rich seam of new quality music that is trickling into the mainstram?

Are Firme Rolas and Lowrider Oldies doing it at your night?

How about the 'Carib Soul' material... is that finding it's way onto the Northern Playlists?

Is there a killer, long overlooked, track just ripe for a revival?

Have all the big 'crossover' tracks finally crossed over?

Or are the Top 500 Stompers still the only tunes that make it really happen on the dancefloor?

No need to post sound clips. Just let us know what you've got that you think deserves a really big plug in the coming year!

What I need from you please, to keep things tidy and stop me having to do hours of research to get the detail, is the following:

Artist - Title - Label

In that order please.

That's it.

You know the drill!

Cheers!

Sean

By Sean Hampsey in News Archives · January 5, 201510 yr

Soul Discovery Top 25 of 2014

http://souldiscovery.podomatic.com/entry/2015-01-04T09_59_17-08_00

25.Kindred the Family Soul “I never loved you more” (Shanachie)
24.Lionel Cornelius ““Seriously in Love part 2”” (LC Entertainment)
23.Alex Lattimore “A Father love” (Lattisphere)
22.Robert Fowler “Out in the rain” (Lovebreams)
21.William DeVaughn “Staying Power” (Sound Gems)
20.Samuel Burns “Are you gonna to break my heart” (Promo)
19.Victery Tutson “ Let somebody love you” (Vine Entertainment)
18.Johnny Gill "Behind closed door"(IMPORT)
17.Gerald Albright feat: Peabo Bryson “Where did we go wrong” (Slam Dunk)
16.Jj Thames “Tell me what I know” (Dechamp)
15.Preston Shannon “Be with me tonight” (Soul Junction) 7’
14.Ursula Ricks “Sweet tenderness” (Continental Record Services)
13.Natural Impulse "Thank you baby" (Soul Junction) CD
12.Bettye Swann “Either you love me or you leave me” (Real Gone Music)
11.Lee Fields “Magnolia” (True & Soul) LP
10.Gene Van Buren “Dreaming” (Promo)
9.Elliot Macauley “All my life” (Soul Junction) 7’
8.Darold Gholston feat Charlie Coats “knocking at your door” (Art of Romance LLC)
7.J. Most “Oh so Blessed” (J. Most Music Lyrics, LLC)
6.Butch & Rhonda Coleman “Fallen” (Butch & Rhonda Coleman)
5.Soul Hustlers "Baby you know U’m right" (Promo GVR Records & Entertainment)
4 E.R.I.C. “Backstge” (Soul Junction)
3.Gene Washington & The Ironsides “Got to get through to you” (Colemine) 7’
2.Dee Dee Warwick “You tore my wall down” (Atco)
1.Greg Watson “Can you feel me” (GW Entertainment)

Soul Discovery Top 25 of 2014

By Guest in News Archives · January 4, 201510 yr

This sizzling seven-piece UK soul band have made a lot of friends on the live circuit, selling out gigs in their own right across the UK, Scotland, Wales and Ireland.

They made a big impression opening for The Specials at their personal invite, on a 15 date UK arena tour. They backed US soul man Nolan Porter on UK gigs and Joe Harris, the voice of the Fabulous Peps and Motown legends The Undisputed Truth, on a couple of low key warm up gigs.

They played a blinder behind Harris on a live session for the Craig Charles BBC Radio 6 Funk and Soul show, and a triumphant headline show with him at 2011's Vintage Festival at the Royal Festival Hall in London.

Their fifth album, “To Find The Spirit” is an 11-track offering, featuring guest contributions from Carleen Anderson (Young Disciples), Andy Fairweather Low, Pete Williams (Dexys), author Paolo Hewitt, legendary Dub producer Dennis Bovell and US Northern soul man Nolan Porter, of “Keep On Keepin’ On,” fame and “If I Could Only Be Sure,” which Paul Weller covered on his “Studio 150” album.
Stone Foundation’s songs have been used in several US TV hit dramas, such as “Franklin & Bash”, “The Finder”, “Made in Jersey” and “Wilfred.”

The band play the following European dates ....

March
6th - Newcastle, The Cluny 2

April
18th - Bisley Pavilion, Surrey (with Craig Charles)
23rd - El Diablo, Lille (France)
24th - Freedom Sounds Festival, Cologne (Germany)
25th - Honigfabrik, Hamburg (Germany)
26th - tbc, Berlin (Germany)
27th - Ceska 1, Kutna Hora, (Czech Republic)
28th - Buben, Prague (Czech Republic)
29th - Parkclub, Furstenwalde (Germany)
30th - Reduit, Mainz (Germany)

May
8th - Leeds, Belgrave Music Hall
14th - London, Jazz Café
15th - Brighton, Great Escape Festival
16th - Bristol, Thunderbolt
17th - Leicester, Musician

Thanks,

Stuart Hatfield

By Mike in Event News · January 4, 201510 yr

Hi All

Last year Al asked me if I would write a forward to a book he was writing about his life in the music business and beyond. I said I would be honored to do that, but asked if he could send me a draft. As is often the case with these books there is some trepidation as to the quality of the writing, but when it arrived I was more than happy to add my support.

Al has produced a great read covering his time with The T.S.U. Toronadoes through South Funk Boulevard and his solo career as Alison of 'Who's No1, Who's No2' fame and on to his final few groups. The book starts with his early years, his fathers involvement with Civil Rights and his musical evolution into the TSU's. It gives you a very real feel of what it was to grow up in segregated Texas in the 60's. The book finally comes right up to date and his work as a Pastor and founding member of the Restoration United Methodist Church Mission in Birmingham, Al.

Through out the book there are previous untold stories of his career, the bands and artists he worked with, including Archie Bell, Skipper Lee (Owner of Ovide), Etta James to name a few. I can thoroughly recommend this book as a great and informative read. It comes in two formats through the Amazon self publish program. There is a black & white edition at $13.39 or a coloured one at $32.39. Follow the link here to order and for the coloured version, see comments below.

http://www.amazon.com/The-Hidden-Man-Story-Unfulfilled/dp/1505582180

" To purchase our FEATURED , FULL-COLOR EDITION of this book, click on the tab above that reads: "See all 2 formats and editions," click the small arrow to the left of the word "Paperback," then click on "Paperback, December 21, 2014."

By Dave Thorley in News Archives · January 2, 201510 yr

There's a decent series of three programmes on at the moment; 1) Twisted Wheel. 2) Torch. 3) Wigan Casino.

added by site

Episode 3
3/3 Julie Cullen celebrates the northern soul phenomenon with the story of the Golden Torch.

Episode 2
2/3 Julie Cullen celebrates the northern soul phenomenon by telling the story of Twisted Wheel

Episode 1
1/3 Julie Cullen celebrates the northern soul phenomenon by telling the story of Wigan Casino.

You can currently listen to the first two episodes via the link below

http://www.bbc.co.uk/programmes/b04vs34g/episodes/guide

By Funky 4 Corners in News Archives · January 1, 201510 yr

Soul Junction has proved itself as one of the leading labels for independent Soul and Funk Music. Releasing material either extremely rare & obscure or unreleased with some current work from some of Soul Music’s upcoming and leading talent also seeing a release.
2014 alone has seen releases form the Trey-J’s (a re-release of their 70”s Tee Gem outing), unreleased 70”s soul from Elbowed Out, Richard Brooks, UK musician, producer & artist Elliot McCauley & Preston Shannon seeing out the 45 releases for the year. LP wise we had at the back end of 2013 the brilliant unreleased 70”s LP from The Coalitions “Colour Me Blue”, CD”s saw an excellent release from Anthony Toombs and a various artists compilation featuring many of Soul Junctions releases entitled “Extra Rich In Soul”.

Seeing out 2014 we have another CD featuring various artists entitled “We Got A sweet Thing Going On” . The release gives a nod to the doo wop era with a compilation featuring group soul and harmonies although not all the inclusions are group efforts with the odd duet and solo outing.
The CD kicks off with Frank, Sylvester and Arthur, better known as The Hopkins Brothers. The 45 on the tiny Magnetik label, it is currently one of the most Indemand 45”s on the Rare Soul Scene commanding a price of around £3000 plus with just a handful of known copies in the hands of collectors/DJ”s. Shake Sheri, the 45”s actual flip is the side stirring the feet of dancers across Europe with DJ’s such as Mark “Butch” Dobson and Andy Dyson championing it. The official top side, Kiss Of Fire, a nice sweet soul recording is also included.

Milwaukee trio The Candi Bars (Celeste Campbell, David Bursey & James “JB” Young, they became a foursome for a brief period with the addition of Robert Wardell) have been an favourite on the Rare Soul Scene for sometime with “I Believe In You”, a nice crossover styled dancer. The flip, a down tempo sweet soul collector’s item You’re The One is the second track to feature on the CD.

The Mansion feature with “Stop, Let Your Heart Be Your Guide” and “The Girl Next Door”. The band was prisoners at the Green Bay Reformatory at Allouez, Wisconsin. Formed by Charles Barkley who was serving 30 years for attempting to shoot the police and 10 years for evading arrest after a high-speed chase. The 30 years was quashed upon retrial and so he just had the ten to serve. The prison group attracted the attention of the Warden’s wife who got them slots on local TV. They were then allowed to perform outside the prison where they came to the attention of Al Dunlap and through him the group recorded their solitary release for the tiny label owned by Bill Gibbs. The 45 has remained extremely scarce and is a highly sought after sweet soul collectors item, a worthy inclusion to this compilation.

Elbowed Out, a mixed race group out of Seattle who’s aim was to get you up and out of your seat, and then to begin to move your feat, have featured on Soul Junction with two 45”s featuring some great unreleased 70”s soul. They feature on this compilation with just one track, again unreleased, a delightful sweet soul ballad featuring the lead vocals of Denis Wilcox entitled “In The Book Of Guiness”.

Clayton Hooker, Terry Forsythe and Nate & Walter Jones were studying at the Highland park High School, Michigan when they came to the attention of Mr John Maxey who happened to have a brother called Ivy Jo Hunter. Together they owned the Probe 1 Productions Recording Studio in Detroit and the youngster suitably impressed enough to be offered a session in the studio. The result was two group soul recordings that saw a release studios subsidiary label Red Line, two fine group soul recordings entitled “We’ve Come A Long Way” and “Inspiration Of My Life”.

Natural Impulse have seen two releases on Soul Junction 45’s, two unreleased sides featured on the groups second 45 for the label, “We’re Gonna Make It Through” and “Make It Or Break It”. But it is the label’s second outing and the one that saw a limited 300 copy release in the 70’s on their own label that is featured here. “She Went Away” is highly sought after by collectors and indemand on the Rare and Modern Soul scenes.
Another artists who recorded for Maxey and Hunter’s Probe 1 Productions is Curt Darin with “Two On A Cloud” b/w “Grown Up Fairy Tale”. The release gained national exposure via Buddah and the Detroit produced “Two On A Cloud” is simply wonderful mid pacer and is quite rightly causing a stir once again with popular plays on UK radio shows.

Jesse James, the West Coat version and not Philly has treated us to some gorgeous unreleased and alternative takes of his music through Soul Junction and he features just the once here with the wonderful down tempo ballad “I Don’t Want A Divided Love”, not sure of the year and neither was Jesse but it reminds me for some reason of “Believe In Me Baby” which was released on three labels to my knowledge, Sheran, Hit and 20th Century. One of the true Rare Soul greats in my opinion.

The Trey J’s as previously mentioned feature with both sides of their Tee Gem release. The Indemand dancer “I Found It All in You” and the sweet soul ballad which in part gives this compilation it’s title “We Got A Thing Going On”.
Oliver Cheatham features with one side of his previously unreleased Soul Junction outing “Good Guy’s Don’t Always Win”, a fabulous ballad that quite rightly received plenty of attention the past year.

The Coalitions round of the compilation with “Colour Me Blue”, the title track of the recently discovered 70’s LP that was issued via Soul Junction at the back end of 2013. A perfect example of some sweet soul harmonies to round off an excellent compilation.
The CD was compiled by Dave Welding and comes with extensive liner notes with plenty of information about the artists which makes great reading whilst listening.

1. The Hopkins Bros - "Shake Cheri"
2. Candi-Bars - "You're The One"
3. The Mansion - "Stop, Let Your Heart Be Your Guide"
4. Elbowed-Out - "In The Book Of Guiness"
5. Citation - "We've Come A Long Way"
6. Natural Impulse - "She Went Away"
7. Curt Darin - "Two On A Cloud"
8. Jesse James - "I Don't Want A Divided Love"
9. The Hopkins Bros - "Kiss Of Fire"
10. They Trey J's - "We Got A Thing Going On"
11. The Mansion - "The Girl Next Door"
12. Candi-Bars - "I Believe In You"
13. Citation - "Inspiration Of My Life"
14. The Trey J's - "I Found It All In You"
15. Oliver Cheatham - "Good Guys Don't Make Good Lovers"
16. The Coalitions - "Colour Me Blue"

Listen to Sample clips

https://www.soul-source.co.uk/uploads/select_1417854762__sjcd5009_-_we_got_a_sweet_thing_going_on_promo.mp3

Buy direct from Soul Junction…
http://www.souljunctionrecords.co.uk/buydirect.html
Or from most good stockists, Soul Brother, Crazy Beat, Soulmusic.co.uk.

By Chalky in News Archives · December 31, 201410 yr

Its New Years Eve and so time for a Happy New Year Shout...

On behalf of all the Soul Source site team, just like to wish you all out there the very best for the year 2015!

Happy New Year 2015!

By Mike in News Archives · December 31, 201410 yr

From the events section, a few dj profiles lifted from the NYE London Allnighter Event Guide Comments

David Flynn — Hey! Mr DJ
Flynny has been based in Tokyo, Japan for the last decade, but was one of the resident DJ’s (alongside Irish Greg, Alan. H and Carl Fortnum) at the much lamented Capitol Soul Club. He runs AnoraksCorner.com for full-on Rare Soul collectors and even breaks down how to identify where and when, and indeed by whom, your 1960’s US Soul 45’s were manufactured, set alongside the tasty record sales pages, all regularly updated!

01. How and when did you get into music and what were you listening to then?
So, there I was, a 9 year old kid attending the local youth club back in the latter half of the 70’s when in amongst the chart hits of the day there was a portion of the evening handed over to the “big kids” with their own choice of records, and the DJ instructing us youngsters to clear the dance-floor to allow them to do their fancy dancing! Hop forward a few months to the night of the school leaver’s disco (wave goodbye to Junior school!) and the legendary “England This England” TV documentary on Wigan Casino was shown. I can still remember watching it and yelling to my Mum to come and see as this was the music I liked and was now dancing around to! That was it, pretty much Northern Soul from the start!

02. Where was your first DJ slot?
That would be back in the early 80’s at the Wheelwrights Club in Gloucester at the age of 16, I was already a veteran (!) having attended Wigan Casino and the Yate nighters from the age of 14 and had already put together a fair collection of original US 45’s, thankfully pocket-money would cover original vinyl back then! I would do the warm-up set and can still recall a feeling of pride as I noted that I had original US copies of some of the bootlegs/pressings the older guys would then be spinning later the same evening — the spirit of OVO was with me from the get-go!

03. What was your most memorable DJ spot?
Can’t pin-point down to just one, but the Capitol Soul Club nights were always special…looking out across the crowded dance-floor there was inspiring. Those were special times in London, the CSC, Scenesville, These Old Shoes and the 100 Club were all riding high! I also must mention the Uptight all-nighters in Frankfurt — they were special to DJ at too as many friends frequenting them from all over Europe.

04. What so far, has been your worst DJ experience?
No complete disasters to report, thus far, but it was kind of heart stopping last NYE when I played the Mello Souls out in the UK for the first time (for me) and it jumped on the intro due to the springy floor by the decks!

05. Your favourite scene DJ’s and why?
Initially, I really enjoyed the sets from Dave Evison (Casino) and Jerry “Hippo” Hipkiss’ (Yate), as they mixed up popular and forgotten tunes — always with enthusiasm! Richard Searling of course, for his tail-end of the Casino classics, of which many have stood the test of time for both quality and rarity, and he always delivered them in a professional manner. Onto the mid-80’s with Guy Hennigan and Keb Darge pushing the scene forward in charismatic style, these guys were untouchable in their prime! The late 80’s early 90’s saw Butch solidifying his rightful place on the Soul-throne with a stream of top notch unknowns and Ady Croasdell took the Kent label to new lofty heights with the unissued material — again both presenting their sets in an addictive way that made one travel for hours to experience. I also must give nods of respect to Andy Dyson, Kitch, Dean, Kenny Burrell, Tony Smith and the omnipresent Arthur Fenn and Soul Sam, every one mentioned being consummate DJ’s and amongst my faves.

06. What has shaped your DJ sound and why?
I don’t have a specific “sound”, though it’s fair to say I am pretty much 95% 60’s only weaving classic Oldies, Stafford period anthems, 100 Club-esque big beat ballads and even a splash of Latin Boogaloo. Of late I am also conscious of playing possibly too many uptempo 100 mph sounds in a row, when I should be giving the dancers a breather between them, maybe!

07. What was your best ever find/discovery?
There is one acetate I have been sat on for a while though — it is a powerful version of a track called, “Go On Home”, also recorded/released by Ray Charles — albeit with a totally different backing track and pace. The backing vocals are reminiscent of those on John Leach’s, “Put That Woman Down”, the harmonica stabs are “Of Hopes, Dreams & Tombstones” and the lead male vocalist is strong and earthy, whoever he may be, but I’ll call him “Jimmy Frasier” for now! Finding the first copies of many Northern Soul classics on Japanese presses has also been satisfying — Lada Edmund Jr and Joey Heatherton on Japanese Decca instantly spring to mind — totally unknown to exist until I turned them up!

08. Who was your biggest influence musically and your favorite artist(s)?
Musical directions — I would put forward Guy Hennigan and Ady Croasdell’s DJ sets as having majorly influenced my own development. I must also mention Joop Visser, who was a director at Charly Records during my tenure at that label/distributor — his passion for Jazz, Blues and vintage Soul was infectious. In fact my 20 years working within the UK music industry gave me access to so much music, so I honestly appreciate all kinds of musical genre — I also have to admit to having a rather large collection of vintage Japanese pressed Jazz and Latin albums! As for a favourite artist, for quantity and quality across a variety of styles I’ll go with Chuck Jackson, whose “Any Day Now” is one of my Desert Island discs for sure!

09. Do you collect specific labels/artists/genres?
Nowadays my passion is for collecting and archiving vintage 60’s Japanese pressed 60’s US Soul, in fact I’ve been researching and writing a book on the very subject! There were no label listings, price guides or fanzines for me to refer to, so it has taken me years of collecting and reading through old record company catalogues in various archives, to actually piece together what came out, even for Motown! I am proud to say that I am now at the point where even the Japanese reissue labels come to me for information, pictures and source!

10. Where can folks currently catch your DJ set?
In the UK, only over the festive period nowadays — in Japan, the occasional collector’s night in Tokyo, and at least once per year down in Kobe at the Nude Restaurant, total respect to these guys who have held the only real-deal Northern Soul nighters in Japan regularly for longer than most UK clubs! Who knows, one day I may even pop up at a continental European doo once again!

11. What is the record you would most like to own?
Brief answer, I wouldn’t say no to the original acetate of “Suspicion”.

12. Please give us a top 10 all time favourites and a current top 5 spins?
Top 10 Tracks of All Time:

I certainly don’t mind the following to be on repeat — never get bored of them:

Larry Clinton — She’s Wanted — Dynamo
Soul Incorporated — My Proposal — Coconut Grove
Mello Souls — We Can Make It — Mello
Eddie Parker — I’m Gone — Awake
Detroit Soul — All Of My Life — Music Town
Jimmy Raye — Philly Dog Around The World — KKC
Nomads — Somethin’s Bad — MoGroov
Yvonne Baker — You Didn’t Say A Word — Parkway
Edwin Starr — My Kind Of Woman — RicTic
Major Lance — You Don’t Want Me No More — Okeh
Current Top 5 Tracks:

I will go with these from the shelves:

Mello Souls — We Can Make It — Mello
Prophets — If I Had (One Gold Piece) — Shrine
Counts — Peaches Baby — Shrine
Jimmy Frasier — Go On Home — Acetate
Joey Heatherton — When You Call Me Baby (alt. version) — Japanese Decca

Web Links:
http://anoraksCorner.com

Yann Vatiste — Hey! Mr DJ

01. How and when did you get into music and what were you listening to then?
I got into music in my teens when I became a Mod. I was mostly listening to Black Soul music. My eclectic taste was ranging from R&B, Soul, Funk, Latin to Acid Jazz. However the discovery of the Kent LPs was for me the true beginning of a long and endless passion for rare soul 45rpm.

02. Where was your first DJ slot?
In the late 80’s, I started my first DJ experience in my hometown Lyon — France.

From then, I played in various clubs and venues such as The Millionaire Soul Club in Lyon, 60s dos across France. In the mid 90s, I moved to London where the real thing began for me with the discovery of the 100 Club, Scenesville and Capitol Soul Club.

03. What was your most memorable DJ spot?
Without a doubt, it has to be my first dj spot at the 100 Club in London. For a young Frenchie, it was a real honour to DJ in such a legendary venue.

I always remembered going down those stairs carrying my humble DJ box and getting so nervous.

When I got onto the stage, I got a tap on the shoulder from Butch who said to me with a big smile: “Don’t worry son”. I was petrified and could not really recall how I managed to cue up my first record. It was for me pure magic looking at the dance floor filling up.

04. What so far, has been your worst DJ experience?
Thinking back, there was no bad experience maybe with the exception of a DJ spot played to a very unappreciative and unknowledgeable crowd in Essex.

05. Your favourite scene DJ’s and why?
Butch is for me the number one rare Soul DJ of all time. Thanks to his hard work and researches, he is constantly spoiling us with amazing c/u and unissued tracks.

Through the 100 Club and Cleethorpes Soul weekender, Ady Croasdell is a fantastic asset to the Northern Soul scene. We are so thankful to Ady for keeping the scene going for so long.

Dave Flynn is my mentor; I truly appreciate his amazing musical knowledge and impeccable DJ style.

I greatly admire Andy Rix for his passion for Shrine label and also for his discoveries of many incredible unissued tracks. I do hope to see him again behind the decks one day.

Soul Sam is the champion of the Northern, Modern Soul and Funk scenes for several decades.

A big thumbs up to the Lifeline residents, Mick H & Andy Dyson for their top quality rare sounds.

Not to forget the amazing Arthur Fenn and Kitch for being excellent representatives of the scene.

Amongst our European friends, I have to give a special mention to Marc Forrest and Eduardo Doninguez for their remarkable taste and contribution to the Northern Soul scene in Europe.

06. What has shaped your DJ sound and why?
I am certainly influenced by the 100 Club sound. Being a regular punter for almost 20 years now, the 100 Club has been a great and constant learning curve. It is the place to discover new and different tracks every month, especially thanks to the mighty Butch.

07. What was your best ever find/discovery?
I don’t have the preference for any best discovery but as a DJ I like to play lesser known tracks but with great quality sound.

08. Who was your biggest influence musically and your favourite artist(s)?
As mentioned in question six, the 100 Club has certainly shaped my DJ sound. My favourite artist is the TSU tornadoes because they were prolific artists and produced great music.

09. Do you collect specific labels/artists/genres?
I am a Shrine label collector and obsessed by it but unless I win at the lottery I doubt I will ever have the complete collection! I am very keen on instrumentals, Texas and North Carolina sound but do also appreciate great Oldies.

10. Where can folks currently catch your DJ set?
At VaVaVoom Soul Club (VVVM) and Master Of Soul (MOS)

VVVM: Founded over a decade ago by Ady Lupton and myself, VaVaVoom is now well established Soul Club on the London scene.

Joel Maslin joined VVVM at a later stage and is a truly valuable member.

Our current venue is the stunning Bel Air House in Dulwich where we have been successfully putting up all dayers during this current year and hopefully with many more to come.

MOS: For the last three years, I am also running Masters of Soul with Leona Murphy & Naoko Omassa.

After a short break, MOS will be back with a bang at the original venue, the Winlock & Essex on Essex Road (Angel) with a new improved sound system.

Our next comeback night, not to be missed, is on Thursday 27th of November (7:30pm-1am) with the legendary Soul Sam & the fabulous Ian Wright!

For futher information, please check our Facebook page.

11. What is the record you would most like to own?
It has to be Sandy Golden: Your love is everything (Masterpiece) It is also my wife’s all time favourite record. Hopefully, one day I will own one!

12. Please give us a top 10 all time favourites and a current top 5 spins?
Top 10 Tracks of All Time:

1. The Springers — Nothing’s Too Good For My Baby — Way Out
2. The Tomangoe’s — I Really Love You — Washpan
3. J D Bryant — I Won’t Be Coming Back — Shrine
4. Sandy Golden — Your love is everything — Masterpiece
5. The Prophets — If I Had One Gold Piece- Shrine
6. Patrinell Staten — Little Love Affair — Sepia
7. Clay Brown — Everybody’s talkin’ — Aljon
8. Eddie Billups — Ask My Heart — Peachtree
9. George Lemons — Fascinating Girl — Gold Soul
10 Deon Jackson — Some Day The Sun Will Shine — Unissued

Current Top 5 Tracks:

In no particular order

1. Pee Wee Shuck & Hue — Beside Myself — FLagg
2. Camaro’s — We’re Not Too Young — Dar-Cha
3. Betty Wilson — I”m Yours — Dayco
4. Buddy Smith — When You Lose The One You Love — Brute
5. Eddie Day E & The 4 Bars — Guess Who Loves You — Shrine

Web Links:

http://yvatiste.wix.com/vavavoom-soul-club
facebook.com/yann.vatiste

Arthur Fenn

Reference: DJ Collector

Headquarters: Selby Yorkshire

Social Networks:
https://www.facebook.com/arthur.fenn?fref=ts

Next Club Spots:
Saturday 22nd NOVEMBER 2014
BOOMERANG @ The Canal Tavern
South Parade & Orchard Street, Thorne (Doncaster) DN8 5DZ

1. How and when did you get into music and what were you listening to then?
HI Guys, i was 16 & working at our local golf club, i'd always liked soul stuf but on a visit to the local youth club i heard things like The Fuller Bros, Bob Relf & i was blown away.

2. Where was your first DJ slot?

About a year later i was buying bits like the Montlairs "Hung Up" & Eddie Foster "never knew" off Bob Cattaneo from Daly City @ 75cents each i soon had enough records for a "hot box" and started playing records at Leeds Central with a mate before the residents Frank & Twink arrived, i remember so well dropping the first real known copy of The Four Perfections ( a $5 buy from Bob ) as Frank came down the stairs, his face was a picture . I now had a taste for this dj ing lark & shortly after ( 1978 ) got a break through John Manship to join the team at Cleethorpes Winter Gardens. By the end of the year i was guesting arround the country

3. What was your most memorable DJ spot?

.My most memorable spot! Wow that’s a tuf one, my one & only main room hour at the Casino makes me smile but closely followed by my first gig in Europe which was in Frankfurt, that was so exciting and i still feel the same every time i play outside the U.K ( & of course the few i do here

4. What so far, has been your worst DJ experience?

worst? getting the sack from the east Anglian soul club for playing too many 60's newies at St Ives circa 79 .

5. Your favourite scene DJ’s and why?

Sam for his never ending enthusiasm in the search for new records & his delivery of them, Butch, pretty obvious really, Colin Curtis, his influence in my early years was so important to me

6. What has shaped your DJ sound and why?

The Highland room 74/75

7. What was your best ever find/discovery?

Early visits to the states had me finding the first Greater Experience , Wiliam Powell & such but finding the 3rd known copy of The Inspirations on Breakthrough in St Louis for $1 was a thrill

8. Who was your biggest influence musically and your favorite artist(s)?
my Mum & fav artist's would be Len Jewel, Willie Tee, Maxine Brown

9. Do you collect specific labels/artists/genres?

Not really, could never afford to do that properly but as i've got older i adore group harmony.

10. Where can folks currently catch your DJ set?

Residency's have never been my strong point but of course Maria runs Boomerang 4 times a year & i keep turning up . I'd love the Little Ceaser c/up that Steve G & Butch play

11. What is the record you would most like to own?

I'd love the Little Ceaser c/up that Steve G & Butch play

12. Please give us a top 10 all time favourites and a current top 5 spins?

all time 10 mind blowers?

Ok here goes, John & Wierdest, Mel Britt, Sam Williams, Willie Hutch ( love runs out ) Len Jewel, Larry Houston ( lets spend some time ) Melvin Moore, Maxine Brown ( million ) Carstairs ( hurts me girl ) Charles Mintz ( lucky guy ).

Current Top 5 Spins:

Ron Shy- Don't You Know (Little Star 7")
Bernard Drake - I've Been Untrue
Alan Harris- Love is the Only Answer
Clarence Reid- You Knock Me Out
Love Warmth & Affection- Talkin Bout Love

Cheers Arthur!

Here's our final Dj interview: Dj's & Record Dealer Mr Eduardo Domingo !
Enjoy!

1. How and when did you get into music and what were you listening to then?
As a young skinhead, i started collecting reggae, rocksteady and ska, and the progression to soul via covers was easy. I used to buy tapes (and records) from a
skinhead in Cardiff way back in the early 90's, that's where i started my rare soul education. Before that, i was attending basically to scooterist parties and the
music there was not especially inspiring....

2. Where was your first DJ slot?
Tiny bar in the Guinardó neighbourhood in Barcelona, a skinhead party. This was the first time i remember to play soul...after that, Soweto Club allnighters and
my first "big" spot at Floorshakers Weekender, can't remember if 1994 or 1995

3. What was your most memorable DJ spot?
Not for me to say, really...but i've always enjoyed a lot playing records one on one with David de Santiago from Greenvillage Soulclub. I have really good
memories of one of the afternoon sessions we did in Bamberg some years ago

4. What so far, has been your worst DJ experience?
Been playing in regular clubs for years, so there's always been interesting moments...One i remember is playing northern soul at 4 a.m to a empty dancefloor in
suburban Barcelona...well, not totally empty: three hippie punks with skates were doing their thing there. I think they had their dogs with them, too. Not inspiring.

5. Your favourite scene DJ’s and why?
* SOUL SAM: Well, too many reasons to mention, right? Legendary status, enthusiasm, mix of styles...
* STEVEN CLANCY: Spotless selections and impeccable way of putting those selections together
* LEONA MURPHY: Because playing quality, not tried-and-tested and being a party DJ can go together

6. What has shaped your DJ sound and why?
I've always believed that a set should be a logical progression of styles and moods, the old "tell a story" concept. In my mod years, i think Rob Messer was a big
influence as he was able to do exactly that: mix some latin, jazzy sounds, some R&B, some killer northern soul and end in style with one or two midtempos. In
that sense, i think he shaped the way mods and soulies were djing in Spain in the late 90's, definitely a big influence way back then.

7. What was your best ever find/discovery?
Can't say i've "discovered" anything (a concept i find sort of debatable). I've never tried the C/U game either...i'd be terribly embarrassed if somebody came up
there and said: "Look, here's your C/U". I'm happy to play other people's "discoveries", no problem about that.

8. Who was your biggest influence musically and your favorite artist(s)?
Two above any others: Sam Dees and The Impressions.

9. Do you collect specific labels/artists/genres?
I do collect all kinds of black american and jamaican music, both in 45 and in LP format...if i have to be honest, i prefer collecting Lp's rather than 45's. I don't
collect any specific label and/or artist though, i only keep what i really like. As a record dealer that i am, i don't know no other way to be able to make some
money! Keeping everything i mildly like is not an option.

10. Where can folks currently catch your DJ set?
Movin' on Club in Barcelona, first saturday of February, April, June, October and the weekender on the first weekend of December. I also play here and there, but
Movin' On is my main thing.

11. What is the record you would most like to own?
If i have to short it to one, Fred Williams "Tell her". Definitely.

12. Please give us a top 10 all time favourites and a current top 5 spins?

Top 10 Tracks of All Time:
* FRED WILLIAMS - Tell her
* ADMIRATIONS - I want to be free
* ANTELLECTS - Love slave
* J.D. BRYANT - I won't be coming back
* WILLIE WRIGHT- Right on for the darkness
* HERBY BROWN - One more broken heart
* EDDIE BILLUPS - Ask my heart
* TOMMY RIDGLEY- My love's getting stronger
* PAT LEWIS No one to love
* GEORGE PEPP- Feeling is real

Current Top 5 Spins:
* DOC PEABODY - Here without you
* FELONY THEFT - When you have love
* DONNELL BROWN- Too late to cry
* LEONARD ADAIR - The smile upon your face
* JOSEPH WEBSTER - My love is so strong

Web Links: https://www.facebook.com/MovinOnBarcelona?fref=ts

Full event details and links to more Djs profiles can be found via the event guide thread - link below

event-reviews

By Yann V in Articles · December 30, 201410 yr

RIP Jo Jo

http://www.wtvm.com/story/27693882/jojo-benson-found-dead-at-motel-6-on-victory-dr

added by site

According to the Muscogee County Coroner, Benson was found dead at a hotel on Victory Drive just before 2:45 Tuesday morning. Benson is best known nationally for his duos with Chuck Willis and Peggy Scott-Adams, but Battle recalls him being known for different performances locally.

"There used to be a club downtown Columbus called Club Lavanna and he used to perform there," Battle added. "I was a youngster, but I remember hearing my mother talk about it. And one of the songs that she used to like to hear him sing all the time was a version on Sam Cooke's 'Summertime.'"

Joseph M. Hewell, better known under his stage name Jo Jo Benson (April 15, 1938 — December 23, 2014) was an American R&B singer, best known for his recordings in the late 1960s with Peggy Scott.

He was born in Phenix City, Alabama, and began singing in nightclubs when in his teens. He joined Chuck Willis as a backing singer in the early 1960s, before joining forces with fellow singer Peggy Scott, who previously backed Ben E. King, in a duo. The pair were heard and encouraged by record producer Huey Meaux. and were recruited by Shelby Singleton's SSS International label in Nashville, Tennessee, in order to record duets.Their first recording for the label, "Lover's Holiday", reached #8 on the Billboard R&B chart and #31 on the pop chart in 1968, eventually becoming a gold record. They followed it up with "Pickin' Wild Mountain Berries", which was also a hit and for which they were nominated for a Grammy. Benson and Scott had two more hits in 1969, "Soulshake" and "I Want to Love You Baby", and released two albums together, Lover's Heaven and Soulshake...

http://en.wikipedia.org/wiki/Jo_Jo_Benson

By Rob Wigley in News Archives · December 23, 201410 yr

A Merry Christmas and a Happy New Year shout out to all members.

Hope its a good one!

The Soul Source Team

two to get the thread going....

By Mike in News Archives · December 19, 201410 yr

News has it Wendy Rene (Mary Frierson, later Mary Cross) passed away Tuesday morning from complications of a stroke.

I suppose she had a love it or hate it voice. From a soul perspective I personally I love the vulnerable teen girl voice she had.

RIP

Flip to Bar-B-Que

By Guest in News Archives · December 18, 201410 yr

L to R Don Davis, Bob Babbitt and Dennis Coffey at Theme Productions c 1966
(Courtesy of Edward and Sue Wolfrum 2014 All rights reserved)
Sadly, 2014 will probably be best remembered for the release of a film rather than the passing of two of the soul scene's most revered icons. Don Davis contributed as much as anyone to the Detroit recording scene during his lifetime, as a session musician, producer, songwriter, arranger and all round 'mover' and 'shaker', as well as making crucial contributions to the fortunes of Stax Records, in Memphis, at a time when the label's future looked bleak. Sound engineer extraordinaire Dr. Ed Wolfrum clearly recalls the rescue plan Davis put into action “Stax had just found out that their back catalogue all belonged to Atlantic and things were pretty chaotic down there. So Jim Stewart hired Al Bell to run things and he brought Don in. Don worked with Johnnie Taylor, Carla Thomas and others from the label and brought in Darrell Banks, Barbara Lewis and the Dramatics from Detroit plus others. Don brought some of their people up here too, that's how we got to do 'Hot buttered soul' at United Sound and Pat and Diane (Lewis) got with Isaac (Hayes). He saved that company.” Throughout the 1960s Davis' involvement with a myriad of local Detroit labels such as Correctone, Thelma, Golden World, plus many others, as a writer and producer, was augmented by his contribution as a session guitarist on literally hundreds of recordings at most of the local studios. He schooled and developed scores of artists to successful, and not so successful, careers and his business acumen resulted in the creation of his own banking network as well as the eventual ownership of United Sound Systems in the early 1970s. His work at United with artists like the Dells, Jeanie Reynolds, Johnnie Taylor, the Dramatics, and many others, resulted in national and international recognition and fame.

Deon Jackson
One of the most revered singers to emerge from the soulful surfeit of the early 1960s in Detroit was Ann Arbor's own Deon Jackson. His passing, this year, came as a sad shock to the legions of fans and admirers, around the world, who loved his music and respected his huge contribution to the rare soul milieu. I was fortunate to meet with him in the summer of 2013, at his home in Chicago, and discuss various aspects of his life, career and personal experiences. He began by recalling his very first experience of performing. “I was thirteen years of age attending junior high school. A guy called Maurice Williams and I entered a talent contest at the school. We sang 'Tears on my pillow' and 'Money' and we won it. I kinda liked the feeling and when I was a bit older joined with some other guys, Donald, Sam and Richard, in a group where we sang doo-wop things and I guess Ollie McLaughlin, a local DJ, must have heard about us and came to see us perform at one of his record hops. He kinda invented that kind of show where he set a stage up at one of the local schools and played the latest records and would broadcast 'live' on the radio station, but he would also get local artists to appear and mime to their records. Other groups would sing acapella. I remember David Ruffin came to our school one time and mimed to 'Mr. Bus driver'. We all liked that. Anyway, Ollie must've liked us 'cause he set up an audition at a basement studio for us. I had a couple of songs I'd written. One was 'Do I love you' and I had 'Hush little baby' and 'You said you loved me' too. After the audition Ollie said he only wanted me, not the rest of the guys. I was devastated 'cause I didn't wanna go on my own but when I spoke to them they just said 'Go for it, it's the chance of a lifetime'. My family already knew Ollie 'cause he had dated my eldest sister Doris but my mother signed my first contract 'cause I wasn't old enough.”
Jackson's career took off in 1965 with a song he had written a year earlier. “Yeah, I wrote 'Love makes the world go round' in 1964 but just sat on it. I played it for a good friend of mine, Sharon McMahan, around that time. She worked for Ollie as his secretary but was a songwriter too. She bugged me for almost a year before I took it to Ollie. I'd been working in a gas station before that. When he heard it he flipped over it. It was like a whirlwind after that. We went to Chicago to Universal Studios to record it with the Riley Hampton Orchestra and had the Ronettes singing background. I was only a kid and it was daunting. As we were leaving I saw Ray Charles coming in and I was amazed. Ollie said 'Hi Ray, what's up' and Ray said 'Hey Ollie, how's it going?' We went to the Executive House for lunch and sat with Oscar Peterson and Ray Charles. I was wide eyed man.”

Ahmet Ertegun and Ollie McLaughlin at Atlantic c 1966
Ollie McLaughlin's experience as a radio dee jay certainly came to the fore when it came to promoting the record. “Once we'd recorded it everything happened so quick. It seemed to take off as soon as Ollie put it out. I performed it on Robin Seymour's 'Swinging time' out of Windsor, Canada. Ollie gave him a watch and some money for that. Then I went on tour with just four days rehearsal. I wore a tuxedo and only performed three songs — 'My girl' 'It's not unusual' and ' Love makes the world go round' but the girls in the crowds just went crazy. Within two weeks of its release I was playing the Apollo in New York. Everywhere I went I heard the song and a lot of artists covered it, including Kenny Rogers, which was good for me 'cause I got song writing royalties on it. Then Ollie did a deal with Atlantic/Atco for an album that did quite well too. He was in tight with Atlantic with Ahmet Ertegun and Jerry Wexler. We were riding high!” The song chosen to follow up to 'Love makes the world go round' still rankles Deon Jackson to this day. “I was out on the road performing our songs, 'cause we'd done a lot of recording and I knew which songs were the most popular. I had 'When your love has gone' which I knew was real popular with audiences but Ollie went with 'Love takes a long time growing' and it didn't do as well as we'd hoped which was frustrating and kinda meant I lost momentum. Dionne Warwicke wanted to record 'When your love has gone' but Ollie wouldn't do it.” Jackson's sometimes fractious relationship with Ollie McLaughlin resulted in several other key decisions that would affect his career. “Don't get me wrong 'cause I loved Ollie, but every time I had any input into what we were gonna do, it seemed like he would do the opposite! I'm naturally very shy so I didn't assert myself as much as I should. Like one time I got word that Stevie (Wonder) wanted to write with me but Ollie wouldn't allow it.” Ironically, when a potential career changing proposition came to him it was Jackson himself who turned it down. “Ollie used to hang out with Berry Gordy quite a bit, once he started having big hits and had big money, 'cause they used to like going to the track together. Ollie came to me one day and said 'Berry wants you man. Motown wanna sign you.' but I said 'no' because I was contractually obligated to Carla Records and I didn't wanna go. I figured I'd probably get lost over there, with all the performers they had 'cause I'd seen it happen to other artists. Plus, we were making some great records over at United with Mike Terry arranging, Ollie producing and the great musicians they had over there. Ollie brought Telma Hopkins, Jackie Hicks and Joyce Vincent to sing on my tunes too.” Although the subsequent releases didn't achieve the desired impact, the release of 'Ooh baby' in 1967 hurtled him back into the spotlight. “By the time 'Ooh baby' came out I'd been on the road touring across the country for almost three years. Ollie was really confident about that song and gave it a huge push. It reached 19 on the Billboard chart but, once again, we couldn't come up with a strong enough follow up to keep the momentum going. I continued to tour after that, right up 'til the end of the sixties but by 1970 the bookings started to drop off and I looked for a new direction.”

Deon Jackson moved approximately 350 miles west, to Chicago, in 1970 with the intention of exploring pastures new. An opportunity arose within a relatively short time of him arriving in the 'Windy City'. “I hooked up with Leroy Hutson through Eddie Thomas, who had been in the business a while and had a lot of interests in Chicago. He had mentioned me to Curtis Mayfield who got me in touch with Leroy. Leroy had some great songs. I recorded five of his songs but only two got released ( 'I'll always love you' b/w 'Life can be that way') We all had high hopes for that tune but Eddie had financial problems and couldn't promote it like he wanted so it kinda withered away! I was really disappointed about that.” Another bitter disappointment occurred around the same time. “I'd been approached by RCA to do some writing for them but there was a deadline and my aunt, who was my agent, missed the deadline with the contracts and other paperwork so the opportunity was lost.” Unperturbed, he embarked on a less stressful career performing in some of Chicago's top restaurants as a singer pianist. “Yeah I really loved doing that 'cause it meant I could still sing and play but didn't have any added pressure on me. I played at the Pump Room downtown for a while. That was the place where they wouldn't let Phil Collins in 'cause he didn't have a jacket on. I also played at a couple of places where some of the top 'Wise guys' would come. On a couple of occasions I was interviewed by the FBI who had them under surveillance. They asked me whether I had heard any of them say anything but I didn't. I wouldn't have told them if I did! Then there was the time when I sang a song that made one of the Mob bosses' mother cry. This real tough looking guy comes up to me afterwards and says 'That song you just sung made my momma cry and it's the first time its ever happened' then he pushes this envelope in my top pocket. When he'd gone I opened it and there was $10,000 in it! I was only getting a few hundred dollars a week back then!” Jackson continued to perform around the city throughout 1980s and 1990s until an opportunity arose in a completely different field of endeavour. “My brother in law worked at a city high school, Weaton Warrenville South, as a School Resource Officer and he told me about a position they had coming up as a Student Supervisor. He recommended me for it and I got the job. I love working with young people.” He continued in the role until his untimely death in April 2014 at just 68 years. Among scores of tributes is one from the Principal of the school, David Claypool "I remember Mr. Jackson breaking out in song on a moment's notice. He was someone who was always positive and developed great relationships with our students, whether supervising our cafeteria or going into our music room and accompanying some of our students on the piano."

My own conversations with him included many anecdotes and stories not suitable or appropriate for this tribute. The time he met Sammy Davis Junior and other members of the 'Rat Pack' in New York and the lascivious party he excused himself from, springs to mind ...or the time he stood between Ollie McLaughlin and members of the Capitols to prevent serious injury! He had an incredible, and quite uncanny, ability to reproduce character voices — everyone from Daffy Duck to Foghorn Leghorn and hundreds in between. This skill was known to many of the musicians and technicians who knew him, and always contributed to a fantastic working atmosphere in the studio. He was a quiet, shy, self effacing person who always exuded a confident air of cultivated refinement and urbanity who is sadly missed.
Deon Jackson - I got so much love and Deon Jackson - Pain in my heart
Although Deon Jackson's output for Carla Records and Shout Records is well known, Hayley Records (UK) has gained access to two previously unreleased Deon Jackson songs from his time with Ollie McLaughlin at Carla. 'I've got so much love' and 'Pain in my heart' are both typical up tempo examples of his craft and feature arrangements, and baritone sax. accompaniment, from Mike Terry, production by Ollie McLaughlin and stellar contributions from the Funk Brothers. Expect a commercial release in 2015.
Rob Moss Dec 2014
http://www.hayleyrecords.co.uk

By Rob Moss in Articles · December 17, 201410 yr

David Cole from In The Basement on-line magazine gave me the news that Freddie Houston has died. Lou Johnson got the news and passed it on.

Freddie typified NYC soul of the early 60s and is best known for his big beat ballads such as 'If I Had Known' (featured on the attached CD scan) and 'Chills And Fever' on Old Town, 'Soft Walking' on Toto and 'Love, Love, Love' on Whiz-On. He was also a very popular artist on the Popcorn scene with his Carlton and Captain releases. He sang with the popular vocal group the 'Laddins in his early career.

By Ady Croasdell in News Archives · December 17, 201410 yr

Being a relative newcomer to what would become a lifelong obsession. I was a wide eyed kid in 1976/77. And the whole excitement of the Northern soul scene consumed my life, the old adage of living for the weekend was never more true in those days. New friends, new outlook, new life. Every weekend was a new adventure to me. Of course the first place I attended was the legendary Wigan casino, and from the moment I walked through those doors, I breathed in the sound and the atmosphere of Northern soul. Soon we would be visiting other venues, people would tell you of other venues, on the train or coach coming home, as in them days there was no internet, if you wanted to know anything you had to be a part of it. One of the events that myself and a few friends, were hearing about was the Wakefield Unity,somebody had said "you need to try it, the dance floors better than wigan" to which of course we all laughed under our breath, nothing could be better than Wigan, in those days of course. We were soon converted once we`d attended, music, atmosphere, and people "top notch" and only down the road from my hometown of York. Here's a few words from the promoter both then and now of the event Malc Burton, taken from a recent write up for the Bridlington weekender.
"When reading this, you will either say "Wakefield Unity?, what or when was that?. Or the Unity was a brilliant nighter. Usually I am pleased to say, it`s normally the latter. Wakefield Unity was never the biggest name to grace the scene, however like a naughty schoolchild it made enough noise to get itself noticed. Running for a brief 10 months from dec 76 to october 77. Alternating between fridays and saturdays it left a contributory mark on the scene, and set a template for musical policies, to be considered by future all-nighter. Conceived and planned as an alternative, no frills event. With the intention of having under one roof the combination of "new northern", underplayed and established oldies, coupled with the emerging modern and newly released sounds of the time. Malc goes on to say how he gambled on a second room, playing jazz/funk with Colin Curtis and Paul Schofield at the helm. This then made an all-nighter, that encompassed all musical genres at that were allied to the scene at that time.
The first nighter in Dec 76 was a flop with just eleven people walking through the door, and Malc made a huge loss, thoughts of packing it in were prominent in Malcs mind, but for the persistence of the Mcphail brothers two of Malcs friends there may have only ever been one Unity nighter. After persistent nagging from the two brothers Malc put the next one on in January 77, and a crowd of 200 attended, word had spread through the soul scene of an emerging potential monster. Malc was on his way, distributing flyers on his travels after throwing flyers from the balcony at Wigan. Malc was frogmarched to Mike Walkers office where he was banned for life, being threatened with legal action if he used any of the Casino`s dj`s again.
By the March of 77, the Unity had established itself and was attracting respectable crowds of up to a 1000 people through the door. Unfortunately the then Wakefield city council then saw the pound signs, and took over the nighters, believing they could do the job themselves so why put the money in someone elses pocket, when you can have the whole cake yourself. So really the Unity became a victim of its own success. Of course they couldn't do the job as well as malc, not being in the know with the soul scene and the good name and reputation that Malc had built up was soon tarnished by there one failed attempt at putting on a nighter, and the place closed and fell into disrepair for many years.

Old photos of the Unity

Recent photo of work being carried out
Until Wakefield council formed the Unity works to bring the superb Unity hall back to its former glory, spending millions along the way. Malc was approached earlier this year with the idea of northern soul returning to the Unity, The first all day event was held in November this year. and once again northern soul was home within that beautiful hall. The place was a sell out within a couple of months, and although there were a few teething problems with the event, all these issues have now been resolved, see here for details and Malc once again is at the helm where he quite rightly deserves to be.

With two events planned already for next year (28th Feb,& 30th May) with others in the pipeline. Things are looking healthy for this old lady of northern soul in Yorkshire.
added by site 23 Dec 2014
Unity Works Article
-------------------------------------------
Hi Soul Source,
I wanted to thank you for the great Article on Unity Works:
the support is much appreciated. I would like to point out however that Unity Works is not owned by the council as the article states. Unity is actually a co-operative and it's reopening was only made possible by investment by nearly 400 local Wakefield people. Overall they raised over £4million - something we are understandably proud of!
...what was a four year project just to get the doors open!
The share issue will always be open (details here: http://www.unityworks.co.uk/shares/ )
Take care,
Thanks,
Dean

By Harry Crosby in Articles · December 17, 201410 yr

A festive heads up on a recently pushed out music documentary.
If you are one of those types who find the subject of searching for a specific type of record of interest then this documentary may just ring your bell...
Jingle Bell Rocks!
Jingle Bell Rocks! follows Christmas music junkie Mitchell Kezin as he unveils twelve of his most cherished, alternative Christmas songs...
...a trippy, cinematic sleighride into the strange and sublime universe of alternative and underground Christmas music, featuring The Flaming Lips, Run-DMC, The Free Design, Low, Miles Davis & Bob Dorough, Clarence Carter, John Waters, Akim & The Teddy Vann Prod. Co., The Mighty Sparrow, A Girl Called Eddy, El Vez and many more
In theaters this December // On DVD November 28th // On Cable VOD+Digital December 9th
http://youtu.be/nBL6SQuaA8E
Get to the Jingle Bell Rocks website for more info/features/lists etc
http://jinglebellrocks.com

By Mike in News Archives · December 9, 201410 yr

SHOPPING AROUND FOR HITSVILLE……………CHRISTMAS IN DETROIT 1960
A Detroit Christmas Story.
A few years ago an envelope arrived. In anticipation, I opened it rather quickly and the contents fell to the floor. As I reached down, I wondered what it was. I picked it up, removed the paperclip and…………………whoa

SHOPPING AROUND FOR HITSVILLE……………CHRISTMAS IN DETROIT 1960

Christmas in Detroit, cold, snowing……...
Close your eyes…....
……….……..…….. ..…Picture the scene
Last year, 1959 was probably one of the coldest on record with snow falls of 7 inches and temperatures of -10 degrees Celsius, but in Fahrenheit it didn’t seem so cold at +14, hey, and at least it was a plus. But worse was to come. The snow was falling and it was difficult to get to the studios because Rosa Parks Boulevard was closed off again by the snow plough clearing West Grand. A few of the guys, including the yet to be discovered Supremes, lived in or around the Brewster projects or Highland Parks and found it difficult to get to West Grand during winter. The freeways got all the attention.
Berry had already paid out for a bump last week……

They needed another hit record….. Every one counted. “We can’t live off “Shop Around for long” Berry said as he welcomed the crew that made it. “Coffees all round” ………….
If I can fill the kettle thought Raynoma. It was another freezing Christmas in Detroit.
Later that day, much later…December 16th 1960……..
............ 2648 West Grand Boulevard, attic apartment sparsely furnished and the fire glowing in the dim light of the living room- cum- package and distribution area.
“Christmas is close Ray, if we don’t sit and do this tonight we`ll never have time to do it before the Christmas rush”. Said Berry “I gotta get the Contours into the studio and try and get something down on tape.”
Berry had found them through Jackie Wilson, whose cousin Joe Stubbs, was a band member. He felt the group had something and signed them to Motown earlier this year. Later in `61 he would cut “whole lotta woman” in 3 different styles for 3 different markets, only to fall into obscurity until picked up on the English R n B scene 1n the 1990`s.
Ray passed Berry back the pen, a blue pen, one of those newish fan-dangle devices invented by an Argentinean guy called Biro. You could write for days without topping up the ink…... And when it ran out you got another. How good is this?
Ray screwed her face up and wiped her hands down the sides of her dress, the end was chewed, a cigarette substitute and a good one at that,
“Ray come on………..a man gotta do……. “Said Berry, smoking the pencil

Things would be different this year I can feel it…….He thought
“Just one more breakthrough like “shop around” and we are on our way”. A lot of production time had gone into this record and it had paid off. Late nights, re-recording after re-recording and then that final recall at 3.00 in the morning. Poor Bill, Berry couldn't say how sorry he was, he wasn’t. It had hit written all over it, but he just couldn't get it right. Then when he did it became their first number one. Bill had worked so hard and Berry loved him for it. These embryonic days of a friendship that would continue through the decades.

`61 would see the release of over 80 singles and introduce people like the Temptations, Jimmy Ruffin and Eddie Holland to the waiting world.
Now it was time to reward some of the team who had contributed. Who had worked hard? We all had. How do you split the reward?
Ray put the note pad on the table and looking through her handbag produced a lovely looking Christmas card, neatly decorated, and handed it to Berry. She closed the handbag and dropped it to the floor beside Berry with a sort of, “humph, maybe he`ll get me an Enid Collins or a smart Lucite for Christmas, id worked damned hard too”, she thought.

Check this out, raggedy”. Said Ray.
“Mr Davis at the Davis - Grant insurance agency over on East Mile End Road gave me this, a Christmas list card, neat huh.”
And, now ready, they began….
“Who did the biggest sales is our first call I think and that would be the miracles” said Ray, remembering the charm of Claudette Rogers, Bobby`s cousin, as she sauntered up the front path and into the studios that summer.
“Top of the list” said Berry ‘let’s list the artists first then the gift…………”
“Oh yeh….. Like that will go down well with the people who really laid it out for us…I think mom and pops would be a good start”
“Ray…….your right, mom and pops”, a nice new suit was on the list at $500 for pops He deserved a nice new suit. A new suit always made pops look so regal.

And a nice watch with diamonds on for mom………………..

“Both sides raggedy bum, remember momma ironing the outfit’s and doing the washing”……………..
“Then ….
Loucye
Esther
Gwen,
so as not to do the wrong thing, both got a nice watch like mom.

And for the lovely Anna…………………

A lounge robe…….
Jouyce,
Fuller,
Mickey,
next, but what…..” said Berry

My family will be easy…………….
Momma…. … a nice statuette was in order…and great value at $23

Daddy…….. A pair of binoculars was just the thing.
Kathy
Rosily,
Alice,
“said Ray

…… For Tommy it was a hat, no problem.
He loved his hats and great value at $9.35
see pdf file for more receipts
“Family first and THEN the team”
There was such a large contingent. From the early days Wade (Johnson) had disappeared after the first recording but guys like Bill (Smokey Robinson) and Marv (Johnson) had stuck in and were getting noticed around town, nice guys within. They were stars in the making.
“We were all stars in the making”.
A nice set of luggage will do just fine for Marv……................
The snow continued to fall as the night drew in and the list grew.
“Rags, if you are wanting the Andantes to do backup I sure ain`t got time to go shop for this”…………….
‘Sure honey,’ said Berry “we`ll find someone. Hey what about the receptionist, Janie (Bradford, later helping to write MONEY)”……..let’s just get the list done. We gotta get something done in the studio, this bad weather is killing us.” Indeed the latter part of 1960 would see a very small output from MOTOWN but would really start picking up steam by March and April with over 80 releases flowing through the year.
The list of names continued to grow and the Card was filling up.
“Hey we ain’t got the kids yet and it’s full”
“Well…… turn it over and just scribble on the back” was the reply,
“And don’t forget me…” said Ray…. “And…… Berry it’s the 16th of December, time is tight so we should keep it local, we should be able to get most of it on account at Hudsons”.

“Sounds a plan Ray, but that means you or me needs to get it done to sign the account”.
(Almost all of the account receipts were signed by Ray). What about the Miracles, the guys have been looking at a van to help them move around the state”
“Well think about two things Berry. One. would Shop Around have been a hit without them and Two if you think not then what can we do to keep them”…………
‘……….mmmmmmm good, I like your thinking. Leave that one to me”. Berry often thought a fleet of vans would be a good idea, but not just yet. One more million seller. A car was on the list but I suppose we will never really know if Santa delivered.
Some other gifts included a Ronson lighter for Marvin Gay, a heater for Juanita and a Telescope for Bruce and Brian.
Within the family Gordy, Bobby and Theresa, a fantastic cook, were blessed with a casserole dish, Fuller a bar set, the list was filling up……………
see pdf file below for more receipts
There had been many in the early days, all wanted to be singers and so far only a young Mary Wells had shone brightly in the studio and Janie Bradford and Bill had, at this stage had success as writers and encouraging a young Brian Holland was not easy as the rewards were few and far between.
The offer of a credited b side sometimes worked. The number of writers grew but the rewards were for those who had made those early major contributions hence no Eddie Holland or Earl Vandyke or “Popcorn” Wylie. We must remember this is 1960 and it would be almost forty years before the Funk brothers got the credit they deserved although some like Earl, and “Popcorn’ did achieve some recognition for there early work and become successful in there own right.
Money went from the customer to the till, to the production room and success seemed far away. Writing and producing your own material was a key to success that Berry had learned the hard way losing royalties and credits to a few of some of the biggest tunes of the day. Indeed writing ‘REET PETITE’ had yielded little and the success of this and the subsequent “YOU GOT WHAT IT TAKES’ had been a lessons learned
.
“OK SO….mom” says ray………….”hang on, do we have a budget”
“Let’s see what we need first then we can get the accountant to look at the money”
“Ok. Mom………….”
Into the night the list grew. New members needed a reward and a new drummer with a good voice, Marvin Gay, had shown promise …….and a bit more …to Loucye , Berry`s sister. He had played drums with the Moonglows who had recorded Ray’s favourite tune “sincerely” and so was on a winning line and a great voice to boot……………………….
They discussed the list…………….for Berry
…………..and added to the list for watches…..
Mary Wells
Barney Ales
And the gifts, appropriate at the time, were listed in pen and in pencil so they were easy to change as if to cater for an afterthought. It seems strange to consider what would have occurred in those days but it would appear that, although we hear reports contrary, Berry and Ray did consider rewards to the team to a degree and one can only assume proportionate at the time.
Marvin a 10 dollar Ronson lighter and a 55 dollar watch for Mary Wells.
George and rosemary a transistor radio. Bobby and Georges kids were crossed off the list, maybe it was just getting a little out of hand especially when right at the bottom of Berry’s side the Miracles “CAR” is listed, something like this would have done the job well
The car was written in pen too so mmmmmm a Caddilac, an Impala or an Edsel appear to be the cars of the day, but no receipt………..
Roslyn, a smoker, would be getting the lovely ashtray she always reached for when she came to the flat and Alice, who was always hard to buy for would get cash, “easy I know” thought Ray, “but saves a row anyhow. Juanita was always going to be hard” thought Ray, but she knew it was terribly cold in her basement flat so a nice heater would cover all the bases and a snip too at $20.
Barrett Strong and Asa would get sweaters each, nice and warm in this winter chill she thought. A sure sign of a good gift if they wore them this winter. The kids were easier this year with growing up and school the choice would be educational, books n pens, some nice clothes, a telescope for the stargazers Bruce and Brian and a record player for all to use, but I’ll give it to cliff and Kenny and we can leave them in the den.
With the list completed they went to bed. Ray turned and spooned the cold Berry, snuggling in for a few hours before the band started clumping about the basement. We was gonna be busy.
As morning broke Ray wandered off to find Janie, dishes can be done later. Instructions were given and the pair decided it would be better for both to do the shopping. “Who ever heard of a li`l ole receptionist spennin` hundreds a dollars on the likes of others” she confessed to Ray and off they headed to Detroit 26.
The Detroit chill bit hard as they crossed Woodward Ave. it was getting late and the car headlights defined another shape as it to crossed Woodward, the future mega star Diane Ross, then a petite schoolgirl with an amazing future yet to be spawned. She had just started working as a bus boy at Hudsons. Her time would have been spent sewing clothes, doing perms and working in the basement restaurant after school.
Later much of her spare time was spent hanging out with friends Florence and Mary at West Grand, and then as the Primettes, getting the occasional work singing back up and having minor personal success on lupine and UA backing Don Revell on “Stagger Lee”. Their first release “I want a guy” would flop but time would prove Berry right when he later signed them to the label. Could Diane have served Raynoma…………. A coffee maybe but these two worlds would collide and the rest would become a matter of history.
Not being able to carry out her original plan of the one stop shop Raynoma and Janie headed across to the HOUSE OF NINE for couple of skirts and a sweater handing over the $44.23 for the three items.
Time was running short as they headed for the Federal Collateral Society on Washington Boulevard for some jewellery but would have to return at a later date as its doors were closing, “5.00 Madame, sorry” said the doorman in reply to Raynomas question, “ an 9.00 till 1.00 on satd`y too”. She would return on Christmas Eve to buy the three 14k gold watches paying both government and state taxes of $7 on top of $49.50 for each.
A trip to LA Salle distributing company over on Livernois Ave on 23rd December, most likely by Janie, as there is a handwritten note to advise the buyer to give “the change to Mrs Ray” she was to buy the Ronson lighter for Marvin for $10.37, the heater at $20.07 for Juanita and an A.C. Gilbert telescope, $13.32 for Bruce and Brian. A.C. Gilbert were an American toy company who manufactured telescopes and the Erector set, similar to Meccano giving a frequent pleasure to the children as they grew.
Christmas, it seems, was a family and friends occasion and the Gordy house was always full of people who, at times would gather round the piano and sing along till the early hours.
This was the beginning of something rather special. Writers like Holland Dozier Holland, groups like the Four Tops and the Temptations came and went but they all had such an influence there and certainly played a big part in a company that would become the SOUND OF AMERICA and change the lives of many, influencing many and making careers of the future superstars. Connections with Playboy magazine and various other organisations were built to help it grow into a worldwide publisher of great music seeing releases in Iran, India, Greece, Argentina, Sweden and Chile.
Many would try but fail in copying this success but the music lives on.

I hope you have enjoyed this fictitious trip into Christmas 1960.
The story is purely hypothetical but based on various letters, weather reports, old maps, till receipts, hand written Christmas cards and lists I have in my possession and some scanned here for you to see. Some information from both Raynomas book “Berry Motown and Me” and Berry’s book “To be loved” has been used to enhance the story which is nucleated around the Christmas list and receipts.

The pdf version - more receipts and a better layout
SHOPPING AROUND Christmas in Detroit november 2014.pdf

motown music

By Guest in Articles · December 2, 201410 yr

Induction Date: 01 November 2014 Category : Female Vocal Group

When the film ‘Standing In The Shadows Of Motown’ hit the screens over a decade ago, it finally let the world in on what was one of the music industry’s best kept secrets. The group of musicians who had laid down the tracks to what became known as ‘The Sound Of Young America’, had been airbrushed out of most of the story of the rise of Detroit’s musical empire based at 2648 West Grand Boulevard but Alan Slutsky’s movie went some way to setting the record straight about the contribution to Berry Gordy’s success made by people who were kept behind the scenes. I say it went someway but there was still a trio of ladies who, although acknowledged, still hadn’t had the full splendor of their contribution highlighted as they deserved.

Jackie Hicks, Marlene Barrow-Tate and Louvain Demps sang to soul fans on hundreds if not thousands of soul records. Their voices soared alongside every artist to grace the recording studio that became affectionately known as ‘The Snakepit’, including but by no means limited to, The Four Tops, Martha And The Vandellas, The Temptations, Kim Weston, Jimmy Ruffin, Marvin Gaye, Mary Wells and The Miracles. Their work which, like the Funk Brothers, provided a cornerstone to Berry Gordy’s vibrant combination of Gospel orientated Rhythm n Blues and secular lyrics, was vital to Gordy’s worldwide success and the music industry, although lagging behind us, the fans, in appreciating them has since unearthed the contribution they made and heralded the ladies for what they were, simply the most successful studio backing singers of all time. Those ladies were of course…The Andantes! The story of The Andantes, is really the story of Detroit. The city’s musical explosion of the sixties engulfed many of the city’s aspiring musical youth and The Andantes were at the centre of it all.

Jackie Coela Hicks, a native Detroiter, was born 4 November 1939 to Aaron and Clara, Aaron her father having been enticed Northwards from Alabama by the Ford Motor Company met Clara in Detroit after she had also moved there with her family from Georgia, Alabama. Surrounded by church music from an early age Jackie’s brother Aaron Jr sang with a number of choirs in the city, eventually became a music teacher and taught piano.

Jackie met Judith Marlene Reid when, as five year olds, they began singing as members of The Hartford Memorial Baptist Church presently located just off the James Couzens Freeway and along with their friends Emily and Edith Phillips became something of a trio/quartet with Emily or Edith joining in with Jackie and Marlene. They impressed their musical director, Ms Mildred Hankins—Dobey so much that she christened them The Andantes. (Andante is a musical term relating to tempo and the beats per minute that a piece of music is to be played at). Judith, who was always known by her middle name, Marlene, is also a native of Detroit having been born on 25 September 1941 and was adopted as a three month old baby by Victor and Johnnie Reid. Both Marlene’s parents had also made the economic trek to the Motor city in search of job opportunities, her father Victor hailing originally from Mt Bayou, Mississippi and her mother from Hawkinsville, Georgia. Victor found work in the Dodge Main Motor Plant at Hamtrack, a position he held for 33 years. Victor also sang in an adult choir whilst Marlene’s mother was also a musician, who directed a youth choir and played piano and organ at the church (Hartford Memorial), close to their Stanford Street home.

Jackie, Marlene and Edith sang together through their formative years and attended Northwestern High School (1) listening to the emerging rock n roll sound and were especially fond of groups like The Drifters and Jackie recalls that one of her favourite songs of the time was Gene Chandler’s ‘Duke Of Earl’, a song that the girls performed in a school talent show. (2) As the girls progressed through their teenage years, they broadened their musical influences as well as their skills with Marlene taking piano lessons and being taught to read music. Chaperoned by Jackie’s brother Emory, the girls were allowed to attend dances and other music events in and around the city as well as just over the Ambassador Bridge spanning the Detroit River border in Windsor, Ontario. As the girls prepared for graduation from Northwestern High, Berry Gordy was pitching his idea for a record label to the Gordy family for an $800 loan that would change all their lives, The Andantes included.

In 1959, Richard ‘Popcorn’ Wylie, on leaving High School had set his own sights on a musical career, a gifted songwriter and piano player he had managed to book an audition for the new record company on West Grand Boulevard: Motown. With Motown especially looking for musicians/artists with original material, Popcorn was well placed and asked his friends, The Andantes to come along with him to assist him by singing the backing harmonies, which they had been doing in his basement for while anyway. Popcorn and the girls, (Jackie, Marlene and Emily), duly arrived at their appointment, performed their songs and both Popcorn and The Andantes instantly became Motowners! Emily and Edith Phillips however had plans outside music and with Emily already married and Edith about to be a new wife the sisters chose not take up Motown’s offer. The third piece of the vocal jigsaw that would create such harmonious magic over the next decade was already singing at ‘Hitsville’, in the form of a young lady who sang with a group of early Motowners known as: The Rayber Voices. (3)

Louvain Demps was a native New Yorker, born in the Big Apple 7 April 1938. Her parents, Alfred Moor was a Philadelphian and Louvain Ameroux, after whom Louvain was named hailed from O’Fallon Missouri. They first met in New York but settled in Michigan, originally in Ann Arbour but later in Detroit where Alfred became a postman. The family settled in the Courville area of the city which was a predominantly Polish area back then and the young Louvain recalls attending Courville Elementary School on nearby St Aubin Street where by all accounts she was something of a little firebrand with a temper match! Her father was an opera buff who also loved classical music and both Louvain and her only sibling sister San Carmen were given violin lessons as children, a craft that neither of them pursued. From an early age though, Louvain loved music, films and was a great fan of Lucille Ball and Red Skelton.

Louvain worked her way through Cleveland Elementary School and eventually attended the Sacred Heart Catholic School and she and her family became members of the local Holy Ghost Roman Catholic Church where Louvain and her two Godsisters, Marlene and Jackie Harper would join the choir under choirmaster Mr Oreal Taylor. As her teenage years dawned Louvain had already decided that a singing career was her goal. In junior high school she cut her first record on which she sang “Waiting For The Sunrise”, as a present for her mother. Originally wanting to be an athlete and even a police officer at one stage until discovering she was too short, the record hops of the late 50s were in full swing and Louvain was hearing all kinds of different music and developing an even more determined outlook on her ambition to be a singer. After graduation Louvain married Max Demps, who she met whilst he was visiting his cousin, an old school friend who lived on the same street as her. They married in June 1956 and set up home but staying on Arlington Street.

Louvain’s introduction to Motown came via her best friend, Rhoda Collins who was songwriting and attempting to get her songs recorded. Via an ad she spotted in the local paper that stated for $100 they would record your song for you she subsequently met Raynoma Gordy. Louvain went along to the appointment to demo her friend's songs and ended up with an audition of her own. That audition took place at a building on Dexter and Louvain passed with flying colors! Testing her vocal range to its fullest led to her impressing her accompanying pianists Brian Holland, Berry Gordy and Marv Johnson so much that she was signed to the company and began singing as part of The Rayber Voices, a group that had moved to Motown when Gordy had absorbed the Anna logo and now sang backing vocals on many of the sessions at the time. The official line up of the group at the time was Robert Bateman, Raynoma Gordy, Brian Holland and Sonny Sanders. As Ms Ray’s duties at Motown became more time consuming, it was Louvain who made the female vocal contributions and she can be heard on a number of early timeless classics like Barrett Strong’s ‘Money’ and Eddie Holland’s ‘Because I Love Her’. Louvain was nineteen years old, married and had now started a family having been blessed with little Max her infant son. A singer she wanted to be…. And at last, with the support of her husband and family, a singer she was!

It was now that Louvain discovered that there was work to be had outside of Motown and on responding to a newspaper ad placed by local entrepreneur Harry Balk, discovered that he was looking for singers, successfully auditioned and became a Dream Girl, alongside Bobbie Smith, (Elma Holman), her sister Sheena Carson (Genever Holman) and Kay Green. the fourth member of the quartet was Tina LaGora and it was during Tina's pregnancy that Louvain stepped in as the fourth voice. (4) She recorded a couple of outings in New York with the all female group, including the 1961 release, Bobbie Smith And The Dreamgirls — "Mr Fine b/w Wanted" — Bigtop 3085 and three months later, Bobbie Smith And The Dreamgirls — "Duchess Of Earl b/w Mine All Mine" — Bigtop 3100. By 1962, Louvain was appearing at record hops as a member of the group, whilst also undertaking vocal duties as a member of The Andantes having been introduced to Jackie and Marlene because The Rayber Voices were doing less and less studio singing as a unit. As The Rayber Voices faded from the studio scene, The Andantes took up the mantle of their successors and thus began a decade of Motown’s producers preferring them on their productions than anyone else.

It may surprise people to discover that many of the female group releases feature The Andantes quite prominently including early Velvelettes and Supremes sessions and a number of Martha and The Vandellas tracks. As songs like, The Velvelettes - “Needle In A Haystack”, The Supremes - “Run Run Run” and Martha And The Vandellas — “Quicksand” hit record stores and provided a platform for ‘The Sound Of Young America’, there too, in the final mix, amongst the Funk Bros fabulous musicianship and the lead singers plaintive vocals are three metronome-like, pitch perfect, angelic voices, in choruses, in call and response lyrics, in the Oohs and Aaahs are Jackie, Marlene and Louvain, The Andantes.

"When it came to producing the records, it's a fact that The Andantes recorded on everyone's product" - Micky Stevenson: Motown A&R Director

As well as quickly becoming indispensable in the studio the girls would also perform on the road at times with the traveling live shows that the company deployed. Mickey Stevenson, the respected A&R Director, songwriter and producer recalls “When I took the Motown Revues out, they would sound the best and sound just like the records. I would take The Andantes and put them off stage with microphones, behind the curtains. I intentionally did that so we sounded great………. When it came to producing the records, it’s a fact that The Andantes recorded on everyone’s product, from the Four Tops to The Supremes; they did everything". As the studio got busier and busier so did the girls schedule. If all three couldn't make it to a session then others would become honorary Andantes for that session too. Two ladies of special note who sang on sessions as Andantes were Pat Lewis and Ann Bogan. Ms Lewis of course has an individual musical legacy of her own but it was when the girls were one voice short for a session that Pat first stepped in. The resulting, Stevie Wonder - Uptight (Everything's Alright) b/w Purple Raindrops" - Tamla 54124 went on to deliver a Billboard Hot 100 #3 slot so I guess everyone was happy with Pat's input! Ann Bogan's musical journey began when she was discovered by Harvey Fuqua singing in church in her home town of Cleveland Ohio and would eventually lead her to becoming a member of The Marvelettes. Before that however she was a member of The Challengers who recorded for Fuqua's Tri-Phi logo in Detroit. When Berry Gordy absorbed Fuqua's label it also took over control of it's A&R roster. Hence Ms Bogan found herself striving to make a name for herself in Gordy's ever growing stable of artists. This included standing in on backing vocal duties which she often did, with The Andantes and with others.

Of course the ultimate goal of any singer is to be heard and despite Berry Gordy’s reluctance to allow his studio stalwarts like The Funk Brothers and The Andantes to spread their own musical wings to much the girls did in fact record under their own name. On the 6th February 1964 and suitably armed with two songs written by the red hot in-house production team of Holland — Dozier — Holland, the girls recorded a session constructed around presenting their own voices in center stage. Ann Bogan was given the role of lead vocal for the session and little could they suspect that on that crisp, mid winter’s day in that little studio on a suburban, tree lined street in Detroit, they would create one of soul music’s most sought after outings on wax. The Andantes — “Like A Nightmare b/w If You Were Mine” — VIP 25006.

Despite the disc being something of placation for the girls’ constant pestering to record, Berry Gordy having probably already decided that any 45 by his studio stalwarts wasn’t worth risking, (putting one of your best assets into the shop window isn’t good business sense), the uptempo, pacy song, full of vibrant drum fills played by Lamont Dozier, staccato horn riffs, an inspired Mike Terry sax break midway and a whole slew of ‘Oohs and Aaahs’ from the girls in support of Ms Bogans high alto, almost strained lead works like a charm. It’s got Motown circa 1964 stamped all over it and had it been a Martha Reeves and The Vandellas release would quite possibly have delivered a Hot 100 hit.

With no success with their 45 on the horizon the girls continued undertaking backing vocal duties both at Motown and beyond. Although Berry Gordy demanded exclusivity from his musicians and The Andantes both the girls and the Funk Brothers regularly sang and played for other producers and not just in Detroit. Companies in Chicago, New York, Philadelphia all made use of the hit making machine from The Motorcity. When Carl Davis needed an injection of ‘vibrancy’ for a Jackie Wilson session it was to Detroit’s premier combination of The Funks and The Andantes that that looked to. The whole “Higher and Higher” album (Brunswick LP #54130), was performed by them which irritated Gordy back at West Grand Boulevard to the point that he employed people to investigate whether they were ‘moonlighting’. It's also The Andantes backing Jackie Wilson on his much sought after picture sleeved 45, "A Lovely Way To Die". Of course without the security of a contact, the girls still had to earn a living, especially as they became young mothers with family responsibilities and if it was a slow week in The Snakepit, they looked for gigs elsewhere. But it was Motown and backing the glittering Motown stable of artists that would ensure the Andantes would leave a legacy to match (if not surpass), the acts they supported.

Kim Weston recorded a number of songs with the girls that hit the spot with record buyers and quite a few would also go on to achieve success with Northern Soul fans. Apart from the atmospheric background support on the anthemic, Kim Weston — “I’m Still Loving You b/w Go Ahead And Laugh” — Tamla 54110 and Kim Weston — “Helpless b/w A Love Like Yours (Don’t Come Knocking Everyday)” — Gordy 7050, it’s the ladies beautiful soaring voices that echo Kim’s emotional ‘Thrill A Moment’ throughout, Kim Weston - "Thrill A Moment b/w I'll Never See My Love Again" - Gordy 7041 that is really the peak of their collaborations. The backing vocals become as important a component as the opening bongo intro, or the stirring string arrangement, or indeed Kim’s tone perfect, soulful tale of her precious love, incidentally written by her with input from stalwarts William Stevenson and Ivy Joe Hunter. When all the pieces of this musical jigsaw came together in March 1965, the end result was one of Motown’s all time masterpieces. With every single part of the hit making machine firing all its cylinders the inspired ballad takes on an impressive, wholly atmospheric, moodiness that fits the song itself like a musical hand in a calf-skin glove. The Funks, Kim Weston, The Andantes... perform like a well tuned musical Ferrari and a more perfect example of craftsmanship within the company’s catalogue would be hard to find. The Andantes at their very best!

Another female artist that benefited from having the group behind her on some of her successful outings was Brenda Holloway. Once again it’s the subtle but nevertheless vital ‘Oohs and Aaahs’ as well as the call and response lyrics that the girls bring to the musical table on 45s like the 1965 release of Brenda Holloway — “When I’m Gone b/w “I’ve Been Good To You” — Tamla 54111, a song originally recorded and subsequently aborted as a 45 release by Mary Wells a few months earlier, (Motown #1061). It’s a song that was also recorded in California by that other Motown songbird Barbara McNair but Brenda and The Andantes really make it their own and in the process created a stone mint classic for the Northern Soul fans. Brenda’s breathy vocal is a perfect foil for the Smokey Robinson penned classic whilst once again it’s the soaring backing vocals by The Andantes that provide the extra, powerfully dramatic musical podium, from which Brenda launches her sultry goodbye to her cheating beau. Simply put, it’s another 45 that has enraptured soul fans from the day it came of the press, was slipped into a sleeve and dispatched to record shops. It provided Brenda with a Top 30 hit on Billboard’s Hot 100 (#25) and peaked at #12 on its RnB equivalent.

The Andantes were, by the mid sixties, an integral part of the Hitsville hit making machine often compared to the car producing assembly lines in the industrial plants the Motor City was equally famous for. They were there as Motown’s young aspiring singers became household names, they watched as the producers and songwriters hit the charts, providing the only real competition to The Brit Invasion. As The Miracles, The Supremes, The Four Tops, The Temptations, Stevie Wonder, Marvin Gaye led the assault on the international music scene, The Andantes, alongside that other troupe of musical talent The Funk Brothers, remained in Detroit, at 2648 West Grand Boulevard, continually adding to Motown’s legacy, unseen but certainly not unheard!

If you ever wondered who it was that nudged the fantastic horn riffs to one side every now and then on Stevie Wonder’s fantastic “Uptight (Everything’s Alright) (Tamla # 54124). Then wonder no more, it was indeed Jackie, Louvain and Marlene, the very same trio that lifted Tammi Terrell’s outings from the great category to the fantastic category! A couple of great performances really highlight the quality of the vocal input from ‘background singers' and their effect on the final sound. “Come On And See Me” (Motown #1095), sees the girls interloping with Tammi’s emotional plea for love with that soaring style that created an almost tangible atmosphere to the songs, whilst their contribution on Ms Terrell’s version of, “This Old Heart Of Mine” (Motown #1138) is nothing short of stupendous. Without them the song becomes a pale copycat of The Isley Bros hit but with the girls stamping their signature impression all over it, it becomes a superb combination of fantastic musicianship coupled with uptempo vocal gymnastics worthy of a musical gold medal!

“You could put a good singer on a good track. You could then put The Andantes behind them…and you had a hit record!” - R Dean Taylor

R Dean Taylor’s blue eyed dancers “Lets Go Somewhere” (VIP # 25027) and “There’s A Ghost In My House” (VIP #25042), were also given The Andantes treatment and Mr Taylor himself recalls: “You could put a good singer on a good track. You could then put The Andantes behind them…and you had a hit record!”, (5) something that just about every producer did as the Motown machine rumbled ever onwards! The fantastic, Liz Lands — “Midnight Johnny b/w Keep Me” — Gordy 7030 is yet another Northern soul favourite song that was transformed by the girls “Stay away, stay away” and “Midnight Johnny”.

Martha Reeves of course already had supporting voices in the form of the original Vandellas, Annette Beard and Rosalind Ashford, (Ms Beard being replaced by Betty Kelly in 1964) but even their 45s contain vocal enhancements contributed by the girls as did many of the hits enjoyed by The Marvelettes. Martha and The Vandellas — “Jimmy Mack b/w Third Finger, Left Hand” — Gordy 7058 gave the group it’s second #1 RnB hit once paired with The Andantes by the Holland — Dozier — Holland triumvirate.

Of course H-D-H became one of the most prolific record producing teams of all time with Lamont Dozier eventually claiming the crown of the most successful producer of all time having scored more #1US Chart hits than anyone else. The Generals of Motown’s assault on the Billboard Charts the trio absorbed The Andantes into their creative mix. The group became such a feature on the recording sessions that they were given their own office space in which o rest awaiting the call to perform. Their role in the success of The Four Tops rise to international stardom via a series of fantastic outings on 45, certainly needs to be more recognized. As vital to the whole finished song as Earl Van Dyke’s clattering piano, or Mike Terry’s low end baritone sax snippets, the ladies “Oohs and Aahs!” combine with their male counterparts to create a musical balance that H-D-H and Levi Stubbs make full use of and together they literally grab the songs by the throat and squeeze the very soul from each note. If you’re not sure about how much their contribution was to these fantastic outings, re-listen to Four Tops — “Something About You b/w Darling I Hum Our Song” — Motown 1084 on which the girls sing nothing but “Oooh ooh ooh!” and then imagine the song without them! Or check out the soaring background voices on, Four Tops — “Shake Me Wake Me (When It’s Over)” b/w Just As Long As You Need Me — Motown 1090, that’s not just Messrs Benson, Fakir and Payton, oh no indeed, it’s the Seven Tops, the real ‘Magnificent Seven’: The Four Tops and The Three Andantes!

All three of The Andantes recall their sessions with the Four Tops and H-D-H as being fun filled sessions that produced some of their best work, and Louvain Demps especially liked working with the Four Tops and cites “Bernadette” (Motown #1104) as one of her favourite songs thus: “The Guys sounded great, we sounded great and the production was amazing. The playback was so exciting to hear that first time. After all of the elements were on the record, it was like WOW!” It’s also the one song that Marlene would pick if she had to place one in a treasure chest.

The Andantes also have special memories of their work with Marvin Gaye. In addition to Louvain’s fondness for “Mr Sandman”, Jackie still gets s thrill out of hearing, “I Heard It Through The Grapevine” and in fact still has it as her ringtone! The duets Marvin recorded with Kim Weston also conjure up evocative memories for the trio and are amongst their proudest moments. Marvin and Kim’s outings were all enhanced by The Andantes contribution in the back ground and songs like, “What Good Am I Without You” and “I Want You Around” are fine examples of how sweet, unobtrusive vocals can play such a large part in the final sound.

As Motown changed and H-D-H left, other songwriters and producers would take up the baton. Nick Ashford and Valerie Simpson, Norman Whitfield, Pam Sawyer, Gloria Jones, Syreeta Wright, all recorded great music that would go on to achieve classic status and there, at the ever beating heart of it were The Andantes. When Marvin Gaye released his seminal album “What’s Going On” in 1971, it featured the girls as the backing vocalists and when it delivered 3 #1 RnB Hits as well as hitting the top spot as an album I guess it’s a lasting legacy to not just the girls but the musicians and Marvin himself. But even that kind of success couldn’t ensure more sessions and more work as Berry Gordy looked Westwards, his eyes firmly fixed on Hollywood.

When, in 1972, Motown left its Detroit home for pastures new in California it appears to have done so with so many loose ends and a bucketful of unfinished business. Lives were left hanging and the three ladies of The Andantes found themselves picking up their last paychecks shortly after the move and having some serious decisions to make. With family responsibilities to meet it was the lure of a salary that drove them now, not the lure of the Snakepit and after almost 14 years of being a supporting pillar of ‘The Sound Of Young America’, it was all over.Jackie found herself working for the City of Detroit and now lives in Southfield, Michigan, Marlene took up a position working for the State, whilst Louvain made a new life for herself in Atlanta, Georgia initially working with disabled children but also kept up her singing on a number of projects including singing commercial jingles and singing backing vocals for artists appearing locally as well as studio sessions.

All three have no regrets bar one. The one thing they would have loved to change about their legacy is they would have liked to have been annotated on the records they contributed so much to. Well, we can’t put the credits on the records but we can certainly give kudos, respect and our gratitude to the ladies for contributing so much to the music we love and so it’s with that gratitude front and foremost that we welcome the most successful backing singers of all time, The Andantes, to our Northern Soul Hall Of Fame.

Lorraine Chandler & Dave Moore :16 November 2014

Notes and References:

1. Detroit’s Northwestern High School would provide fertile ground for Motown’s future international stars. Many of Motown’s ‘big hitters’ attended school there including, The Supremes, Mary Wells, Smoky Robinson, The Supremes and of course Richard ‘Popcorn’ Wylie and Motown bassist supremo, James Jameson.
2. Motown: From The Background, Vicki Wright (with The Andantes). Published by Bankhouse Books, 2007. ISNB 10:1-904408-29-X
3. The Rayber Voices were an amalgamation of the beginning of RAYnoma and BERry Gordy’s first names.
4. Harry Balk would later establish Impact and Inferno Records, Duke Browner becoming his most prolific producer on the labels. Harry was also the manager of Del Shannon who was discovered by Ollie McLaughlin and went on to head up Motown’s Creative Division in the early seventies.
5. Motown: From The Background, Vicki Wright (with The Andantes). Published by Bankhouse Books, 2007. ISNB 10:1-904408-29-X

Acknowledgments:
Andantes Red Poster courtesy of JD Humphreys www.invitationacrossthenation.com All the contributors to www.45cat.com Dave Rimmer’s site a www.soulfulkindamusic.net
Discography:

As with quite a few of our Hall Of Famers the discography of The Andantes would take up enough space to slow down the site! With most Motown mid 60s releases to their credit and the extra curricular releases running into hundreds of outings the four snippets below are simply an example of their talents.

hall of fame

By Dave Moore in Articles · December 1, 201410 yr

Here's another no fuss, no hassle comp for all Soul Source members.
This time around we have have 2 copies of Soul Junctions latest Cd album up for grabs.

To be in with a chance of this fine cd landing on your doormat in just over a weeks time, all you have to do is just hit the competition link below and then enter this the latest Soul Source comp/draw
Come the release day (8th Dec) two lucky members names will be automatically drawn out of the soul source hat as winners.

Here's the competition link

Full details of the cd that will be officialy released on the 8th Dec follow....

We Got A Sweet Thing Going On - Various Artists

Catalogue # SJCD5009

1. The Hopskins Bros - "Shake Cheri"
2. Candi-Bars - "You're The One"
3. The Mansion - "Stop, Let Your Heart Be Your Guide"
4. Elbowed-Out - "In The Book Of Guiness"
5. Citation - "We've Come A Long Way"
6. Natural Impulse - "She Went Away"
7. Curt Darin - "Two On A Cloud"
8. Jesse James - "I Don't Want A Divided Love"
9. The Hopskins Bros - "Kiss Of Fire"
10. They Trey J's - "We Got A Thing Going On"
11. The Mansion - "The Girl Next Door"
12. Candi-Bars - "I Believe In You"
13. Citation - "Inspiration Of My Life"
14. The Trey J's - "I Found It All In You"
15. Oliver Cheatham - "Good Guys Don't Make Good Lovers"
16. The Coalitions - "Colour Me Blue"

Press Release

We Got A Sweet Thing Going On is a compilation album dedicated to the art of the harmony soul sound. A genre that was founded in the Doo-wop era of the 1950’s and embraced and continued by the generation that it influenced into the 1970’s.

Although often regarded as a genre performed by vocal groups we have used some poetic license by including three solo outings such as Curt Darin’s (a.k.a Curtis Gadson) mellifluous “Two On A Cloud” as well as two recent unissued gems from the late Oliver Cheatham “Good Guys Don’t Make Good Lovers” the flipside of his now deleted 2012 smash “Don’t Pop The Question (If You Can’t Take The Answer)”. Followed by Jesse James with his sublime “I Don’t Want A Divided Love”.
The group’s featured in this compilation begin with the highly desirable Hopkins Brothers northern/funk anthem “Shake Cheri“ accompanied by the previously unissued full length version of their Magnetik 45’s flipside “Kiss Of Fire”.
Seattle outfit Elbowed-Out are included with their “In The Book Of Guiness” a previously unissued sweet soul ballad that’s a complete contrast to their recently released uptempo, Soul Junction 70’s dance tracks. Moving down the Western Sea Board we also feature Richmond California’s “Natural Impulse” with their now timeless modern soul anthem “She Went Away”. Milwaukee is well represented by former prison group “The Mansion” featuring both sides of their illusive 45 “Stop, Let Your Heart Be Your Guide” and “The Girl Next Door” which they recorded (while still in incarcerated) for the independent Gibbs label. The other Brewtown outfit featured is the Candi-Bars with their crossover classic “I Believe In You” followed by their harmonious “You’re the One” which appeared on their own custom Candi-Stix label.
From the same Detroit production team that gave us the previously mentioned Curt Darin release, Probe 1Productions, we have included both sides of their Red Line release on vocal group The Citation “Inspiration Of My Life” and “We’ve Come A Long Way” the latter featuring a live audience.
Atlanta, Georgia duo The Trey J’s contribution is both sides of their solitary Tee Fletcher produced 45 release. The popular horn driven “I Found It All In You” and the more soulful ballad “We Got A Thing Going On”, the track which inspired the title for this compilation.
Last but not least featured is the Philadelphia outfit “The Coalitions” with the title track of their recently discovered “Colour Me Blue” album that had remained in the can since the late 1970s.

Purchase direct via Soul Junctions website
http://www.souljunctionrecords.co.uk/SJCD5009.html
preview mp3:
https://www.soul-source.co.uk/uploads/select_1417854762__sjcd5009_-_we_got_a_sweet_thing_going_on_promo.mp3

By Mike in News Archives · December 1, 201410 yr

just heard she has past away another star gone

Added by site

In 1965, her persistence paid off. Frances told her husband, "I'm entering the WCHB Talent Show and I'm going to win." His response was "Nobody wants to sign a 22 year old with 2 babies." Frances replied "You're going to eat those words!"

And eat those words he did! In June 1965 Frances came in 1st place out of 5,000 contestants singing her own rendition of The Shirelles "Everybody Love a Lover". Berry Gordy, founder of Motown Records, was a judge and co-sponsored the contest. Frances won $500.00, a dozen long stemmed roses and a one year recording contract with Motown. She was awarded the prestigious honor of becoming the first female artist on the Motown Soul Label.

Frances recorded "Keep On Loving Me"/ "Fight Fire With Fire" which was released 2 days before her 23rd birthday. It was reported that the record sold 10,000 copies on it's own merit, although it was never promoted by the label, even though WCHB announced that the release being played was by contest winner Frances Nero every 1-1/2 hours.

Full article can be read via the biography on

http://francesnero.com/Frances_Nero_Web_Site/Biography.html

http://youtu.be/cjxvT7VSrOQ

Soul Express Interview
http://www.soulexpress.net/deep110.htm#francesnero

By Mickjay33 in News Archives · November 29, 201410 yr

New releases for December 2014 from Ace Records - A Grab and post pass on

Hang On Sloopy: The Bert Berns Story Volume 3
Pop
Various Artists (Producer Series)
CD £11.50
More highlights and rarities from the New York-based producer-songwriter’s too-brief career.
http://acerecords.co.uk/hang-on-sloopy-the-bert-berns-story-volume-3

Speak Easy - The RPM Records Story Volume 2 1954-57
Rhythm & Blues
Various Artists (Kent/ Modern)
CD £15.98
54 tracks documenting RPM singles issued between 1954-57, from down-home blues to rockabilly. Features many previously unissued or un-reissued performances, all mastered from fresh sources.
http://acerecords.co.uk/speak-easy-the-rpm-records-story-volume-2-1954-57

Boogie With John Lee Hooker
Blues
John Lee Hooker
LP £16.21
This is the ultimate "Boogie" LP with the king of the boogies, John Lee Hooker, stomping his way through 14 classics in style. A special 180g black vinyl only release.
http://acerecords.co.uk/boogie-with-john-lee-hooker

Omaha Bar-B-Q
Funk
Preston Love
LP £16.21
Rare Funk sax blast from LA! Preston Love's rare 1969 Kent album (KST 540) featuring the blistering guitar work of Shuggie Otis.
http://acerecords.co.uk/omaha-bar-b-q-1

Ka-Pow! An Explosive Collection: 1967-1968
Psych / Garage
Powder
CD £12.92

Authentic 1960s recordings by the Bay Area’s one bonafide mod outfit, with the finest sound and several unissued tracks, including two versions of the sought-after garage nugget ‘Kick Me’.
http://acerecords.co.uk/ka-pow-an-explosive-collection-1967-1968

She's Like A Swallow
Folk
Bonnie Dobson
CD £11.50
http://acerecords.co.uk/shes-like-a-swallow
The first album from one of the most distinctive voices of the 1960s folk boom.

Bue Mitchell
Soul Jazz
Blue Mitchell
CD £7.43
Mitchell’s 1971 debut for Mainstream is one of his finest recordings. A triumphant mix of soul-jazz and hard bop.
http://acerecords.co.uk/blue-mitchell-2

Hadley Caliman
West Coast Jazz
Hadley Caliman
CD £7.43
A rare spiritual jazz session from the under-rated reedman. Reissued on CD for the first time.
http://acerecords.co.uk/hadley-caliman-1

A Time In My Life
Vocal Jazz
Sarah Vaughan
CD £7.43
The vocal stylist interprets songs by John Lennon, Bob Dylan, Marvin Gaye and others, with arrangements by Ernie Wilkins.
http://acerecords.co.uk/a-time-in-my-life

You're Gonna Get Next To Me: The Complete Claridge Recordings
70s Soul
Bo Kirkland & Ruth Davis
CD £11.50
First-ever reissue of this Los Angeles duo’s album. Features the club classic and UK Top 20 hit ‘You’re Gonna Get Next To Me’.
http://acerecords.co.uk/youre-gonna-get-next-to-me-the-complete-claridge-recordings

Follow Me Down: Vanguard's Lost Psychedelic Era 1966-1970
Psych / Garage
Various Artists (Vanguard)
CD £11.50
Some of the craziest and most mysterious green and purple paisley’d rock music to come out of the mid-to-late-60s, all discovered in Vanguard Records’ vaults.
http://acerecords.co.uk/follow-me-down-vanguards-lost-psychedelic-era-1966-1970

75 / Get Out'A My Way!
Funk
Houston Person
CD £11.50
Saxophonist Houston Person’s funky jazz sessions for Westbound Records, never before issued on CD in their entirety.
http://acerecords.co.uk/75--get-outa-my-way

Maggot Brain
Funk
Funkadelic
LP £16.21
A 180g heavy-duty gatefold version of this all-time Funkadelic classic.
http://acerecords.co.uk/maggot-brain-3

New releases from Ace records
http://www.acerecords.co.uk/browse/releases

By Mike in News Archives · November 24, 201410 yr

How To Sing Your Way Out Of Jail: The Charles L. Blakely Story
In 1969, a 20 year old Charles Lorenzo Blakely along with fellow members of the street gang he hung out with became involved in a shoot out with another rival Milwaukee street gang which resulted in the death of one of their rivals members.
Following the arrival of the Police, the shoot out developed into a high speed car chase with Charles being the driver of one of one of the evading vehicles. Charles’s vehicle was eventually brought to a halt when the Cops shot all four tyres out which caused the car to crash at 90mph into a department store called Schuster’s Warehouse. The other occupants of the vehicle managed to get away with the exception of Charles (who himself was packing a gun) being shot twice by the Cops in the back and shoulder as tried to vacate the vehicle as well as sporting a broken arm received in the crash.
Following his arrest and conviction he was sentenced to 30 years for ‘Attempted 1st Degree Murder’ (due to the shots being exchanged with the Police) and a consecutive 10 year sentence for ‘Eluding’ (evading) arrest in a high speed car chase. After a subsequent retrial Charles as the car driver was found not to have been directly involved in actually shooting at the Police, so the initial 30 year sentence was quashed. This left Charles to continue serving his other 10 year sentence at the high security Green Bay Reformatory in Allouez, Wisconsin.

At the time a common practice within the US Prison System was to encourage inmates who had shown some musical ability to channel their energy into performing as groups for their own and their inmate’s entertainment. Thus in 1970 Charles Blakely formed his first ensemble under the name of the Mansion, a name he chose after reading a book on English Stately Homes!

Mansion 45

The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Lewis Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, The Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in The Mansion being invited to perform for the city’s television station WBAY, where they recording two holiday programs.

The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that The Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for the local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of The Mansion were granted their release papers, as Prisoners were unable to sign contract agreements while still incarcerated at that time.

Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a further group, a gospel ensemble called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in late 1976, thus serving 7 years of his initial 10 year sentence.

The Final Chapter James Taylor Charles (Sonny) Bryant Charles L. Blakely Van Kimble

Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”. As the final Chapter in 1980 they recorded a solitary release for Milwaukee main man Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (NW800), a brief association that for several reasons was to eventually break down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Although recorded, further Final Chapter songs post to their new World release remained unissued, a situation soon to be rectified with their inclusion as part of a future Soul Junction project.

New World 45

Charles himself is still active in the music business and is currently working on a gospel project. Following his parole in 1976 Charles has left his notorious past behind him and has stayed on the right side of the law with not even as much as a speeding ticket to his name to this day.

The Mansion Group Photo taken in the Prison Chapel during 1972
The group line-up as follows:
Back row Left to Right: Michael Locke- Ronald Hardin- Morris Payne- Charles Blakely
Front Row Left To Right: Carl Anderson- John Crawford.

Words By: David Welding

Acknowledgements to: Charles L. Blakely for the colourful interview and photographs.

Label scans courtesy of Mark (Butch) Dobson.

The above article is an extended version from the sleeve notes of the forthcoming Soul Junction CD album “We Got A Sweet Thing Going On” catalogue number SJCD 5009. Which will feature both sides of ‘The Mansion’ 45.

artists

By Chalky in Articles · November 22, 201410 yr

Soul Source comps return with a bang, here's a 5 day chance to win a signed 45 and a ticket for the New Century 11th Anniversary Allnighter being held on the 29th of November 2014
The Comp can be found here and is open to all members
Two sets of prizes on offer - a 45 and a ticket - all you have to do is enter by midnight Wed 26th Nov 2014
Full event details are in the event guide and you can grab more info on the 45 via the release news

By Mike in Event News · November 21, 201410 yr

Jimmy Ruffin passed away on Monday 17 Nov 2014 in a Las Vegas hospital. He was 78.

His daughter Philicia Ruffin announced details of the sad news yesterday and also said...

"My family in its entirety is extremely upset over his death. He will truly be missed. We appreciate all of the love and prayers from our family, friends, his colleagues and his adoring fans. We will treasure the many fond and wonderful memories we all have of him"

http://youtu.be/PgHI_kZsxZk

Forum Thread

Reported in the forums and comments on this sad news can be read and posted here

Wikipedia

http://en.wikipedia.org/wiki/Jimmy_Ruffin

BBC Interview from Soul Source 1999

I'd been working for the Ford motor company around the time of the audition and I had a back injury that kept me off work. So I thought I'd use that year to see if I could make it as a singer. The first single, Don't Feel Sorry For Me, did okay. The second - As Long As There's L-O-V-E - was a smash in Detroit. Brokenhearted came out third and that was it. I didn't go back to the motor company, I can tell you that!

https://www.soul-source.co.uk/soul-articles/jimmy-ruffin-bbc-interviews-r275

By Mike in News Archives · November 20, 201410 yr

Another recent release from Kent that pushes the right buttons.

Satisfaction Guaranteed - Motown Guys 1961-69 is the result of another dip in the vaults from compilers Keith Hughes and Mick Patrick, this the 13th motown related Ace release is a noteable one, as its said its the first that will consist entirely of tracks never released before on either vinyl or CD

Release notes on the Kent website from Tony Rounce include the following words...
"The collection features just about all of the label’s most eminent male artists. The Temptations, Four Tops, Miracles, Shorty Long, Marvin Gaye, Jimmy Ruffin and Jr Walker all appear with sides of such quality that you’ll wonder why they were not issued. Add goodies from pioneer Motown acts the Quails, Gino Parks, Marv Johnson, the Contours and Freddie Gorman, sides from later signings the Fantastic Four, Chuck Jackson, Edwin Starr and Bobby Taylor, a killer from the Spinners, gems from underrated one-shots the Hit Pack, Headliners, Serenaders and Bruce Channel and vocal outings from Ivy Jo Hunter, Frank Wilson and Johnny Bristol — fellows who, during their Motown years, were better known for their writing and production skills — and you have a heck of a compilation"

Read more of the release notes at: http://acerecords.co.uk/satisfaction-guaranteed-motown-guys-1961-69#sthash.WVCetqR9.dpuf

Video trailer

http://youtu.be/y3zzMn4oFDo

Track Listing and clips via the Ace website

Side 1
01
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-1.mp3
Satisfaction Is Guaranteed - Bobby Taylor & The Vancouvers

02
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-2.mp3
Safety Zone - Marv Johnson

03
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-3.mp3
Tell Me How To Forget A True Love - Johnny Bristol

04
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-4.mp3
Show Me You Can Dance - The Hit Pack

05
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-5.mp3
The Sound Of Love - Edwin Starr

06
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-6.mp3
Hold On To Me (A Little Longer) - The Spinners

07
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-7.mp3
Baby You Got The Key - Smokey Robinson & The Miracles

08
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-8.mp3
Where Did You Go - Chuck Jackson

09
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-9.mp3
Together 'Til The End Of Time - Frank Wilson

10
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-10.mp3
Just Your Love - Ivy Jo

11
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-11.mp3
I Wanna Say I Love You - The Fantastic Four

12
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-12.mp3
(Loneliness Made Me Realize) It's You That I Need - Jimmy Ruffin

13
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-13.mp3
I'm Gonna Make It To The Top - Freddie Gorman

14
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-14.mp3
I Wanted To Cry - Bruce Channel

15
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-15.mp3
Mojo Hannah (studio version) - Marvin Gaye

16
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-16.mp3
Headin' North - Shorty Long

17
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-17.mp3
Only On The Weekend - The Headliners

18
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-18.mp3
He Who Picks A Rose (version 1) - The Temptations

19
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-19.mp3
Taking Candy From A Baby - Gino Parks

20
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-20.mp3
My Girl Annie - Jr Walker & The All Stars

21
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-21.mp3
Say, Say, Baby - The Serenaders

22
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-22.mp3
Claudia (alternate version) - The Contours

23
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-23.mp3
This Ole Heart - The Quails

24
http://acerecords.co.uk/docs/CDTOP_424/CDTOP_424-1-24.mp3
The Night We Called It A Day - Four Tops

By Mike in News Archives · November 19, 201410 yr

This weekend sees at long last the UK release of this James Brown bio film.
Released in the USA back in Aug 1st, you could question the wisdom of such a delay between USA and non-USA releases.
Anyway it's out this weekend and at first look it does seem to have a fairly wide release here in the uk,

Trailers and such

http://youtu.be/d9ELTgk6p54

imdb page
http://www.imdb.com/title/tt2473602/

as always if you go then let us know... just use the comments... below

By Mike in News Archives · November 18, 201410 yr

Just an update on the appearance of The Four Perfections at New Century Soul’s 11th Anniversary Allnighter on the 29th of his month. The Civic Hall in Radcliffe will witness history in the making, with the very first and probably only ever appearance of the group on a UK stage.

Event appearance

In preparation, the guys have been rehearsing their song-list in Philadelphia and have it nailed! Stone Foundation are currently on tour in Japan and are including the music for the show in their live gigs as we speak! An extra addition to the band is a baritone sax which will really put the icing on this particular musical cake!

I can reveal that amongst the songs the group will be singing is an outing they wrote in the early seventies called “If You And I Had Never Met”. Yep, the very same song released by Magic Night on Roulette Records. There may well be a couple of other musical surprises on the night too.

Commemorative 45

In order to mark this event for the collectors amongst us, Neil Rushton has commissioned a fully licensed, commemorative 45 of the groups Party Time classic “I’m Not Strong Enough” on a fantastic looking label designed to incorporate the original label’s look and the New Century Soul event. The New Century Soul commemorative 45s will only be available at this unique night and any profits will be donated to the group themselves.

So... Saturday Night, the 29th November 2014 looks like being a fantastic night, the guys are well up for it, the band are well up for it and we’re all well up for it! See you there....

Dave

By Dave Moore in Event News · November 18, 201410 yr

The 10th of November saw this compilation album titled ' East LA Soul - Rampart Records 1963-1971' released from Outta Sight records
The release speil goes like this...

In the late fifties, former child actor and restaurateur, Eddie Davis formed the now legendary Rampart Records to record and preserve the emerging musical talents breaking out of the Latino community in East L.A. In so doing he created the Eastside Sound and a string of hits by the likes of The Blendells, The Salas Brothers, El Chicano and Cannibal & The Headhunters. He also introduced the world to a young and talented Barry White! For the first time in the U.K. Outta Sight, bring together the soulful sides of the Rampart catalogue and tell the story behind the music and the artists that made it.

Track listing...

1. Tracy (All I Have Is You) - Barry White and The Atlantics
2. Come Swim With Me - Little Ray
3. Girl I Love You - Ron Holden
4. Gonna Be A Big Man - The Soul-Jers
5. It Hurts Me - Sammy Lee
6. I'm In Love With Your Daughter (Part 1) - Thee Enchantments
7. Takin' Care Of Business - Barry White | Sarah James & The Soul Babies
8. Come On Home - The Four Tempos
9. I Love Her So Much (It Hurts Me) - The Majestics
10. She Gives Me Love - The Romancers
11. This Is The Way I Feel - The Four Tempos
12. Tell Her I Love Her - The Romancers
13. Strange World - The Majestics
14. Chinese Checkers - The Mixtures
15. Land Of 1000 Dances - Cannibal & The Headhunters
16. Sloop Dance - The Atlantics
17. The Panther - The East Bay Soul Brass
18. Hey Joe, Where You Gonna Go? - Sammy Lee & The Summits
19. La La La La La - The Blendells
20. Evil Ways - The Village Callers
21. Poquito Soul - One G Plus 3
22. Crystal Blue Persuasion - The Invincibles
23. Brown And Beautiful - Two Tones Of Love
24. Listen To The Wise Man - East Side Kids
25. I Had A Strange Dream - The Four Tempos
26. One Like Mine - The Salas Bros

avialable now at the usual suspects

By Mike in News Archives · November 17, 201410 yr

Mr. Dynamite: The Rise of James Brown
A look at James Brown from his early years in South Carolina to his efforts during the Civil Rights movement

This documentary was released earlier this year and shown at a festival but it seems that its only just recently had its first major public showing via HBO On-Demand

Produced my Mick Jagger and billed as featuring 'rare and never-before-seen footage, interviews and photographs'. In addition to the just mentioned historical footage and archival interviews with Brown himself, the film also includes modern-day interviews with Mick Jagger, Rev. Al Sharpton, Maceo Parker, Clyde Stubblefield, Questlove, Melvin Parker, Chuck D, Alfred “Pee Wee” Ellis, Martha High, Bootsy Collins and Fred Wesley, among others.

HBO Promo follows below

http://youtu.be/cibeYcMVRAo

It is still available via the Hbo channel usa wise, but there's been no sign or word of any official similar UK or Europe showings yet?
The reviews of this film do seem so far to be mixed with some saying that it took non-critical approach.
So if you have seen it then am sure your take will be of interest to other members (you can pass on your take via the comments below...)

By Mike in News Archives · November 15, 201410 yr

A just out release from Kent records
Good All Over
Rare Soul from the Westbound Records Vaults 1969 -1975
CDSEWD 154

Good All Over: Rare Soul From The Westbound Records Vaults 1969 -1975

The sub title of this album really says what this cd is all about.. as in 'Rare Soul from the Westbound Records Vaults 1969 -1975'
The track listing and the 20+ sound clips below via the Ace website gives more indicators and the paragraph from Tony Rounce also tells you whats what

The compilation spans the first six years of the company’s 10-year existence and includes many hard-to-find releases, plus a generous number of tracks that have not been available on CD before. Among those featured are early signings the Magictones, Emanuel Lasky and the Detroit Emeralds. A.C. Tilmon of the Detroit Emeralds is also featured on two solo sides, plus a hitherto unreleased duet with Westbound’s first lady, Denise LaSalle. You will also hear from several artists who worked closely with Tilmon, such as the Motivations and Damon Shawn, along with the Fantastic Four, who were signed to Westbound for longer than any other act and still with the label when it closed for business in 1979.

Can view the full release notes and images via the link below
See more at: http://acerecords.co.uk/good-all-over-rare-soul-from-the-westbound-records-vaults-1969-1975

See more at: http://acerecords.co.uk/good-all-over-rare-soul-from-the-westbound-records-vaults-1969-1975

By Mike in News Archives · November 14, 201410 yr

A highlight post of Marcus Baram's recent biography of Gil Scott Heron.

Baram will chart Scott-Heron's musical odyssey, from Chicago to Tennessee to New York: a drug addict's twisted path to redemption and enduring fame. In Gil Scott-Heron: Pieces of a Man, Marcus Baram puts the complicated icon into full focus.

Published November 11th 2014 by St. Martin's Press (first published February 1st 2014)

"An addict and a recluse; a genius and a poet; a defacto founder of hip=hop who died in poverty, afraid to open his front door. Baram...traces Gil Scott-Heron's complicated path in the first full-on biographical work devoted to a career as turbulent as it was brilliant."–NOLA.com, The Times-Picayune

Formats
Amazon Price
Kindle Edition £9.49
Hardcover £17.04

kindle

By Mike in News Archives · November 14, 201410 yr

Here's a bring a smile to your face news announcement marking the first showing of our re-jigged 'releases" section...
Its the new upcoming 45 from Sharon Jones and the Dap-Kings, not only a new release but a xmas one at that

Sharon Jones & the Dap-Kings
"Just Another Christmas Song" b/w "Big Bulbs" (featuring Saun & Starr)

Can hear a short clip of "Just Another Christmas Song" track here ...

http://s3.amazonaws.com/Daptone/Previews/025%20INSTRUMENTALS/DAP-1086%20A-side%20clip.mp3

and the flip "Big Bulbs" (featuring Saun & Starr) right here
http://s3.amazonaws.com/Daptone/Previews/025%20INSTRUMENTALS/DAP-1086%20B-side%20clip.mp3

Daptone blurb follows here...

Though the postmodern lyrical tilt of this soulful romp into yuletide carols by Daptone heavyweights won’t be lost on our more discerning listener, the sincerity of the band’s delivery is unquestionably without irony. Somehow Jones is able to acknowledge the clichéd din of shopping mall chrismas Muzac, and at the same time transcend it to tug gently upon that lone innocent heartstring which still clings to the magic of St. Nick’s Snowy Festivities. Perhaps it is “just another christmas song,” but with a groove like this it’s hard to say we don’t need it.

On the flip, Saundra Williams (of rising Saun & Starr fame) has penned a playful little diddy. She shoulders up with her old friends Sharon and Starr to knock it out Andrews Sister style in an impromptu holiday session at the House of Soul. It’s a great holiday record for the whole family! (Saundra has sworn up and down repeatedly that any entendre in Big Bulbs was completely unintended.)

Available to pre-order via this page

https://daptonerecords.com/shop/Music/45's?product_id=386

By Mike in News Archives · November 11, 201410 yr

Date Of Induction : 01 November 2014 Category : Post Production

The name Richard Popcorn Wylie has always been a legendary one in Northern Soul history , to see his name in the credits on a 45 is likely to quicken the heartbeat, knowing that the record you are about to hear will usually be very special, like a guarantee of quality. As older record collectors will testify, when young and still learning, if you saw the name R. Wylie on a 45 you bought it blind! You knew you wouldn’t be disappointed!

Richard Wayne Wylie was born on 6th June 1939 in Detroit, his family was very musical and he was taught piano by his mother. By the time he was at Northwest High School he had formed his own band Popcorn And The Mohawks, with Popcorn appearing on stage in full Mohawk Indian head dress. After gaining a following around the teenage clubs and school hops in the Motor City, they recorded a 45 for Johnnie Mae Matthews's Northern label Popcorn And His Mohawks - "Pretty Girl b/w You’re The One" — Northern 4732, but when it was released in 1960 it attracted little local interest. (1)

Released from their contract by Johnnie Mae, Popcorn and the rest of his group continued to play the clubs and during a set at the famous Twenty Grand Club, were spotted by Motown engineer Bob Bateman. They were subsequently signed to Berry Gordy’s Motown company and saw a 45 release in each of the next three years from 1960 onwards. The first of this trio, Popcorn Wylie - "Custers Last Man b/w Shimmy Gully” — Motown 1002, delivered disappointing sales, which isn’t surprising when you listen to it. It’s a strange tale of a soldier of the 7th Cavalry who appears to have been digging a hole since the Battle Of The Little Big Horn and who quotes song titles! The second outing fared no better as Gordy’s company raided its vaults for the song that had been their first real smash when they released it on Barrett Strong. Popcorn and The Mohawks — “Money (That’s What I Want) b/w I’ll Still Be Around” - Motown 1009, however bears little resemblance to Mr Strong’s outing with Popcorn battering the keyboards to create a raucus, boogie woogie styled rocker! Mr Wylie had actually played the piano on Strong’s original. The next year’s offering was the band’s last 45 on the logo for this stint at Motown, although Popcorn would return a decade later for a rerun with Gordy’s empire. Popcorn and The Mohawks — “Real Good Lovin’ b/w Have I The Right” — Motown 1019, was another up-tempo rock n rhythm performance that highlights the musicianship of the performers involved but once again didn’t connect with the record buying public. In addition to recording his own band Popcorn would also hit the road playing behind Gordy’s newly emerging soul stars, many of whose hits he had also played on in the studio, including The Miracles — Shop Around, The Marvelettes — Please Mr Postman and the fantastic outing by Mary Wells — Bye Bye Baby.

After falling out with Berry Gordy, he left Motown in 1962 ,and was signed to Epic, a label on which he released four singles including a Goffin and King song, "Brand New Man", (which was issued in UK by Columbia). None of these records were successful, so Popcorn decided to stop performing and concentrate on writing and producing records. His first production was for a young female singer that would gain recognition from soul fans with her later Topper recordings Pricilla Page- My Letter b/w Dreaming - Rose G 500, a 45 that would albeit strangely, also see a release on the Alcor imprint with a different publishing credit, which was based in LA.

The list of Popcorn’s mid sixties independent song-writing and production works, in and around the Detroit recording scene, reads like a who’s who of the city’s copious talents of the era, with names including, Theresa Lindsay, The Volumes, Yvonne Vernee, contributing to his impressively growing soul cv. Meanwhile, over at 3246 West Davison, Ed Wingate who had been recording his earlier releases in New York had decided to relocate his operation within his home town of Detroit and had purchased an old electrical store, employed legendary engineer Bob d’Ã“rleans to refurbished it as a recording studio, thereby establishing Golden World Records. Wingate was on the hunt for local talent to utilise the new facility and offered Popcorn, along with a number of other emerging musical luminaries, an opportunity to write, perform, record and produce. (2) Popcorn would subsequently collaborate on a series of 45s with the likes of Ronnie Savoy, Joanne Bratton, Freddie Gorman and Sonny Sanders amongst others and although he would contribute to many of The Reflections releases on the label would also be involved in such classics as the lilting, Juanita Williams — “You Knew What You Was Getting” — Golden World 18, the crash, bang, wollop and pounding, Carl Carlton — “Nothing No Sweeter Than Love” — Golden World 23 and the smoother but equally uptempo, The Adorables — Oh Boy — Golden World — 25. Popcorn would see his name appear on over 20 sides for Ed Wingate’s iconic label but it was a chance meeting at Magic City Studios at 8916 Grand River, with another young up and coming song-writer and producer that would inextricably link the two forever in the eyes of soul fans. Enter into our story a certain Mr Tony Hester.

When Popcorn and Tony Hestor became song-writing partners they proceeded to carve a niche into the psyche of Northern soul fans that would rival and indeed surpass many others. Their names would become as famed as the Mirwood team of Carmichael/Smith/Relf, the Brunwick soul royalty of Davis/Sims/Sanders and for some die hard Detroit soul fans the quality of their Northern Soul output would rival that of Motown Giants: Holland - Dozier - Holland. Just a cursory glance of their collaborations throws up classic after classic. Although both would continue to write solo and even in conjunction with others, it was the magical names of Wylie and Hester that became joined at the musical hip and encouraged soul fans to buy records bearing their name, whether they had already heard them or not. In the mid - 60's a group that had previously topped the US Billboard charts had seen their career stall somewhat as the musical styles developed. The doo wop, dreamy ballads they’d enjoyed such success with had now become the fare of yesteryear and they needed a shot in the arm so to speak.

The Platters line-up had gone through a number of major changes over the years and in 1966 when they were signed to the Musicor label and produced by Luther Dixon comprised, David Lynch, Herb Reed, Sonny Turner, Nate Nelson and Sandra Dawn, It was his quintet that would see their balladeer repertoire updated, initially by Mr Dixon and then by Popcorn. The team of Dixon-Wylie-Hester would, between them, deliver a fistful of 45s that became sought after by soul collectors starting with, The Platters — ‘With This Ring b/w If I Had A Love’ — Musicor 1229, which it has been rumoured was a collaboration between Popcorn, Tony Hester and Luther Dixon’s wife Inez Foxx. It’s a fantastic song, built on a simple, romantic message, on which Sonny Turner solidifies his lead vocal role and the group’s harmonies are about as tight as they come.

The second outing to come under the scrutiny of vinyl hungry soul fans was, The Platters - “Washed Ashore (On A Lonely Island In The Sea) b/w What Name Shall I Give You My Love” — Musicor 1251 which saw Popcorn take over the production reins completely on a song he and Tony Hestor had written. With a Sonny Sanders arrangement, Popcorn elicited one of the all time great performances from the group that once again stars Sonny Turner up front and centre but owes so much to the people around him. From its teasing piano intro, through the group’s angelic, ‘Ooooo’s and Aaaaaahs’, past the mid song break so favoured by Northern soul dancers, right to Sonny’s fading “Gone....Gone...Gone”, it’s a great example of how Popcorn’s talents could leave you wanting to play his songs again...and again....and again. The final production we highlight here from the group, The Platters — “Sweet Sweet Lovin’ b/w Sonata” — Musicor 1275, once again saw Popcorn and Sonny Sanders furnish the tools for the group to deliver a fantastic up-tempo, raucus dance record that became an instant classic with UK’s ardent soul fans and still gets nods of approval today. Popcorn’s involvement with The Platters left us with a fantastic set of songs that have that magical element that turns good records into great records... they make it all sounds so effortless. Musicor issued a couple of albums on The Platters featuring their collaborations with Dixon-Wylie-Hestor-Sanders and I’d wager their “Going Back To Detroit” — Musicor LP #2125 sits proudly on most collectors shelves.

By 1967, Mr Wylie was in full flow. Constantly in demand his writing and productions skills would grace dozens of record labels and his name became synonymous with outstanding soul records, not only from his native Detroit but nationwide. One artist that benefitted from an injection of Mr Wylie’s ‘know how’ was Jamo Thomas. Popcorn and his some-time song-writing partner Herman Kelley had written a song themed on the en vogue espionage films and TV series popular at the time. Recorded by Chicago based singer Luther Ingram, it hit the shops in January 1966 as, Luther Ingram and The G-Men — “I Spy For The FBI b/w Foxy Devil” — Smash 2019, a great atmospheric dancer that unfortunately didn’t quite cut the mustard in terms of chart action. When fellow Chicago based singer Jamo Thomas recorded it and released it as Jamo Thomas And His Party Brother Orchestra — “I Spy For The FBI b/w Snake Hip Mama” — Thomas 303 (3), in April a few months later, it managed to slide unobtrusively into the lower reaches of The Billboard Hot 100. Picked up by Polydor for a UK release it made The Top 50 and became a club classic from then on. Mr Wylie had a UK Pop hit! On the back of that success, Popcorn Wylie also wrote Jamo Thomas’ follow up single, Jamo Thomas — Arrest Me b/w Jamo’s Soul — Thomas 304 and although these 45s were recorded in Chicago by legendary producers Monk Higgins and Boris Gardner, the pumping, driving relentless beat of Detroit’s ‘sound’ is ever present. Luther Ingram would of course become an icon on the Northern soul club circuit with yet another Wylie penned song that would reach classic status, Luther Ingram — “If It’s All The Same To You Babe b/w Exus Trek” — HIB 698 which saw both the vocal and the instrumental sides grace the turntables. Penned by Popcorn and recorded at Golden World Studios in a moonlighting session by The Funk Brothers, Neil Rushton, after a conversation with Robert Bateman says he (Bateman), took the tapes to Mercury studios in New York and overdubbed strings to create the 'orchestra' feel. Bateman says he sold about 5,000 copies, before achieving a distribution deal from Jerry Wexler at Atlantic Records. He was trying to capture a similar sound to The Four Tops and in doing so, produced a stone classic of the Northern Soul scene with a record that still fills dance-floors even today.

Popcorn was by now working alongside many of Detroit’s artists, writers and producers whose names at the time remained hidden from their own homeland’s public but who’s same names generated intense interest over the ocean in the darkened, all-night soul clubs of UK. Names like Solid Hitbound, Don Davis, Palmer Records, Dale Warren, Groovesville, Mike Terry, Groove City, LeBaron Taylor, Barney ‘Duke’ Browner etc along with a whole slew of others would reverberate in record bars around the country as Detroit’s golden era of soul leaked its secrets.

One such luminary whose labels would bear Popcorn’s name was Ollie McLaughlin an Inkster based DJ who had started his own labels and would eventually achieve a mountain of success producing Barbara Lewis and Deon Jackson. (4) In addition to Popcorn's own solitary outing on Ollie’s Karen label, Richard ‘Popcorn’ Wylie — “Rosemary’s Baby b/w Instrumental” — Karen 1542, an eerily atmospheric dancer based on the movie of the same name, he was also responsible for a number of other 45s on McLaughlin's logos, including 45s by Jimmy Clark. The fantastic but often overlooked Jimmy ‘Soul’ Clark — “Tell Her b/w Hold Your Horses” — Moira 104 is a masterpiece of late 60s Detroit flavoured dance music whilst the slightly earlier release, Jimmy Soul Clark — “If I Only Knew Then b/w Do It Right Now” — Karen 1539 puts Mr Clark’s Popcorn penned outings on ‘two for two’, in terms of quality. Songs by Popcorn would also be recorded and released on Ollie’s labels by The Fabulous Counts, The Excels and Belita Woods.

By early 1967 Popcorn had moved into the realms of record label ownership. Operating as an independent from his basement at 3044 Taylor and with his own songs now registered with his own publishing company A La King Music, (named after his mother Althea King), it would seem a prudent next move. He therefore established two labels, Pameline, (which he named after his three daughters) and Soulhawk. When these two logos came into existence it probably didn’t cause so much as a musical ripple in DTown but for soul-fans a few years later, it would be an event of thunderclap proportions. There followed over the next couple of years, a series of records released that, when viewed through the eyes and ears of devoted soul fans, equals any other individuals’ Northern soulful legacy in terms of quality. The early and mid seventies Northern soul DJs playlists were peppered with A La King songs performed by a plethora of differently styled artists.

It’s impossible to highlight all of the records by Popcorn that made it to UK dance-floors but some of the highlights are, The Detroit Executives — ‘Cool Off b/w Sho Nuff Hot Pants’ — Pameline 2010, a real quality production built around a song based on teaching a girl the latest dance craze after which the song is titled. This was also the backing track to the release on Sammy Kaplans label, The Mighty Lovers — “The Mighty Lover b/w Soul Blues” — BooGaLoo 468 which itself was released as The Ideals with “Dancing In The USA” on the flip side BooGaLoo # 108. Nestled on the flip of the uptempo funky A side of, The Innocent Bystanders — “Crime Dosent Pay b/w Frantic Escape” — Pameline 302, sits a magnificent vibe laden, sax burping, piano tinkling almighty slab of music that is often held up as one of our man’s finest moments. It’s a veritable musical juggernaut! It must have been some studio experience as Popcorn counted the musicians in and then proceeded to batter his way through the animated Dave Hamilton produced vibes on his piano, until Mike Terry’s growling almost threatening, baritone sax came in support! There’s simply nowhere to hide from this outing, feet start tapping immediately as James Jamerson's Precision Fender and Robert Finch's drum lay down the metronome like bottom end, then whoooosh, you’re gone, dancefloor demands your presence, best to just surrender and get down to it!

Although Popcorn is also associated with Jimmy Clark via his releases with Ollie McLaughlin, it’s really the Soulhawk outings that highlight just what a powerhouse of a team Popcorn and Tony Hester’s songs and Jimmy’s vocals were when combined. Add to this combo a Mike Terry arrangement, a bunch of Motown musicians quietly going about their business without Berry Gordy breathing down their necks and hey presto... a pair of classics in the making! Jimmy Clark — “Sweet Darlin’ b/w (Somebody) Stop That Girl” — Soulhawk 001 was the initial release for Popcorn’s new enterprise and he came out of the starting blocks with all musical guns blazing!

With The Vibrations and The New Holidays, Popcorn had vehicles to push his boundaries and both groups would release quality 45s that would sit somewhat dormant for a number of years until revived by soul fans across the Atlantic and records like the New Holidays — "Maybe So Maybe No b/w If I Only Knew" — Soulhawk 1008 are seeing their time in the spotlight at last.

No tribute to Popcorn could ever be considered complete without at least a tip of the hat to a number of 45s that are intrinsically linked to him. The 45, Larry Wright — “Sweet Sweet Kisses b/w It’s Okay With Me” — A Go Go 541 with its driving beat, handclaps, deep deep bass subtle sax interludes, guitar break and drum fills galore is, vintage mid sixties uptempo Detroit dance music and the flip is a gorgeous mid tempo affair, the evergreen, Stanley Mitchell — “Get It Baby b/w Quit Twisting My Arm” — Dynamo 111 sounds like it could easily have been recorded at the same session as The Innocent Bystanders.

One of Popcorn and Tony Hester's most talked about and currently in-demand sides, is Margaret Little — Love Finds A Way b/w I Need Some Loving - Genebro . Quite who Ms Little was, had been the subject of some conjecture or indeed how she came to record for Popcorn, but that UK erstwhile soul detective Andy Rix finally located her and the detailed story of the daughter of Fortune recording group The Four Kings and the 'Gene' of Genebro Records can be found by using the soul source search facility. I guess the actual 45 in question is something of a 'marmite' outing but both sides are very good musically, with "Love Finds A Way" being a perfect foil for a Northern soul dance-floor in particular, despite Margaret's less than great vocals. The backing track is unbelievably good, bearing all the hallmarks of superb Detroit musicianship. The song is penned by Tony Hester and Popcorn and arranged by Mike Terry so it’s really only to be expected.

In the mid seventies with the Northern Soul scene sustaining its momentum, the search for fresh, different and rare records became a huge money spinner for record dealers and collectors alike. Many people began to search the shops and warehouses across the USA and once the record stores were exhausted of stock, the next move was to contact the artists, producers and musicans themselves, to see what they had to offer. One such UK record dealer was John Anderson, the operator of Soul Bowl Records in Kings Lynn, Norfolk. He also had a record label Grapevine Records in partnership with Wigan Casino's greatest DJ Richard Searling. He had become close to Popcorn, and with Popcorn being very prolific in the studios, for every song that made it to wax, many more were left on master tape, forgotten about or had even been discarded .

Mr Anderson obtained some outstanding tracks from the vaults off Popcorn by various artists lots of which were first aired at Wigan Casino via Richard Searling on acetates or dubbed from master tapes. One that particularly resonated at the time was by Betty Boo, the ex member of the Golden World femme group, The Adorables with, “Say It Isn’t So” which gained a UK release, eventually appearing on John Anderson’s RCA backed Grapevine logo.

Of course the popularity of Popcorn’s work meant that UK collectors were beating a path to his door and after one such trip by UK DJs and collectors, Richard Gilbert (Gilly), Guy Hennigan and Chris King more unknown and unissued masters were unearthed by Popcorn and different versions of existing songs sat side by side with completely new songs being heard in UK for the first time and on the back of this visit came a number of performances in UK by the man himself starting with a night at the Top Of The World Allnighter where Popcorn performed a selection of his songs both that he'd recorded himself and written for other acts.

Four years later Popcorn was back, John Buck putting together two live shows, one of which took place at the old Carousel building in Manchester that had housed allnighters in the seventies. John recalls picking Popcorn up in a gold coloured Rolls Royce and that Popcorn had a great time seeing the tourist sites of London as well as being able to hook up with Edwin Starr, then a UK resident and who hadn’t seen Popcorn since those heady Detroit days. Popcorn would return to UK shores in 2000 and appear at the Motown and Northern Soul Great Yarmouth Weekender alongside a number of other iconic soulsters whose stars shone brighter in UK than at home.

When Motown left Detroit the writing team of Holland Dozier Holland had already severed their ties to the company and established their own companies in the city. This led to Popcorn’s involvement on the writing and production side on a number of the seventies anthems including, Laura Lee — “I Need It Just As Bad As You b/w If I’m Good Enough To Love, I’m Good Enough To Marry” — Invictus 1264 and what is arguably the most popular post Motown 45 by the HDH team, Eloise Laws — Love Factory b/w Stay With Me - Music Merchant 1013. Strangly enough Popcorn would enjoy his biggest hit on a subsidiary label owned by the Giant Motown company that he’d left a decade earlier when, in 1971 he scored with, Popcorn Wylie — “Funky Rubber Band b/w Instrumental” — Soul 35087 which was just after he’d co written with Edwin both sides of, Edwin Starr — “Time b/w Running Back And Forth” — Gordy 7097.

Popcorn’s outings would continue to enthrall his fans and when surrounded by musicians like Dennis Coffey, James Jamerson, McKinley Jackson, Paul Riser, Gene Page etc it’s no surprise that the comment “He never made a bad ‘un”, is usually the departing comment when in conversation about his work. But there, right at the core of his musical legacy is his raw talent, an ability to create stirring music. Music that tuned a whole generation of soul music fans into the delights of Detroit soul outside of Motown. And he did that right up to his work on his Extrasensory Perception album (ABC # 834 ) . The last years of Richard Popcorn Wylie's life were creatively pretty quiet, but he fully deserved a rest after many years of producing ,writing and singing stunning Soul music .Many people from the Soul scene kept in touch with Popcorn and never let him forget how grateful we are for his huge contribution to our music. Popcorn sadly passed away September 7th 2008 but thankfully he had experienced the euphoria of realising his life’s work was treasured and revered by fans all over the world. And it surely is. And that’s why Richard Wayne Wylie aka ‘Popcorn’ is an inaugural Inductee to our Northern Soul Hall Of Fame.

Eddie Hubbard & Dave Moore 01 November 2014

Notes and References:
Johnnie Mae Mathews was instrumental in the early careers of a number of Detroit based acts including The Temptations. Known primarily for her mid 60s Big Hit logo. Her children would continue her musical legacy as Black Nasty (the group who recorded ‘Cut Your Motor Off’) Ed Wingate’s Golden World Studios would prove fertile ground for a number of aspiring songwriters and budding producers as it grew to rival Motown’s A&R. George Clinton, Mike Terry, Sidney Barnes, The Hamilton brothers etc would all interact there, which led to lifelong friendships and professional relationships being formed that would heavily influence the city’s soul output over the next decade or so. The Thomas label was owned by Eddie Thomas, the manager of both The Impressions and Curtis Mayfield. It’s his name that forms he ‘tom’ in Curtom Records, a label he and Curtis Mayfield established together. Ollie McLaughlin named his labels after his wife (Ruth) and daughters, Karen, Carla and Moira. He also had a son Ira who is also record producer. Acknowledgements

1 Grateful acknowledgement to “Groovesville USA” Book by Keith Rylatt: www.groovesvilleusa.com

2 Grateful acknowledgement to the following for their assistance: Richard Gilbert, Rob Moss, Mark Speakman, Dave Thorley, Karl White and www.soulfuldetroit.com

Discography: Listed below is a sample of Popcorn's work covering all aspects of his involvement in music be it as a performer, a songwriter, a producer or label owner, often wearing more than one hat on many the 45s. It's by no means complete or even comprehensive but gives a flavour of his legacy. The youtube clips at the bottom highlight the quality of his contribution.

Popcorn and The Mowhawks - Custers Last Man b/w Shimmy Gully - Motown 1002
Theresa Lindsey - Gotta Find A Way b/w Wonderful One - Correctone 5840
Yvonne Vernee - Does He Love Me Anymore b/w So Much In Love - Correctone 3178
The Adorables - OOH, Boy! b/w Devil In His Eyes - Golden World GW 75
Barbara Mercer - Nobody Loves You Like Me b/w Doin’ Things Together With Me - Golden World GW 28
Little Carl Carlton - Nothing No Sweeter Than Love b/w Love True Love - Golden World GW 23
Juanita Williams - You Knew What You Were Gettin ' b/w Baby Boy - Golden World GW 18
Jamo Thomas - I Spy (For The FBI) b/w Snake Hip Mama - Thomas 303
The Platters - With This Ring b/w If I Had A Love - Musicor 1229
The Detroit Executives - Cool Off b/w Sho -nuff Hot Pants - Pameline 2010
Luther Ingram - Exus Trek b/w If It's All The Same To You Babe - Hib 698
The Mighty Lovers - The Mighty Lover b/w Soul Blues - Boog Ga Loo 468
Jimmy (Soul) Clark — (Come On And Be My) Sweet Darlin b/w Stop That Girl - Soulhawk 001
New Holidays - My Baby Ain't No Plaything b/w Maybe So, Maybe No - Westbound 157
Innocent Bystanders - Frantic Escape b/w Crime (Dosen't Pay) - Pameline 302 / Atlantic 2766
The Peoples Choice - Savin' My Lovin' For You b/w Easy To Be True - Palmer 5020
The Four Voices - Your Love Is Getting Stronger b/w With A Lonely Heart - Voice 1112
Larry Wright - Sweet Sweet Kisses b/w It's Okay With Me - A Go Go 345
Richard Popcorn Wylie - Rosemary, What Happened b/w Instrumental - Karen 1542
Sam Ward - Sister Lee b/w Stone Broke - Groove City 205
Stanley Mitchell - Get It Baby b/w Quit Twistin' My Arm - Dynamo 111
Margaret Little - Love Finds A Way b/w I Need Some Loving - Genebro 230
Laura Lee - I Need It Just As Bad As You b/w If I'm Good Enough To Love - Invictus 1264
Edwin Starr - Running Back And Forth b/w Time - Gordy 7097
Popcorn Wylie - Extrasensory Perception LP - ABC 834

hall of fame

By Dave Moore in Articles · November 11, 201410 yr

Induction Date : 01 November 2014 Category : Outstanding Contribution

A living legend to some, where do you start to map out the life and achievements of someone that has been at the forefront of the Northern Soul scene for so long, surely he has soul music running through his veins? Promoter, DJ, Record Dealer and Head of Publishing at Kent/ Ace Records, it’s because of his unending quest for the sublime music that we cherish that his name deserves to be one of the inaugural inductees into the Northern Soul Hall Of Fame.

Born in Sheffield in 1952, Ady started on his journey into the world of Rare and Northern Soul in 1967 at the Frollickin' Kneecap in Market Harborough, a regular soul night, his first all-nighter would be at the deserted Kelmarsh railway station in 1969 which had been converted into a pub with dancehall, in the middle of the Northants countryside, half a mile away from the next building. He continued as an enthusiastic punter for the next 5 years buying vinyl as and when he could and, after university he snagged a job on a barrow on Rupert St market in Soho that sold 1000s of old 45s, before becoming a full time record dealer in 1974 making trips to the States twice a year.

Ady, with his good friend Randy Cozens, formed the 6Ts Rhythm and Soul Society in August of 1979, because Randy wanted somewhere to listen to great music. The first event being held in a function room called Henri's at the Bedford Head pub in Maiden Lane, Covent Garden in London's West End. After a couple of successful months there they had a solid following and with the help of one of the first club mailing lists they sent out slightly amusing newsletters before each event and got the crowd to follow them to their next venue. This was a pub in West Hampstead called the Railway that had an upstairs function room called the Starlight Room (they also had a downstairs one called the Moonlight). The Starlight had originally been a mod club in the 60s, called the Klooks Kleek (Zoot Money's Big Roll Band did a very good live LP from there, Zoot/ Live at Klook’s Kleek Repertoire REP 5034), while the Moonlight was a pioneering London Northern Soul club that Ady had gone to in the early 70s where Mick Smith and David Burton played all the current Northern monsters to about 30 hardcore punters. The 6Ts was up in the Starlight Room and it went from strength to strength over the next year.

The DJs in this period were Randy, Mick Smith, Tony Rounce, Tony Ellis, Terry Davis, Ian Clark and Pete Widdison, you may notice that Ady wasn’t listed. The music was original mod soul classics and similarly sounding classy dance records. However, they finally got kicked out of there, after one particularly wild evening when, amongst other mayhem, Pete was seen swinging off the rafters by the club's management.

They then moved around London a bit, holding one-off dances at the Notre Dame Hall (Leicester Square), the Horseshoe by the Dominion Theatre (Tottenham Court Road), the 101 Club (Clapham), before getting their first date at The 100 Club. The first nights were more your Friday night beer laden parties and more and more R&B was getting played. However, Randy had hankered after getting a night going at his beloved Last Chance Saloon mod soul club from the 60s and as all their weekends were booked they went for a Friday all-nighter from 3am to 10am, where Ady started his Djing career, and probably about the same time he was nicknamed Harboro Horace by Randy, a nickname that he used on the sleeve notes of the compilation LP’s he had a hand in.

So when the 100 Club management started a regular Friday club night rather than leave the place entirely they decided to try a Saturday all-nighter after the jazz had finished. This started at some time in 1981 and has been going on ever since. In fact, this year the 6T’s Rhythm and Soul Club’s 35th Anniversary was celebrated! The longest running all-nighter venue in the world. To celebrate the 6Ts brand and ethos Ady, beginning on the 5th Anniversary Allnighter, has issued a celebratory 45 on each subsequent anniversary and, in a kind of ironic way, many of these 100 Club Annivesary discs have become sought after records in their own right.

6Ts now has a reputation for being at the forefront of Northern Soul music, the music policy is the best of Northern Soul rarities, recent discoveries, unissued acetates and master tapes, a bit of modern, the odd R&B track and a smattering of oldies when needed/demanded. Ady, not wanting to rest on his laurels, decided to try and run a weekender for the same reason that Randy and he had started the 6Ts; i.e. no one else was doing it. A booking agency called TAC from Southend had run three or four good Northern/Motown weekenders in Great Yarmouth, which he had attended as a DJ and punter. He’d helped them with their bookings and sorted out the choice of songs for Chuck Jackson and Ray Pollard, amongst others. The weekenders there, although great, only lasted a couple of years, the profit margin was low and attendances were only average, though enthusiastic.

As a student he used to visit a Hi-De-Hi style holiday camp in Cleethorpes where his mate's uncle was the comedian. He vaguely remembered it as having a great old-fashioned 60s dancefloor and revisited it to find it a perfect contender for a weekender. After a year or two of persuasion, he eventually talked them in to giving them a chance and the first event got under way. The acts booked were Mary Love, Tony Middleton and Willie Tee and they got an impressive line-up of the best Northern and Modern DJs operating at that time. However bookings were slow and with a month to go they were facing bankruptcy, they had to make a decision whether to pull the event or keep their fingers crossed. Of course it didn't run smoothly even with late bookings and “walk on” attendances pushing up the numbers. Willie Tee pulled out the day before the event, so everyone was given a £5 refund on arrival.

Despite that, it was such a great weekend that they were sure they'd have no trouble filling the place once word got out. So the next one was booked for April 1994, 6 months after the first one. The line-up was Barbara Lewis, Lou Courtney and Betty Lavette, stunning in anyone's book, but the event’s finances still needed to be subsidized by Ady. Not to be put off, he realized that every 6 months was too much and decided to leave it until later in 1995 and at this point the management came to the rescue by saying why didn't they have it in June before the school summer holidays. Because of the move the crowds were appreciably bigger and have grown every year since. The event is now a sell-out, months in advance, testament to his dedication as a promoter.

Since then there have been many memorable weekenders where people have said they've been better than the previous one. Artists have included Doris Troy, Tommy Hunt, Maxine Brown, Al Wilson, Bobby Hutton, Little Ann, Hoagy Lands, Sidney Barnes, The Velvelettes, Dennis Coffey, Willie Tee, Dean Parrish, The Diplomats (The Skull Snaps), the Mirwood Revue, Carl Carlton, Spencer Wiggins, Melvin Davis, Mary Love, Tobi Lark, Bettye Swann, Darrow Fletcher and recently the Weekender hosted the fabulous husband and wife team of Edna Wright (Sandy Wynns) and Greg Perry. In addition to his promotions and DJ contributions in UK, 'Horace' has also gone on to DJ in Italy, Germany and Spain and has even occasionally lectured on he subject of Rare Northern Soul.

Way back in 1982 Ady visited Ted Carroll’s Rock On record stall on Golborne Road in West London, Ted later took a stall on the newly founded Soho market near Chinatown, not far from where Ady had his barrow, and he used to buy the 60s soul singles that the old vinyl merchant had plundered from warehouses and old shop stock on his travels. This interest in a music that was not particularly cherished in London at that time led to Ted asking Ady to stick together 15 singles from Los Angeles’ Kent and Modern labels and come up with an LP that would satisfy all those young mods who pestered Ted for some “soul like what all the original mods used to listen to”. Pinching the title from a popular Popcorn single of the time by Moses David on Tollie, Ady came up with “For Dancers Only” Kent 001, a selection of Northern Soul stompers, girl group floaters, male vocal harmonies and low down Rhythm & Blues, this was the start of Kent/ Ace records.

He was then asked to rattle off a follow-up, when his first attempt flew out of the shops, that was the imaginatively named “For Dancers Also” Kent 002, the discerning public were soon hooked. A deep soul LP came next, followed by a collection of 60s soul classics, an LP of pure Northern Soul dancers, 70s soul sounds and many more sides of soul music’s polyhedron.

Thirty plus years on, he is still coming up with black music compilations from the 60s and 70s that soul fans continue to support and enjoy. His eventually getting access to all the major record labels has given us, the Northern/ Rare soul fraternity music from the Okeh, Chess, RCA, Atlantic and even the mighty Tamla Motown vaults. This has meant the supply of sounds from this golden era is virtually limitless. Hugely influential independent labels like Stax, Goldwax, Fame, Westbound, Carnival, Mirwood, King, Scepter/Wand and others have learned to trust his integrity and have thrown open their doors saying “go ahead tell it like it was”. Smaller Independent labels such as Sounds Of Memphis, Dave Hamilton’s Detroit productions and GWP have come up with sizeable vaults that have delivered superb soul music that had frequently been unheard since its creation.

Then there are the series like Mod Jazz, Modern Masterpieces, Northern’s Classiest, New Breed R&B et al that just keep on coming. It has allowed the public access to solo CDs from acts as big as the Impressions, James Carr, Candi Staton and the Staples Singers all the way through runaway successes such as Doris Duke, Sam Dees, Spencer Wiggins, who were previously only known by the cognoscenti, on to O.C. Tolbert, Jackie Day, the Minits and Vernon Garrett who weren’t that well known on their own blocks.

The continued penchant for vinyl has left the rare soul lover with a pile of LPs and a growing 45s discography that would be enough to fill a DJs play box, what a great set would be played from it too, especially with the legendary Pied Piper productions recently added. With 300 plus CD compilations to date, the influence of Ady’s discoveries for Kent/ Ace records is seen all over the planet with mod and soul clubs cropping up in far flung places eager to enjoy the music of the 60’s and 70’s that have been rescued from obscurity. I guess it’s a testament to Harboro’ Horaces standing within the soul fraternity in that of all the ‘non musical’ people that could have topped the list of inaugural inductees Mr Croasdell was up front and centre by a country mile.

David Hogenson & Dave Moore 01 Nov2014

Notes and references
1. Acknowledgement to Dave Rimmer’s http://www.soulfulkindamusic.net for some background information.
2. Acknowledgement to the official 6T’s website, http://www.6ts.info for information.
3. Acknowledgement to realmodworld.com for excerpts from an interview with Ady.
4. Acknowledgement to acerecords.co.uk for background information

Discography:
Horace’s Records

001 - Melba Moore - The Magic Touch b/w Tommy Hunt - The Pretty Part Of You
002 - Roosevelt Grier - In My Tenement b/w Lavern Baker - Wrapped, Tied And Tangled
003 - Hector Rivera - Chance For Romance b/w Playing It Cool
004 - Eddie Daye & The 4 Bars - Guess Who Loves You b/w Jimmy Armstrong - Mystery
005 - Ray Pollard - This Time b/w The Cairos - Stop Overlooking Me
006 - Little Johnny Hamilton - Oh How I Love You b/w Entertainers IV - Getting Back Into Circulation
007 - Carla Thomas - I'll Never Stop Loving You b/w Barbara Lewis - The Stars
Kent/ Ace Records

https://www.youtube.com/watch?v=T4zvtS4j7Ts

hall of fame

By Dave Moore in Articles · November 11, 201410 yr

Date Of Induction: 01 November 2014 Category : Mixed Group

The Sapphires were a trio consisting of a girl and two guys. Their outings on Swan would consolidate a production team that would become legendary and whose names would transcend the Philadelphia city limits and indeed the borders of their home country and be regularly heard from the lips of rare Northern soul fans as far away as other continents. Discovered by fellow Philadelphian Jerry Ross, the group line-up of Carol Jackson, Joe Livingston and George Garner, when matched up with songs penned by Jerry Ross, Kenny Gamble and Joe Renzetti, arranged by the hand of Renzetti and under the production steering of Ross and Gamble, had everything that a brand new shiny 45 should need. In the case of The Sapphires they even had the advantage of having the musical tracks they were singing to played by Leon Huff, Thom Bell, Bobby Eli and Bobby Martin! Now that’s what you call a band!

Their first outing on wax was the 1963 release of The Sapphires — “Where Is Johnny Now b/w Your True Love” — Swan 4143 which was recorded at Frank Virtue‘s Studios on Broad Street (1) and coupled an A side, skip along dancer with Carol Jackson, the songs author, lamenting the fact that her man doesn’t contact her, with a romantic ballad and the whole record creates a sound that certainly belies the fact that it’s the groups first outing and sounds ahead of its time insofar as it combines the future use of bass and drum and echo that would become so familiar in later productions. Although the 45didn’t manage a break out and only sold locally despite its obvious quality, the 45 did establish the group and its sound. Undeterred, Ross Associates and the group climbed the stairs of Virtue Studios again and this time exited with a little more success. The Sapphires — “Who Do You Love b/w Oh So Soon” — Swan 4162 would probably define the group outside of Northern soul circles as it delivered a chart position of #25 on Billboard’s Hot 100 in 1964 with its double dose of synchopated soul dance music written by Ross and Gamble. The same songs would also see a release a while later on the Philly based Itzy label (#5).

With a top 30 hit under their belts the team enlisted that seminal early sixties group that seems to pepper many of that labels’ repertoires The Swans (2) and released the 1964 classic The Sapphires — “I Found Out Too Late b/w I’ve Got Mine” — Swan 4177. The 45 is a wonderful effort by all involved, from the pens once again of Gamble and Ross and arranged by Gamble and Renzetti who was surely guiding the young future record mogul, the A side is a floaty laid back dancer utilizing the extra female vocal input by The Swans to perfection. Ms Jackson is still front and centre and her voice is still the star of the show but this time supported by a light steely sounding guitar, a gossamer input from a Hammond B3 and even an almost hidden salvo from of all things…a trumpet. The sound of both The Sapphires and the production team was developing and I think this 45 was best from the group so far. It certainly provided an appetiser to the entrée that was to come. The final outing from the group on the Swan logo was The Sapphires - Gotta Be More Than Friends b/w Moulin Rouge — Swan 4184 which put the group in the studio alone having lost the Swans input. By now (1964), the group was in full flight with its songwriting team of Gamble and Ross creating their songs based on a deft touch of soul placed around quality, laid back sounding, backing tracks and this outing was no different. At this stage the group warranted an album release which was duly complied, consisting of all their 45s both A and B Sides but sadly, it would prove to be the only LP of their career.

Jerry Ross, ever with an ear for a hit and an eye on the future decided to move with the times and, realizing the talent that was at the heart of The Sapphires, he secured a deal, in June of that very same year that would create some of the Northern soul scene’s most enduring group sounds of all time. This move meant a move to New York’s Bell Sound Studios for recording purposes but the writing and productions still seeped pure Philly. With the likes of the yet little known, Nick Ashford, Valerie Simpson and Melba Moore brought in to enhance the sound with backing voices (3) and Kenny Gamble and Thom Bell also contributing to the vocal mix, the team’s first release for the major label which was also penned by Gamble and Ross, The Sapphires — “Let’s Break Up For a While b/w Hearts Are Made To Be Broken” — ABC — Paramount 10559 delivers an exceptionally haunting beat ballad that evokes the atmosphere of a late night walk in a deserted city, whilst the flip is a samba orientated slice of middle of the road dance music written by former member of Kenny Gambles group The Romeos and Cameo’s then session guitarist, Roland Chambers and, on which the angelic backing voices of the aforementioned luminaries can be clearly distinguished.

Their follow up 45, The Sapphires — “Thank You For Loving Me b/w Our Love Is Everywhere” - ABC Paramount 10590 featured a song on the A Side written by that prolific songwriting team of Boyce-Hart-Farrell it’s a finger-clicking and guitar led mid paced outing that uses interspersed chimes to add a certain charm but it’s also the flip that grabs the listeners attention. Written by Gamble-Ross and Renzetti the style of the Sapphires music is beginning to develop strongly by now with Renzetti arranging the laid back backing track that uses sweetening vibes to great effect alongside the soaring almost angelic backing voices that support Ms Jacksons clearly top quality, singing voice. Neither of the group’s first two outings for ABC Paramount yielded a chart position of note. The association with the label did yield however the exposure of appearances at the Paramount Theatre in New York’s Times Square, where the group played to packed houses at the Easter ‘Good Guys Show” in April 1964 alongside Sam Cooke, Jackie Wilson and Rufus Thomas amongst others. The next quartet of releases from the group, starting with a trio in 1965, are the ones that would elevate their status in terms of affection with rare Northern soul circles and create a legacy that would not only be part of Jerry Ross’ but would also exalt both the group’s and Joe Renzetti’s name into the bargain.

The group’s sound was now full of that effortless vibrancy that Carl Jackson had always radiated but now it was symbiotic with arranger of this 45, Jimmy Wisner’s visionary arrangements and Ross’ deft hands, which controlled the mixing board. The end result was a masterpiece of sixties femme soul that still draws crowds of dancers to the dance-floors despite its 40 year tenure on DJs playlists. The opening middle ranged piano and vibraphone introduction to The Sapphires — “Gotta Have Your Love b/w Gee I’m Sorry Baby” — ABC — Paramount 10639 is nothing short of genius. In the age old tradition of sometimes “less is more” this short and simple portion of music has acted like an irresistible magnet the dancers of UK’s soul scene for over 4 decades. Carol Jackson’s sultry but equally sounding innocence as she lets her beau know how she feels in no uncertain terms, is a pure joy and the, now customary, groups angelic backing singers add just the right amount of atmosphere to the proceedings. With Wisner’s added horn riff midway preceding a short break before Carol and the other voices finish with a fade and repeating ‘Gotta Have Your Love” leaves the listener almost wishing to replace the needle back at the run in groove in order to enjoy that experience one more time. When describing music in a written form it’s difficult not over use descriptive terminology, especially when that music is the music you feel passionate about. But in the case of this particular 45 I’m going to use a word that you’ll rarely see drip from my musical quill as I save it for the very highest of accolades and in the case of this 45, for me at least, it’s use is wholly appropriate. This record is simply…magnificent.

The next 45 from the group to grace the logo is another that has remained a firm favourite of both Northern soul fans and girl group sounds alike, written by another prolific and successful writing duo of Arthur Resnick and Kenny Young, (4) The Sapphires — “Evil One b/w How Can I Say Goodbye” — ABC Paramount 10693 is a little more uptempo than the previous outing but once again the use ‘echoey’ percussion and a layer of vibes create a perfect foil for singers to play against as Carol leads them in a tale of betrayal and hurt that’s resulted in her deciding that her ‘evil one’ must stay away. Another horn bridges midway this time arranged by Joe Renzetti, and a light tinkling piano as the sing fades highlights just how happy the team wee with the previous outing. Often described as Motownesque, the Sapphires ABC Paramount 45s are much more than that. They contain subtle but entirely different components that when all stitched together skillfully, create a big, all embracing almost Phil Spectorish sounding effect. Much of that was a team effort I’d wager as Renzetti and Ross guided different components together and literally built the sound they were after. Also, the use of Thom Bell and Kenny Gamble in the role of backing singers shouldn’t be understated. Although not the greatest solo singers in the world, both these future legends were accomplished tunesmiths and could hold a note.

The third 45 of the year from the team brought us a version of a song that would also prove to be a hugely popular song by The Yum Yums, on the same label. The Sapphires — “Gonna be a Big Thing b/w You’ll Never Stop Me From Loving You” — ABC Paramount 10753 is a much pacier version than the Yum Yums outing though it starts off with a walking paced intro of bass guitar and tambourine which, shortly after the beginning, features a staccato baritone sax before a wild drum fill explodes and signifies that this certainly ain’t no pedestrian, lounge music affair. It fair motors along apace as Carol leads the group on a 100mph story of how hers and her man’s new love really is “gonna be a big thing’ against a breathless backing that seems like it contains just about every piece of an orchestra including a brilliant horn section.

The Sapphires last vintage 45 delivered a sound that the group had nurtured and evolved but without much commercial success, The Sapphires — “The Slow Fizz b/w Our Love Is Everywhere” — ABC Paramount 10778. It’s once again full of the signature sound of Ross and Renzetti on this Pam Sawyer and Lori Burton penned classic. This 45 would see the end of The Sapphires as a recording group (although heir most popular Northern tracks saw a re-release on UK Probe label due to hat specific demand), but there was however, a track rediscovered when the vaults of record companies became targets for the collectable and oldies reissues market and “Baby You’ve Got Me” which proved to be a reworking of “The Slow Fizz” song gained a modern day release in the mid 90s on the UK Soul Series logo. It’s a slightly different guitar arrangement with a more prominent saxophone part but it still retains the signature sound of Ross, Renzetti and the Group with its upbeat, “echoey” big horn sound, stuffed full of vibrant beats and vocals.

The Sapphires 45s are pure Philly musical gems that sparkle as brightly as anything the City Of Brotherly Love produced. A quick listen to the you tube videos attached lower in this tribute will no doubt testify as to why Joe, George and Carol worked their way into the hearts of soul fans and it’s a real pleasure to have them as inaugural Inductees in our Northern Soul Hall Of Fame.

Kevin Horsewood & Dave Moore November 2014

Notes and References:
There is a record by a group called the Sapphires on RCA from 1957 but his is a completely unconnected group. The Swans were utilized by many groups and artists for Swan Records but hey also released a number of their own outings on the label. Nick Ashford, Valerie Simpson and Melba Moore were first put together by Jerry Ross and would become his ‘go to’ backing singers on a number of projects before making their names as solo artists and songwriters. Artie Resnick and Kenny Young are probably most famous for writing the classic “Under The Boardwalk”.

Discography:

Swan Records
Where Is Johnny Now b/wYour True Love - 4143
Who Do You Love b/w Oh So Soon - Swan 4162
I Found Out Too Late b/w I’ve Got Mine You Better Get Yours - Swan 4177
Where Is Your Heart b/w Gotta Be More Than Friends - Swan 4184

ABC Records
Let’s Break Up For A While b/wHearts Are Meant To Be Broken - 10559
Thank You For Loving Me b/w Our Love is Everywhere - 10590
Gotta Have Your Love b/w Gee I’m Sorry Baby - ABC 10639
Evil One b/w How Could I Say Goodbye - ABC 10693
Gonna Be A Big Thing b/w You’ll Never Stop Me From Loving You - ABC 10753
The Slow Fizz b/w Our Love Is Everywhere - ABC 10778

hall of fame

By Dave Moore in Articles · November 10, 201410 yr

Induction Date 01 November 2014 Category: Male Vocalist

Roy Hamilton, during his illustrious 15 year singing career, was known by many nicknames: Mr. Rock and Soul, The Gentle Giant, and, most notably, The Golden Boy of Song. But few of these nicknames fully encompass the majesty of his voice, the influence he had on the artists of his generation, or the legacy his music has left behind. He was idolized by Elvis Presley, emulated by Jackie Wilson and Brook Benton and covered by the Righteous Brothers. His voice and legacy have earned him a place in the annals of history for years to come, and also sees him honoured as an inaugural inductee in the Northern Soul Hall Of Fame.

Born on April 16th 1929 in Leesburg, Georgia, Roy began his musical journey like many of his peers by singing in his local church choir and began performing there at the tender age of six. He continued developing his singing within the church and, at age 14 when his family moved to Jersey City, New Jersey he became a featured soloist in the Central Baptist Church Choir. In high school, Roy was committed to becoming a singer and concentrated his school efforts towards the performing arts. He was a talented artist but also took up the sport of boxing, amassing six victories as an amateur heavyweight before leaving his pugilistic aspirations behind having become disillusioned by the violence in the sport.

In 1948, Roy’s deep, rich baritone voice could be heard singing in a gospel quartet called the Searchlight Singers, however it was as a soloist that his real aspirations lay and the lure of a single spotlight led him to begin performing alone in the local clubs and lounges throughout New Jersey and New York, during which time he won a Wednesday amateur talent night at the Apollo Theatre, New York with his dramatic rendition of “You’ll Never Walk Alone” from the musical “Carousel” which later became his signature theme tune. He continued singing in local clubs over the next few years and it looked like his career may have stalled when, in 1953 he met his future manager, Bill Cook, a DJ who hosted a live radio program at the Caravan Club in Newark, New Jersey. Bill took Roy under his wing, and Roy was signed to the Epic label, a subsidiary of Columbia Records in December of that year, as his voice wasn’t thought R&B enough to join the ranks on the Okeh label. Within a month Roy Hamilton - “You’ll Never Walk Alone b/w I’m Gonna Sit Right Down And Cry” Epic 9015 was released and became an instant smash, staying in the Pop Top Twenty for two months.

In January 1954 Roy topped the bill at the Trianon Ballroom in Chicago, with a big show that also featured Jimmy Reed, Big Maybelle, The Spaniels, Counts and Flamingos, the next month the same performers hit the stage at the Symphony Hall in Boston for weekend shows (LaVern Baker, Della Reese and the Erskine Hawkins band joined them in April for dates throughout the Midwest), also in February he returned to the Apollo Theatre where it all began, but this time as a headliner, along with Ruth Brown.

In March he appeared at Birdland in New York for a week, and by May his first record was number one in the R&B charts, the first number one for Epic records. In June Hamilton was performing in a big show at Soldier’s Field, Chicago alongside Nat “King” Cole, Sarah Vaughn and The Orioles. He signed up for the big “Rhythm & Blues Show” with the Gale Agency in the same month, which also starred The Drifters, Counts, Spaniels, Faye Adams, LaVern Baker, King Pleasure, Rusty Bryant and Erskine Hawkins. He starred in the WNJR 4th July picnic with The Orioles, Big Maybelle, Larry Darnell, Joe Liggins, Nappy Brown, Varetta Dillard and Bull Moose Jackson. In September a show called “Kahl Music Presents” presents Roy Hamilton, Sarah Vaughn, Count Basie, Billie Holiday, Charlie Parker, Modern Jaz Quartet, Lester Young and The Drifters, this coincided with the release of Roy Hamilton - “Ebb Tide b/w Beware” Epic 9068 , a top five seller in the R&B charts and top 25 in the pop charts. Epic celebrated its first anniversary in November of 1954 and at their party was their biggest seller, Roy Hamilton. At the same time Roy Hamilton - “Hurt b/w Star Of Love” Epic 9086 was released, a song that would later be Timi Yuro’s first big hit. His version of the title song from the film ‘Unchained’, Roy Hamilton - “Unchained Melody b/w From Here To Eternity” Epic 9102 went head to head with Al Hibbler’s Decca version for top honours, selling more than a million copies and staying in the pop charts for over four months.

A measure of the way that the recording industry embraced Roy’s dramatic vocal talent came when he was presented with the Downbeat Magazine’s Top Male Vocalist Of The Year Award in June 1955, and he was also lauded when ABC television personality Joe Franklin presented him with the Memory Lane Award for Best New Male Singer, later that same year. In mid-January 1956 Roy Hamilton headlined at the Apollo Theatre again, along with Ruth Brown, Charlie and Ray, and the Five Keys, subsequently signing on for a big travelling R&B show that toured the South for a couple of months. The bill included Bill Haley and his Comets, The Platters, Shirley and Lee, LaVern Baker, Joe Turner, Bo Diddley, The Turbans, Drifters and Five Keys. In late April Roy Hamilton was forced to cancel a few dates when he fell ill, later to be diagnosed as suffering from pneumonia and tuberculosis. On June 2nd 1956 he stunned the music world by announcing his retirement due to his illness and total exhaustion.

A year after he announced his premature retirement he was back in the recording studio, he recorded Roy Hamilton - “The Aisle b/w That Old Feeling” Epic 9224, the same song that was recorded by The Five Satins and gained release as The Five Satins - “To The Aisle b/w Wish I Had My Baby” - Ember ( London# HL 8501). In July he makes his first public appearance since his return at an All Star Show in Atlanta. Helping to celebrate his return were LaVern Baker, Little Willie John, Nappy Brown, The Cardinals, and Burnie Peacock and his band. He soon followed this up with a short tour of Texas and Oklahoma with The Clovers, Buddy Johnson and his band with Ella Johnson, Johnny and Joe, Huey Smith, and The Spaniels. In October he appeared in a series of one-nighters in the South with The Clovers, Tune Weavers, Little Joe, Thurston Harris and Tally Ho Label owner Doc Bagby’s Combo, many of them join him at the State Theatre in Hartford Connecticut for a big show in November, hosted by George “Hound Dog” Lorenz.

Roy’s live appearances were extremely successful and his shows were nearly always sell outs. At the end of 1957 he broke the box office records at the famous Howard Theatre in Washington D.C. Epic meanwhile kept the momentum of his recording career going by releaseing his newest recording Roy Hamilton - “Don’t Let Go b/w The Right To Love” Epic 9257, the first Rock and Roll record to be recorded in stereophonic sound which reached number 13 in the Hot 100 charts and stayed there for three months. He closed out the year appearing in DJ Paul Sherman’s show in New York with Al Savage and his band, Thurston Harris, JoAnn Campbell, The Dubs, Shells, Five Satins, and Deltairs.

In January of 1958 Columbia Pictures releases “Let’s Rock”, a quickie film that featured many of the day’s music stars, Roy Hamilton, Danny and The Juniors, The Royal Teens, Paul Anka, Della Reese, and Julia La Rosa were all in the cast. This was followed by an appearance on legendary Radio DJ “Jocko” Henderson’s television show before the end of the month which led to a number of bookings throughout the country, including an appearance on the Dick Clark’s Saturday Night Beechnut Show, a forerunner of his nationwide American Bandstand success.

In March, Roy signed on with Irwin Feld for ‘The Greatest Show Of Stars’ road tour which would last 80 days and starts with a tour of Canada. That same month he appears at the Paramount Theatre Los Angeles with Earl McDaniel. In November a Roy Hamilton Day benefit show at the Jersey City armoury is held to raise money for the Central Baptist Fund, Red Prysock, Joe Louis, Varetta Dillard and others appear in support.

1959 saw continued his hectic live show schedule appearing alongside such musical luminaries as Jerry Butler, The Spaniels, Pigmeat Markham, Maurie Leigh, The Madison Trio and The Rick Henderson Orchestra, Teddy Randazzo, The Poni-Tails, Connie Francis, Four Lads, and Clyde McPhatter.

He stayed with the Epic logo for a decade, releasing more than 30 singles and EP’s on the imprint, but it’s his later MGM and RCA Victor recordings that led to the Rare Northern soul fraternity taking him to their hearts. In February 1964, whilst signed to the MGM label he delivered one of the seminal beat ballads of all time with, Roy Hamilton - “The Panic Is On b/w There She Is” - MGM K13217. Roy’s melodramatic vocal overtones could well have annulled the magnificent arrangement from Bert Keyes but right from the initial timpanic intro and following notes of a muted trumpet the song instantly becomes something special. When Roy’s vocal opens up with its passionate ebbs and flos, it proves to be the perfect foil for a beautifully crafted song. Roy’s clarity, his passionately strained, perfectly placed notes and his ability to make it all sound so seamless fit the song like a calf skin glove to a manicured hand. If you were to canvas fans and collectors alike as to what was their all time favourite beat ballad, there’s an odds on chance that this magnificent mid sixties outing would be up there in the higher echelons of any compiled list for sure.

With “The Panic Is On” a hard act to follow Roy followed up six months later with, Roy Hamilton - “You Can Count On Me b/w She Make Me Wanna Dance” - MGM K13291, and whilst the song isn’t quite as strong as its predecessor, Roy tells his mournful tale of always being there for his girl over a great mid-tempo track that encompasses a fantastic set of female backing singers.

A move to RCA Records in mid 1966, delivered a couple of 45s that would ensure that the musical legacy left by Mr Hamilton would be enshrined forever when he delivered up two 45s that went on to become iconic dance-floor fillers albeit 3000 miles from their place of birth in the RCA studios in New York. Sitting somewhat nonchalant on the flip side of the first one is the self penned classic, Roy Hamilton - “Walk Hand In Hand b/w Crackin’ Up Over You” RCA Victor 47-8960, from October 1966 and is a song that would become permanently glued to the name of Roy Hamilton, such was its impact. It's a fantastic, almost operatic performance by Roy as he relays the intensity of his love for his girl.

The second of his RCA labelled stormers Roy Hamilton - “So High My Love b/w You Shook Me Up” RCA Victor 47-9171 from April 1967 is also a sleeping B Side and will probably need very little introduction to readers of this tribute with its powerful and vibrant backing track benefitting from an equally earthshaking vocal delivery from Mr Hamilton.

In 1966 whilst in the middle of his tenure with RCA Roy also recorded a fantastic version of the Bacharach and David classic, “Let the Music Play” that lay dormant until those erstwhile soul detectives at Ace Kent in UK unearthed it and placed it on their 1997 Rare Collectable And Soulful CD ( Kend 141). Roy’s stirring performance once again fits the arrangement style of Bert Keyes with his use of a muted trumpet, timpani and this time embellished with subtle strings that add another tick in the musical box.

For fans of Mr Hamilton’s dramatic RCA output there’s also a couple of other songs that are worth investigating, one of them nestling quietly away on his LP Roy Hamilton - "The Impossible Dream" — RCA LP3532. It’s a quality version of the Bacharach and David classic, “Reach Out For Me” which certainly rivals any other version of the song to have been committed to wax. The other one is a song that has adorned many a record room turntable over the years I’d wager and was actually his first outing on the RCA imprint, Roy Hamilton — “Heartache (Hurry On By) b/w Ain’t It The Truth” - RCA 8641. Although his rendition of the classic song on the B Side is also a great performance it’s the top side that really grabs you. A more soulful plaintive ballad would be hard to find and Roy’s emotional interpretation of a fantastic Bert Keyes arrangement delivers one of the truly great deep soul beat ballads.

Unfortunately, Roy’s star was tragically extinguished when he suffered a stroke in New Rochelle, New York. Despite surgery, he passed away soon after on July 20th 1969, months after his 40th birthday, leaving behind his wife Myrna, and his two son’s Roy Hamilton Jnr. and Ray Hamilton. Roy Hamilton’s body of musical work was and still is enjoyed and admired by his peers, by industry insiders and by fans alike. Although he has made the shortlist for the Rock N Roll Hall Of Fame in Cincinatti, Ohio, his home country have yet to fully recognise his talents His induction as an inaugural Inductee into our Hall Of Fame is nothing short of fitting for a performer known as a ‘singers singer’.

David Hogenson & Dave Moore 01 Nov 2014

Notes and References:
1. Acknowledgement to the official Roy Hamilton website: www.royhamilton.net for assistance.
2. Acknowledgement to http://home.earthlin...r/hamilton.html for background info.
3. Dave Rimmers www.soulfulkindamusic.net for assistance with Discography.

DISCOGRAPHY

Epic Records:
Epic 9015 - You'll Never Walk Alone b/w I'm Gonna Sit Right Down And Cry (Over You)
Epic 9047 - So Let There Be Love bw If I Loved You
Epic 9068 - Ebb Tide b/w Beware
Epic 9086 - Hurt b/w Star Of Love
Epic 9092 - I Believe b/w If You Are But A Dream
Epic 9102 - Unchained Melody b/w From Here To Eternity
Epic 9111 - Forgive This Fool b/w You Wanted To Change Me
Epic ? - Fascination b/w Cacaquinho
Epic 9118 - A Little Voice b/w All This Is Mine
Epic 9125 - Without A Song b/w Cuban Love Song
Epic 9132 - Everybody's Got A Home b/w Take Me With You
Epic 9147 - There Goes My Heart b/w Walk Along With Kings
Epic 9160 - Somebody, Somewhere b/w Since I Fell For You
Epic 9180 - I Took My Grief To Him b/w Chained
Epic 9203 - The Simple Prayer b/w A Mother's Love
Epic 9212 - My Faith, My Hope, My Love b/w So Long
Epic 9224 - The Aisle b/w That Old Feeling
Epic 9232 - (All Of A Sudden) My Heart Sings b/w I'm Gonna Lock You In My Heart
Epic 9257 - Don't Let Go b/w The Night To Love
Epic 9268 - Crazy Feelin' b/w In A Dream
Epic 9274 - Lips b/w Jungle Fever
Epic 9282 - Wait For Me b/w Everything
Epic 9294 - Pledging My Love b/w My One And Only Love
Epic 9301 - It's Never Too Late b/w Somewhere Along The Way
Epic 9307 - I Need Your Lovin' b/w Blue Prelude
Epic 9323 - Time Marches On b/w Take It Easy, Joe
Epic 9342 - Great Romance b/w On My Way Back Home
Epic 9354 - The Ten Commandments b/w Nobody Knows The Trouble I've Seen
Epic 9354 - The Ten Commandments / Down By The Riverside
Epic 9372 - Nobody Knows The Trouble I've Seen b/w Down By The Riverside
Epic 9373 - I Let A Song Go Out Of My Heart b/w I Get The Blues When It Rains
Epic 9374 - My Story b/w Please Send Me Someone To Love
Epic 9375 - Something's Gotta Give b/w Cheek To Cheek (Unreleased as at Oct 2014))
Epic 9376 - Sing You Sinners b/w Blow, Gabriel, Blow
Epic 9386 - Having Myself A Ball b/w Slowly
Epic 9388 - Never Let Me Go b/w I Get The Blues When It Rains (Unreleased as at Oct 2014)
Epic 9390 - The Clock b/w I Get The Blues When It Rains
Epic 9398 - A Lover's Prayer b/w Never Let Me Go
Epic 9407 - Lonely Hands b/w Your Love
Epic 9434 - You Can Have Her b/w Abide With Me
Epic 9443 - You're Gonna Need Magic b/w To The One I Love
Epic 9449 - No Substitute For Love b/w Please Louise
Epic 9460 - Excerpts From - You Can Have Her
Epic 9461 - Excerpts From - You Can Have Her
Epic 9462 - Excerpts From - You Can Have Her
Epic 9463 - Excerpts From - You Can Have Her
Epic 9464 - Excerpts From - You Can Have Her
Epic 9466 - There We Were b/w If
Epic 9492 - Don't Come Cryin' To Me b/w If Only I Had Known
Epic 9520 - Climb Ev'ry Mountain b/w I'll Come Running Back To You
Epic 9538 - Earthquake b/w I Am

MGM Records
MGM 13138 - Let Go b/w You Still Love Him
MGM 13157 - Midnight Town - Daybreak City b/w Intermezzo
MGM 13175 - Theme From "The V.I.P.'S" ( The Willow ) b/w The Sinner (El Pecador)
MGM 13217 - The Panic Is On b/w There She Is
MGM 13247 - Answer Me, My Love b/w Unchained Melody
MGM 13291 - You Can Count On Me b/w She Makes Me Wanna Dance
MGM 13315 - Sweet Violets b/w A Thousand Years Ago

RCA Victor Records
RCA Victor 47 - 8641 - Heartache b/w Ain't It The Truth
RCA Victor 47 - 8705 - And I Love Her b/w Tore Up Over You
RCA Victor 47 - 8813 - The Impossible Dream b/w She's Got A Heart
RCA Victor 47 - 8960 - Crackin' Up Over You b/w Walk Hand In Hand
RCA Victor 47 - 9061 - I Taught Her Everything She Knows b/w Lament
RCA Victor 47 - 9171 - You Shook Me Up b/w So High My Love
RCA Victor - Let The Music Play — Recorded 02 November1966 but unreleasd until issued on the 1997 Kent Cd - Rare Collectable And Soulful (Cdkend 141)

Capitol Records
Capitol 2057 - Let This World Be Free b/w Wait Until Dark

AGP Records
AGP 113 - The Dark End Of The Street b/w 100 Years
AGP 116 - Angelica b/w Hang Ups
AGP 25 - It's Only Make Believe b/w It's Only Make Believe (Only released as a promo copy)
AGP 125 - It's Only Make Believe b/w 100 Years

hall of fame

By Dave Moore in Articles · November 10, 201410 yr

Date Of Induction : 01 November 2014 Category : Post Production

Most collectors of Northern Soul records will have the name of Weldon A McDougall III nestled in their 45s collection somewhere. A native of Philadelphia Weldon was born at the Mercy Douglas Hospital in West Philly and was raised by his mother Eleanor having been named after his father and Grandfather. His interest in music was sparked as a student at West Philadelphia High School where he first encountered George Tindley (Of The Dreams) and George Grant (Of The Castelles). As a schoolboy Weldon showed early signs of the entrepreneurship that would drive his ambitions throughout his life and could be found delivering the neighbourhoods newspapers on his trusty bike. One of his family customer’s son, Johnny Stiles later became a major influence in Weldon’s life when along with Luther Randolph, the trio established Harthon Records at 5994 Chestnut St in West Philly. Weldon’s early musical involvement came in the mid fifties when it seemed just about every high school student was in some kind of singing group. Weldon was no exception and he put together his own doo wop inspired quartet called The Larks. On graduation though in 1955, the call to serve Uncle Sam however interrupted the group’s progress and Weldon spent two years serving his country as United States Marine at Quantico Virginia.

On discharge he returned to Philadelphia, reconnected with former Lark Pat White (who became Mrs Weldon McDougall), and set about finding a new lead singer. Approached by local singers Earl ‘Bill’ Oxendine and Jackie Marshall, Weldon and Pat on hearing them agreed that their new quartet was now complete. Mistakenly booked by Jocko Henderson, (the WDAS legendary DJ), for one of his Rocket Ship shows at Harlem’s famed Apollo Theatre (1) The newly formed quartet appeared on the same bill as Clyde McPhatter, Baby Washington and Shep And The Limelights. Despite not having even made a recording yet fellow Philly maestro, Bandstand announcer and record producer Jerry Ross recognised their potential and took the group into the Reco -Arts Studio. The resulting 45s would set the group off on a musical journey that would include releases on Ross’ own Sheryl label and further outings on Uptown and Tower, including of course the classic double-sider, The Four Larks — Groovin’ At The Go Go b/w I Still Love You” — Tower 402. (Pat White had left the group by this stage, split with Weldon and Vivian, Weldon’s second wife is the female lead on the 45).

In tandem with his work with the Four Larks, Weldon also established Harthon Records who produced many classic Northern Soul 45s at Frank Virtue’s studio on Broad St. Amongst the lengthy legacy of The Harthon Trio of Weldon, Luther Randolph and Johnny Stiles are such outings as Larry Clinton — “She’s Wanted In Three States” — Dynamo 300, Herb Ward — “Strange Change” — Argo 3510 and The Cooperettes — “Shing A Ling” — Brunswick 553, as well as fantastic outings as diverse as Eddie Holman, The Victors, The Rotations, The Inspirations, Cliff Nobles and of course the hugely popular Shirley Turner — “World Of Happiness” . Of course the Harthon label itself gave us sought after discs by The Volcanos, The United Four, Bernard Williams, The Preludes and Lee Garrett.

Whilst enjoying success with Harthon, Weldon also worked at Chips Distribution where he was instrumental in promoting soul re cords in particular. The gold stickers that became the trademark of Chips Distribution were an invention of Weldon’s. When the Harthon trio started enjoying notoriety from their Virtue Studio productions they formed Dyno-Dynamic Productions and along with Jimmy Bishop, the WDAS DJ and Harold Lipsius, the owner of Jamie Guyden established Arctic Records with Weldon’s discovery, The Tiffanies kicking off the labels output. The label’s most successful artist, Barbara Mason was also mentored by Weldon. Of course Dyno-Dynamic, via the Arctic label, (and it’s short lived sister: Frantic), produced many Northern Soul classics by Barbara, The Volcanos, Herb Johnson, and the Arctic label itself contributed a whole slew of Northern Soul classics from Honey and The Bees, The Temptones, Kenny Hamber etc.

Undeterred by the Arctic deal turning sour and leaving the trio bereft of any control, (2) Weldon and the guys continued producing records that would hit the spot thousands of miles away in UK. From Marva Lee’s wonderful interpretation of the Gene Chandler classic and Nella Dodds’ version of the Supremes to the fantastic pounder by Irma and The Larks and he haunting Intentions 45, Weldon was at the heart of the mid sixties Philly Sound. So much so that as Gamble and Huff gained in stature they employed Weldon as their promo man and it is Weldon’s cartoon image that gave Philadelphia International Records part of its marque and later Berry Gordy would call upon him to do that very same job, (amongst others), for his Motown empire. Weldon was prolific photographer and was rarely seen without a camera within an arms length and his archive of photographs is legendary. Part of his photographic legacy led to him and Bill Dhal creating a book, recording his time at Motown during which he took thousands of distinctly personal and informal photographs of Berry Gordy’s superstars.

Weldon had another endearing hobby too. Every Friday afternoon he would ‘disappear’. His love of the movies would never diminish and he went to the cinema every week in order to be transported to that cellular world of fantasy. To talk about movies with Weldon was to be enthralled, almost childlike, as he sang the praises of spending a few hours in what he often described as a separate, wonderful world.

Always ready to help Philly bound soulfans, he became a friend to many, including your author and his ever present, big beaming smile was always a sight that I never tired of. Weldon sadly passed away in 2010, a raconteur, a man that could sell sand to the Arabs, he would be over the moon to be included in The Northern Soul Hall Of Fame. It’s an honour and privilege to have been part of his tribute as he is recognised in such a way and becomes a founding Inductee into the Soul Source Northern Soul Hall Of Fame.

Dave Moore 01 Nov 2014

Notes and References:
According to Weldon, Jocko thought he had booked Don Juan And The Meadowlarks! The Harthon trio were duped into thinking that Arctic Records was established as a vehicle for their own productions and that they were co owners. This turned out to no be the case. Discography :
The following listof records are all records that Weldon was involved with in some way, either as artist, a producer or a label owner. It’s by no means complete or even near exhaustive but gives a good flavour/account of some of the Northern Soul 45s that he contributed too.

Sheryl Records
Four Larks - It's Unbelievable b/w II Can't Believe It - 334
Cleopatra - Heaven Only Knows b/w My Darling - 334
Four Larks - Let's Drink A Toast b/w There Is A Girl - 338 .

Priority Records
Irma and The Larks - Don't Cry b/w Without You Baby - 332.

Fairmount Records
Irma and The Larks - Don't Cry b/w Without You Baby - 1003

Scepter Records
Irma & The Fascinators - Just A Feeling b/w Lost Love - 12100

Uptown Records
The Four Larks - Tower 748 - That's All That Counts b/w You And Me — 748
The Four Larks — I’s Unbelievable b/w Keep Climbing Brothers - 761

Tower Records
The Four Larks - Another Chance b/w Rain - 364
The Four Larks- I Still Love You (From The Bottom Of My Heart) b/w Groovin' At The Go-Go - 402
The Four Larks — I’ve Got Plenty b/w Can I Have Another Helping Please — 450

Argo Records
Herb Ward - Strange Change b/w Why Do You Want To Leave Me - 3510

Arctic Records
Tiffanys - Love Me b/w Happiest Girl In The World - 101
Barbara Mason - Come To Me b/w Girls Have Feelings Too - 102
Volcanos - Baby b/w Make Your Move - 103
Cindy Gibson - Step By Step b/w Whisper You Love Me Baby - 104
Barbara Mason - Yes I'm Ready b/w Keep Him - 105
Volcanos - Storm Warning b/w Baby - 106
Kenny Gamble And The Floaters - Down By The Seashore Part 1 b/w Part 2 - 107
Barbara Mason - Come To Me b/w Sad, Sad Girl - 108
Herb Johnson - Gloomy Day b/w Carfare Back - 109
Volcanos - Help Wanted b/w Make Your Move - 111
Barbara Mason - You Got What It Takes b/w If You Don't (Love Me,Tell Me So) - 112
Kenny Gamble & The Romeos - Ain't It Baby Part 1 b/w Part 2 - 113
Volcanos - (It's Against The) Laws Of Love b/w Inst - 115
Barbara Mason - Don't Ever Want To Lose Your Love b/w Is It Me - 116
Barbara Mason - I Need Love b/w Bobby Is My Baby - 120
Volcanos - Lady's Man b/w Help Wanted - 125
Barbara Mason - Poor Girl I'm In Trouble b/w Hello Baby - 126
Volcanos - Make Your Move b/w You're Number 1 - 128
Barbara Mason - You Can Depend On Me b/w Game Of Love - 134
Barbara Mason - Oh How It Hurts b/w Ain't Got Nobody - 137
Barbara Mason - Half A Love b/w Slipping Away - 142
Barbara Mason - Don't Ever Go Away b/w I'm So Good For You - 146
Barbara Mason - Take It Easy b/w You Never Loved Me - 148
Barbara Mason - You Better Stop It b/w Happy Girl — 154

Harthon Records
Luther Randolph & Johnny Styles - Crossroads Part 1 b/w Crossroads Part 2 - 424
Luther Randolph & Johnny Styles - Talkin' 'Bout You Part 1 b/w Talkin' 'Bout You Part 2 - 426
Joann Jackson & The Dreams - Georgie Porgie b/w The Mob - 427
Luther Randolph & Johnny Styles - Criss Cross b/w I Fell Pretty - 429
The Twilights - It's Been So Long b/w She Put Me Down - 134
The Twilights - Shipwreck b/w For First Time - 135
Bernard Williams & The Blue Notes - Needless To Say b/w Focussed On You - 136
Lee Garrett - I Can't Break The Habit b/w Baby, Please Don't Go - 137
The Volcanos - Gotta Be A False Alarm b/w Movin' And Groovin' - 138
The United Four - She's Puttin' You On b/w Go On - 139
The Preludes - Deeper Than That b/w Shiggy Diggy - 140
Lee Garrett - I'm So Glad Part 1 b/w I’m So Glad Part 2 - 141
The United Four - Look At Her Now b/w One More Year - 142
The Volcanos - Take Me Back Again b/w Aw Shucks - 146
The Body Motions - False Alarm b/w Putting You On - 103074

Wand Records
Nella Dodds - Come See About Me b/w You Don't Love Me Anymore - 167
Nella Dodds - Finders Keepers Losers Weepers b/w A Girl's Life - 171
Inspirations - Kiss And Make Up b/w Love Can Be So Wonderful - 182
Nella Dodds -Com Back Baby b/w Dream Boy - 187

Atco Records
Marva Lee - If You Can't Be True b/w Too Bad Too Sad - 6367
The Sweet Delights - Baby Be Mine Paul's Midnight Ride - 6601

Philips Records
Intentions - Don't Forget That I Love You b/w Night Rider - 40428
Victors - Hurt b/w Not Only A Girl Know - 40475

hall of fame

By Dave Moore in Articles · November 10, 201410 yr

Date Of Induction: 01 November 2014 Category : Pre Production

When the name of Van McCoy is uttered in record bars of soul clubs around the world it’s in revered tones. That’s hardly surprising given that Mr McCoy could lay claim to being the most prolific independent record producer as far as Northern Soul productions are concerned. Not only a producer but a songwriter, arranger and sometimes artist himself the world acclaimed him for the international smash dance hit “The Hustle” but for those in the know, his contribution to music was a mountain of songs spanning 3 decades and to see him honoured as an inaugural inductee into our Northern Soul Hall Of Fame highlights the special relationship that fans have with his musical legacy.

Born Van Allen Clinton McCoy on January 6th 1940 in Washington DC, the second of two sons to Norman and Lillian (Ray) McCoy, young Van would quickly become immersed in music via his families’ commitment to the local Metropolitan Baptist Church and his attendance at both Monroe Elementary and later at Dunbar High School. As Washington desegregated its school system, Van found himself graduating from Roosevelt High School where he was an honor student before enrolling at the city’s Howard University in order to major in psychology. It was while a High School student that Van, along with his brother became a member of his first group The Starlighters who gained enough exposure to appear at some of the prestigious stages of the day including the Howard Theatre in his home town, the Apollo Theatre in Harlem and Philly’s Royal Theatre. A proficient pianist from an early age, he and his elder brother Norman Jr, (a violinist), had attended music classes conducted by Howard University’s Dr H Johnson where they were taught the intricacies of music and excelled at understanding and translating it from idea to paper. Singing in choirs, performing in church and building his repertoire of skills at summer visits to his Grandmother’s home, (who also played piano and taught music) and success with The Starlighters all led to Van’s decision to forfeit college after two years and seek out a life of music in a professional capacity.

On moving to Philadelphia in 1961 he furnished a song on Tally Ho Records for legendary label owner Doc Bagby before establishing his first record label company Rock’n Records, where he delivered three singles including Van McCoy — “Never Trust A Friend b/w Mr DJ” — Rock’n 101, the flip side of which highlights Van’s penmanship. He also collaborated with Philly’s Jerry Ragavoy on a song paced with Imperial Records by local group The Silhouettes, a collaboration that would shortly lead to the two emerging song-writing icons working together on a number of other artists including Irma Thomas. Having struck a distribution deal for his Rock’n label with Scepter, this liaison led to him being employed as an independent staff writer for Florence Greenberg’s Wand/Scepter company in New York and later, having taken up a similar position with Columbia’s April Blackwood set up, Van became a sought after songwriter and producer creating successful outings for a number of artists that included the high flying Shirelles and led to great exposure for Van and his talents.

Over the next few years the musical maestro would write, arrange and produce a veritable treasure chest of soul records for a who’s who of soul music on labels as far apart as Tuff in New York to Imperial in LA and just about every musical stopping off point in between. Most fans would probably have become aware of his work when his name appeared on two iconic 45s of the mid sixties, the first one was a 1964 release that gained recognition in UK Betty Everett — “Getting Mighty Crowded b/w Chained To A Memory” — Fontana 520 (US Vee Jay 628) whilst the second, released six months later in April 1965 was Barbara Lewis — “Baby I’m Yours b/w I Say Love” — Atlantic 2283. Van had now laid the foundations for a run of soul songs that could quite possibly allow him to compete with a couple of others for the title of most prolific Northern Soulster.

During his early sixties period he also wrote songs for a young lady he'd met named Kendra Spotswood who Van would release a couple of Van McCoy penned outings on the Philips logo as Kenni Woods and she and Van would soon become engaged. They stayed engaged for five years before deciding to go their own ways romantically. Of course during their relationship Van would pen one of the most enduring songs of our genre for his girlfriend, albeit she released it under yet another pseudonym Sandi Sheldon — “You’re Gonna Make Me Love You b/w Baby You’re Mine” — Okeh 7277. One NY label that would also see a series of songs from Van McCoy was Tuff and Van and Kendra would also release a record as a duet on that imprint, The Fantastic Vantastics - Oh Happy Day b/w Gee What A Boy" - Tuff 406, the flip side of which is a great 'Spectorish' sounding girlie shuffler. There's also a McCoy family connection with Tuff as Van's brother Norman would also release a 45 on the label under a pseudonym Ray Raymond - "It Breaks My Heart In Two b/w She's Alright" - Tuff 409. Van both wrote and produced the disc which delivers up a similar sound to the Righteous Brothers signature sound which was popular at the time.

Space just simply won’t permit me to highlight all of Van McCoy’s output but I’ve chosen a few that I feel will vindicate his induction to our Hall Of Fame. First up, The Sweet Things — “I’m In A World Of Trouble b/w Baby’s Blue” — Date 1522, the second of two Date outings that Van wrote and produced on the female trio, it’s a full blown stormer with an instantly recognisable intro, combining vibes, a crashing drum beat and a echo-ing horn riff. The girls pull off a fantastic vocal performance as they tell the story of how life has fallen apart since the departure of their beau. Despite the somewhat sugary lyrics and the lamentable tale, the song is a perfect slice of upbeat, uptempo Northern Soul. Detroit had no shortage of talented songwriters during its soulful heyday but even The Motor City couldn’t resist a Van McCoy song, Theresa Lindsay — “It’s Love b/w Good Idea” — Correctone 1053 delivers a heavily string laden mid tempo dancer, that Theresa makes her own as she relays her impassioned tale of love at first sight.

Van's name would adorn many labels often in collaboration with a whose who of Northern Soul stars. His work with The Spellbinders produced some stone classic sides as did his association with Chris Bartley and two of his songs that that he also produced and were released on Bobby Reed would become sought after 45s by both Northern Soul and Cross Over soul collectors on both sides of The Atlantic. Erma Franklin, Ex Supreme original Florence Ballard and De Dee Warwick all benefited from the maestros touch a sages of their careers

Philadelphia and Van McCoy will always be entwined and I’ve chosen a record that encapsulates his work there and with people that were integral to the city’s musical landscape. Written by Van and his song-writing partner Joe Cobb, recorded on the label owned by Gilda Woods, the wife of legendary DJ Georgie Woods, recorded at Sigma Sound Studios as the seventies dawned and probably recorded by the emerging MFSB ensemble Brenda And The Tabulations — “Why Didn’t I Think Of That b/w A Love You Can Depend On” — Top And Bottom 411 is a wonderful, bounce-along dancer that once again places Van’s sugary love bound poetry over an up-tempo dance track. Van must have liked the musical half of the song as he released it as an instrumental in its own right as Van McCoy Strings — “Sweet And Easy b/w If I Could Make You Mine” — Share 102. From a 45 that probably sits on most collectors shelves to one that most certainly doesn’t and for most probably never will, Billy Woods — “Let Me Make You Happy b/w That Was The Love That Was” - Sussex 213. When discovered by famed record dealer UK John Anderson in the mid seventies only a handful of copies made the Transatlantic journey. Since those heady days at least half of those few copies have since deteriorated due to DJ play. I only know of four still clean copies. The outing is a perfect vehicle for Van’s immense talents. From the opening subdued guitar licks and drum beats, through to the eventual full orchestral instrumentation and arrangement combining lush, almost angelic strings, a metronome like backbeat, all interspersed with pitch perfect backing singers and an on-point Billy Woods, it’s a Van McCoy masterpiece. Who else could get away with lyrics as simple as “Wipe Those Teardrops From Your Eyes, ‘Cos Everything Is Gonna Be Alright” or “La La, La La La La La La”? The final 45 I’ve selected to highlight individually, is something of an indulgence for your author. When we embark on our musical journeys as youngsters there are certain records that hook themselves into you and never let go, records that we revisit every now and then and grow to appreciate as old friends that evoke magical memories. Jackie Wilson — “I Get The Sweetest Feeling b/w Nothing But Blue Skies” — Brunswick 78028, is one such record for me and sure enough there, on the 45 that evokes so many memories, amongst the legendary Chicago icons, sits the name of the maestro himself, front and centre.

Philadelphia would again feature in his legacy when he returned there and hooked up with famed WDAS Radio DJ Jocko Henderson and together they formed Vando Records, a label that would primarily be the vehicle that produced such fantastic records by Chris Bartlett, but that also includes sought after 45s by Tony Talent and Art Robins.

Of course the general public would come to acknowledge Van McCoy during the mid seventies via the disco boom and many people on the Northern Scene tend to dismiss this era of his work as too ‘flimsy’. His 1976, worldwide smash Van McCoy and The Soul City Symphony — “The Hustle b/w Hey Girl Come And Get It” — Avco 4653 put his name in lights selling over eight million copies and won a coveted Grammy Award, ensuring that the name of Van McCoy was enshrined in music forever. For soulfans his seventies work with David Ruffin is hard to beat and their1975 collaboration on David Ruffin — “Walk Away From Love b/w Love Can Be Hazardous To Your Health” — Motown 1376 continued a relationship with Berry Gordy’s artists that stretched back to The Marvelettes rendition of Van’s “When You’re Young And In Love”, almost a decade earlier.

Van McCoy, musician, song-writer, arranger, record producer, label owner and publishing company owner, always the innovator, a setter of musical trends and never a follower, tragically had his life cut short at only 39 years old, when he passed away from a heart attack at his home in Englewood NJ on 6 July 1979. One can only imagine the beautiful music he took with him. I’ve listed a discography below but due to space have had to limit it to Northern Soul outings but I’m pretty sure he’d forgive me for that as we proudly induct Mr Van Allen Clinton McCoy into our Northern Soul Hall Of Fame as an inaugural inductee.

Dave Moore 01 Nov 2014

Notes and References:
Record scans from There’s That Beat! Archive. Sheet music from Dave Moore collection. Acknowledgment to Dave Rimmer’s www.soulfulkindamusic.net website for assistance. Acknowledgment to Chris Lalor’s article “The Sweet Soul Sounds Of Van McCoy — There’s That Beat! : Issue #2 Dec 2006 Final collage courtesy of Jason H Thornton Discography: Van McCoy's discography would take up pages and pages of our forum and therefore I have only included specific records that represent his contribution to our music. I'm sure Mr McCoy would approve.

ABC Records
Florance Ballard - Love Ain't Love - 11144
Atlantic Records
Barbara Lewis - Baby I'm Yours - 2283
Avco Records
Soul City Orch. - The Hustle - 4653
Brunswick Records
Jackie Wilson - I Get The Sweetest Feeling -
Jackie Wilson I've Lost You - 55321
Buddah Records
Toni Lamarr - Just In The Nick Of Time - 10
Capitol Records
The Jades - Ain't It Funny What Love Can Do - 2281
Cobblestone Records
Vonnettes - Touch My Heart - 703
Constellation Records
Gene Chandler - I Can Take Care Of Myself - 169
Date Records
Sweet Things - I'm In A World Of Trouble - 1522
Domain Records
Yvonne Carroll - Stuck On You - 1018
Golden World Records
Barbara Mercer - Doing Things Together With You - 28
Imperial Records
Irma Thomas - Some Things You Never Get Used To -
Jamie Records
Mark Jackson - I'll Never Forget You - 1357
Kapp Records
Ruby & The Romanics - When You're Young And In Love - 615
Loma Records
Bobby Reed - I'll Find A Way - 2089
Maxx Records
Kenny Shepard - What Difference Does It Make - 322
Gladys Knight & The Pips - Stop And Get A Hold Of Myself - 334
Maxwell Records
Faith Hope And Charity - So Much Love - 805
Minute Records
Clydie King - I'll Never Stop Loving You - 32032
Mira Records
The Darletts - Lost - 203
Modern Records
The Marvellos - In The Sunshine - 1054
Motown Records
David Ruffin - Walk Away From Love - 1376
Okeh Records
Sandi Sheldon - You're Gonna Make Me Love You - 7277
Philips Records
Kenni Woods - Can't He Take A Hint - 40112
Sylvia Shamwell - He'll Come Back - 40149
Lonzine Cannon - You Still Love Her - 40190
Lonzine Cannon - Quit While I'm Ahead - 40240
RCA Records
Faith Hope & Charity - To Each His Own - 10343
Reprise Records
The Blossoms - That's When The Tears Start - 0436
Share Records
Ad Libs - Nothing Worse Than Being Alone - 106
Sussex Records
Billy Woods - Let Me Make You Happy - 213
Tiger Records
Dee Dee Warwick - Don't Think My Baby's Coming Back - 103
Top And Bottom Records
Brenda And The Tabulations - A Love You Can Depend On - 411
Vando Records
Chris Bartley - Sweetest Thing This Side Of Heaven - 101
Tony Talent - Gotta Tell Some About About My Baby - 3001
VeeJay Records
Betty Everett - Getting Mighty Crowded - 628
Jerry Butler - I Can't Stand To See You Cry - 696
Wingate Records
Juanita Williams - Some Things You Never Get Used To - 008

hall of fame

By Dave Moore in Articles · November 9, 201410 yr

Inducted: 01 November 2014 Category: Mixed Groups
Ask any northern soul fan about the Exciters and they probably won’t mention their number 4 hit from 1962. They will however, tell you about the buzz they get from dancing to “Blowing Up My Mind” or their live performance at Wigan Casino, or even the record that launched Ian Levine’s career as a record producer.
Although members of The Exciters had performed previously, (Herb Rooney had been a member of The BelTones and The Continentals in the late fifties and, whilst a member of the Masters in 1961, met Brenda Reid who was a member of that group’s sister outfit The Masterettes. Formed in Queens New York City, The Exciters initially consisted of Herb Rooney, Brenda Reid, Lillian Walker and Carol Johnson and initially burst into onto the music scene via the song-writing and record producing talents of Broadway’s Brill Building multi talented legend Bert Berns and record producing maestros, Jerry Leiber and Mike Stoller in November 1962, courtesy of their US No 4 hit The Exciters — “Tell Him b/w Hard Way To Go” — UA 544, a song later covered with some success by Billie Davis in the UK and Dean Parrish in the US albeit with a subtle change of title to “Tell Her”. (1) Mr Rooney and Ms Reid were romantically linked and eventually married. Their next three releases the following year couldn’t quite match the success of their inaugural release although the A side of one of them, The Exciters — “Do Wah Diddy b/w If Love Came Your Way” UA 662 would furnish a hit for 60s Brit pop group Manfred Mann on Ascot Records (#2157)

Signing with Morris Levy’s Roulette Records in 1964 and despite coming under the production auspices of fellow Brill Building maestros Hugo Peretti and Luigi Creatore, the group struggled to gain any National Chart success although they enjoyed some local success with The Exciters — “I Want You To Be My Boy b/w Tonight Tonight” — Roulette 451 and the team produced a great atmospheric ‘popcorn’ styled outing that Herb Rooney had co written on the top side of, The Exciters — “Are You Satisfied b/w Just Not Ready” - Roulette 4594. The group’s final outing on the logo is something quite special though. Written by yet another Brill Building legend Bert Berns, The Exciters — “There They Go b/w I Knew You Would” — Roulette 4632 delivers an uptempo, raucus dance performance so typical of the group’s repertoire with that signature guitar ‘chank’, Brenda’s impassioned vocals and an almost ‘too fast’ beat.

Bert Berns would flutter into the group’s lives once again when they left Levy’s operation but stayed local to New York by signing with his Bang Records. At the production helm of one the group’s Popcorn Soul classics, The Exciters — “A Little Bit Of Soap b/w I’m Gonna Get Him Someday” — Bang 515, Mr Berns reworked the old Jarmels 45 (Laurie #3098), in fine fashion and Brenda pulls off a great interpretation. The very next 45 release saw the group gain favour a few years later albeit 3000 miles away when The Exciters — “Weddings Make Me Cry b/w You Better Come Home” — Bang 518 was picked up by DJs on the emerging Northern Soul scene in UK. With its infectious beat, chanking guitar, and once again Brenda leading the group vocally from the front with her tale of love’s betrayal it was a founding 45 for a scene developing on mis-hit 45 imports and despite Mr Bern’s involvement it sank without any real impact in the US.

Alhough recognition via the Billboard Hot 100 was sporadic for their 45s, they did however score some recognition when they featured on the soundtrack of a number of movies over the years including, “Bikini Beach” in 1964, The Big Chill” in 1983, “My Best Friend’s Wedding” in 1997 and “Monsters Vs Aliens” 2009.
A move to Bang subsidiary Shout Records saw them release two 45s on the logo, both of which have gained plays over the years on the Northern Soul turntables. The Exciters — “Number One b/w You Got Love” — Shout 205 is great dancer co penned by Herb and the flip of The Exciters — “Soul Motion b/w You Know It Ain’t Right” — Shout 214 is a superb outing full of atmospheric echo and of course Brenda dominates the vocal proceedings with a pitch perfect performance.
The sudden death of Mr Berns in 1967 affected The Exciters as it did many of his musical beneficiaries but they hooked up with producer Larry Banks at RCA the next year and it was whilst at the giant US record company that they recorded the ,“Caviar & Chitlins” — RCA 4211 album, which has long been held in high regard by soul fans, containing as it does the huge northern soul anthem ‘Blowing Up My Mind’ and the lesser-known and equally great dancer ‘Movin’ Too Slow’. Lifted off the album, The Exciters - “Blowing Up My Mind b/w You Don’t Know What You’re Missing — RCA 9723, was initially released in 1969 as a 45 on RCA and then again in 1972 as a legitimate re-issue with a different catalogue number due to the demand on the UK soul dance floors, where they had already latched on to the record.

Post-RCA, the Exciters released one more LP and a 45, following which the supporting vocalists who had added so much to the group’s sound, Lillian and Carol, retired. In 1975, looking for a record contract, they linked up with Ian Levine, where together, they came up with The Exciters - “Reaching For The Best b/w Keep On Reaching” — 20th Century 1005, which reached number 31 on the UK Pop Chart and is often held up as the controversial DJ’s finest Northern Soul production outing and put the Ex Mecca DJ on the road to becoming a successful record producer. When the record was released in the Netherlands he must must have been apoplectic when he saw the rather strange picture sleeve it was issued in!
On June 19th 1976 The Exciters appeared live on stage at Wigan Casino where they took the roof off. Probably taken aback by the sight of 2000 fans before them Herb and Brenda responded in kind and the Allnighter went down in the annals of Northern Soul folklore. The Exciters furnished the Northern Soul scene with two iconic 45s, a legacy of great dance music and what is regarded by many as one of the best live performances ever by a soul act in UK. It’s a pleasure to see them as inaugural Inductees into our Northern Soul Hall Of Fame.
Kevin Horsewood & Dave Moore 01 November 2014
Notes and References:
Many people think the Exciters’ version of Tell Him is the original outing but it was in fact originally recorded by Gil Hamilton (aka Johnny Thunder) just prior and released on Capitol #4766 Acknowledgement to Dave Rimmer's website at www.soulfulkindamusic.net Acknowledgement to There's That Beat! Archives www.theresthatbeat.com Acknowledgment to www.cat45.com Discography :

United Artists Records
Tell Him b/w Hard Way To Go - 544
He's Got The Power / Drama Of Love - 572
Get Him / It's So Exciting - 604
Do Wah Diddy Diddy / If Love Came Your Way - 662
We Were Lovers (When The Party Began) / Having My Fun - 721
We Were Lovers (When The Party Began) / Having My Fun - 830
Roulette Records
I Want You To Be My Boy / Tonight, Tonight - 4591
Are You Satisfied / Just Not Ready - 4594
My Father / Run Mascara - 4641
There They Go / I Knew You Would - 4632
Bang Records
A Little Bit Of Soap / I'm Gonna Get Him Someday - 515
Weddings Make Me Cry / You Better Come Home - 518
Shout Records
You Got Love / Number One - 205
You Know It Ain't Right / Soul Motion - 214
RCA Records
If You Want My Love / Take One Step (I'll Take Two) - 9633
Blowing Up My Mind / You Don't Know What You're Missing ('Til It's Gone!) - 9723
Blowing Up My Mind / You Don't Know What Your Missing ('Til It's Gone!) - 1035

hall of fame

By Dave Moore in Articles · November 8, 201410 yr

After a few weeks of running both the poll and the reviews thread think its time to have a quick scoop up of the results/reviews that have been going on here since the films release.
The Soul Source view comes from a online poll of over 300+ members and the result after 3 weeks is a rating of..
3.7 out of a possible 5
Quite a journey to the end product really, with word first showing on here around 2010 [see below for link] and then the exclusive ahead teaser and interview in 2012 [see below for link]
Anyway the poll can be viewed and discussed here

While all can view more in-depth reviews and talk from many members here

4 and a half years of fun - hopefully there be a bit of a wait till the next dance

By Mike in News Archives · November 8, 201410 yr

Date Of Induction : 01 November 2014 Category: Pre Production

Andrew Alexander Terry was born in Hempstead , Texas , in July 1940. By the time he was eight years old the family had moved permanently to Detroit, Michigan. After attending Elementary School , Terry attended Cass Technical High School on the downtown west side of the Motor City , where he studied music properly for the first time ."I took up the baritone sax , because no one else wanted to play it" he explained to Rob Moss in conversation during the 90's. He became so proficient playing the baritone, that by the age of 18 he was sitting in on recording sessions with Berry Gordy at United Sound Studios in Detroit, his first session being in the late 50's. He was soon recruited by Richard ‘Popcorn’ Wylie for his band Popcorn And The Mohawks, along with future ‘Funk Brothers’ Eddie Willis and James Jamerson, plus Lamont Dozier and Norman Whitfield, who would subsequently become legendary Motor Town producers of the future. One of the first releases to feature Mike, was Popcorn and the Mohawks - "Custers Last Man b/w Shimmy Gully” - Motown 1002 on the Motown imprint.

Mike was retained by Motown after Popcorn departed West Grand Boulvard in 1961, and up until 1967 was to feature on thousands of Motown recordings with his trademark baritone sax teasing the listener until the ‘middle eight’ where it would break out in a uniquely trademark style. Great examples of his style can be found on cherished recordings such as, The Isley Brothers - "This Old Heart Of Mine ", The Supremes - "Love Is Like An Itching In My Heart”, Kim Weston - "Helpless", The Four Tops "Something About You " and countless more. He also toured with Joe Hunter's band, backing Jackie Wilson and was a member of the first MotorTown Revue. His real musical heart though was happiest in the recording studio and by 1963 he was an integral member of the Berry Gordy’s Motown House band that we came to know and love as ‘The Funk Brothers’, often recording up to 25 songs a week.

As is the case with many truly creative and talented people, Mike became frustrated with the constraints of just playing his baritone sax at Hitsville, tied by Berry Gordy's ‘single role’ rule that was imposed on most of the musicians there, where they weren't rarely, if at all, allowed to partake in writing, producing or arranging, so he enrolled at the Detroit Institute Of Performing Arts, to study music arrangement and, whilst ‘Moonlighting’ at other studios around Detroit, in common with the other Funk Brothers, helped to create many classic records that would become so beloved of the Northern Soul scene .

By 1965, Terry had struck up a close friendship with fellow Funk Brother and Vibraphonist Jack Ashford and they began to make plans to write and produce records of their own, after playing together on sessions at Ed Wingate’s famed studios that brought forth the fantastic Ric Tic and Golden World outings, with recordings like The Parliaments - "Heart Trouble", Laura Lee — “To Win Your Heart", The Adorables - "Ooh Boy”, The Fantastic Four - "Can't Stop Looking For My Baby", all the big Edwin Starr classics and countless other standing out classics. It was whilst undertaking sessions for Wingate’s company that Mike became one third of the legendary Geo-Si-Mik team at Golden World, George Clinton and Sidney Barnes being the other members of this creative team that wrote, arranged and produced a series of classics that would form the foundation of Wingate’s emerging rival to Motown.

By 1966, Mike and Jack Ashford had set up Pied Piper Productions, which was a musical meeting of the minds, with Terry producing while Ashford penned the songs, often accompanied by Lorraine Chandler. A huge body of quality danceable Soul music was to follow, it's legacy still being enjoyed today via Ace /Kent's issuing of previously unheard sides from the vaults of Pied Piper master tapes .Several tracks by September Jones - "Stuttering Sam", "Voodoo Mademoiselle", "Chink A Chank Baby" and "You Better Know Why", Nancy Wilcox’s fantastic driving, "Gamblers Blues" and "He'll Be Leaving You", Willie Kendrick's thunderous version of The Metros - "Time Changes Things", The Cavaliers - "We Go Together" have been aired at The 100 Club, the longest running soul club in the world to much acclaim. Separate deals were set up with various labels locally and nationally during its short life span to release Pied Piper product, RCA was the main benefactor, issuing classic sides like Willie Kendrick - "Change Your Ways", Micheal and Raymond - "Man Without A Woman", Lorraine Chandler with 3 superb releases "I Can't Hold On", "I Can't Change" and "What Can I Do", The Metros -"Since I Found My Baby" plus a great album "Sweetest One ", The Caveliers - "Hold To My Baby" and many more from the vaults tracks ,by Artists including Lorraine Chandler , The Metros ,Willie Kendrick , The Dynamics , etc .

Other standout tracks bearing the Pied Piper name worth highlighting were the brilliant Karate imprint double headers, "Tony Hestor — “ Just Can't Leave You b/w Watch Yourself" — Karate 523 (Giant707) and Mikki Farrow — “Set My Heart At Ease b/w Could It Be — Karate 524. The Giant logo would also deliver, Mike and Ray — “If Only You Knew b/w Private World Of My Own” — Giant 706, all three of these became dance-floor favourites and the releases are still very much sought after. It wasn’t just the 45 format that Pied Piper excelled at, the company released a trio of iconic albums of soul music that are often held up as the best LPs of Northern soul you can enjoy. On the Kapp logo, The Hesitations - "Soul Superman " and Freddie Butler — “A Dab Of Soul"- and on the RCA logo The Metros”- Sweetest One (RCA)

Between 1965 and 1967, when he finally left Motown for good and stopped playing his famed baritone sax, Mike was involved in a huge body of work , either playing on tracks , or using his arranging and producing skills to full effect , which would deservedly earn him legendary status. As well as playing on tracks in Detroit such as "Open The Door To Your Heart b/w Our Love Is In The Pocket" - Darrell Banks — Revilot 201, what is arguably the greatest instrumental track ever played at soul clubs, Doni Burdick "The Bari Track b/w I Have Faith In You" - Sound Impression 6807, the simply but effectively produced Patti Young - "Head And Shoulders b/w The Valiant Kind" - Ernstrat 495 , the driving Margaret Little - "Love Finds A Way b/w - Genebro, the dancefloor filling Betty Boo - "Say It Isn't So " —Unissued until the UK Grapevine release (#125) ,Marvin Jones’ impassioned Jack Montgomery — “ My Dear Beloved b/w/ Do You Believe It"- Scepter 15152 , the juggernaut-like Just Brothers — “Carlena b/w - She Broke His Heart” - Garrison 3003, and the stone classic double sider, The Capitols - "Cool Jerk b/w Hello Stranger” — Karen1524, the list is endless .....Mike was also gaining work further afield in Philadelphia and Chicago especially, either in a playing capacity, arranging or sometimes both.

With Philly acts such as Moses Smith, he played baritone on the mega classic "Girl Across The Street b/w Hey Love I Wanna Thank You — Dionn 508, Yvonne Baker " I Can’t Change b/w Mend The Torn Pieces - Junior 1010, several Volcanos sides on Arctic including "The Laws Of Love" and "A Lady’s Man", it’s Mike’s saxophone that graced the million selling 45 that launched the early MFSB musical group to national prominence with Cliff Nobles - "Love Is Alright b/w The Horse” — Phil LA Of Soul 313 and whilst the label may say Philadelphia, the sound says Detroit on The Rotations — “Put A Dime On D-9 b/w Instrumental" — Frantic200, and two of Philly’s most iconic 45s bear the skills of Mr Terry. The Showstoppers " Ain't Nothing But A House Party b/w What Can A Man Do — Party Time 1002 and the archetypal Philly rarity, Larry Clinton- “She's Wanted In Three States b/w If I Knew" — Dynamo 300.

In Chicago, Mike would also contribute heavily to that city's soul musical landscape that elevated the Windy City's status for worldwide soul fans, playing on records like Gene Chandler - "Mr Big Shot b/w I Hate To Be The One To Say" — Constellation 172 and The Fascinations - "Girls Are Out To Get You b/w You’ll Be Sorry"- Mayfield 7714. He would return to the Windy City later to team up with Jo Armstead and record some memorable sides on labels such as Revue and Giant , artists like Ruby Andrews "Just Loving You", Little Jimmy Scott "It Rained 40 Days And Nights b/w Do You Get The Message” - Giant 708 , Jo Armstead - "I Feel An Urge Coming On b/w I Who Love You So — Giant 701 , Garland Green - "Girl I Love You b/w It Rained 40 Days And Nights” — Gama 103 (Revue11001)] ,not forgetting a fabulous album on UNI " Jealous Kinda Fella " , plus Rhetta Hughes " Relight My Fire " set on Tetragramation , featuring some wonderful mid tempo sides , including the brilliant "Cry Myself To Sleep" .

In December 1967 , Epic Records A & R Vice President Dave Kapralnik announced that Mike Terry had been signed as Staff Arranger and Producer .Classic sides from this period are The Little Foxes " Love Made To Order " [ Okeh ] which was the first time Mike had arranged strings .Other classics on Okeh by Johnny Robinson - "Gone But Not Forgotten" and Sandra Phillips - "I Wish I Had Known" soon followed. A great album from this period is the Maxine Brown "Out Of Sight" set on Epic, on which Mike collaborated which the highly talented Bridges /Knight / Eaton team, (otherwise known as The Brothers Of Soul). Essential tracks on this LP are "Don't Leave Me Baby" ," Just Give Me One Good Reason" and "Seems You've Forsaken My Love", which was also issued as a 45 .

By now Mike Terry was in huge demand all over the USA travelling all over from New York to California to cut sessions .As he explained to Rob Moss " If I went to New York I would use Richard Tee ,in California I'd use Joe Sample and all the musicans there " .As the 60's ended he became Musical Director for a Broadway musical " Big Time Buck White " in New York , featuring Muhammed Ali , and Bill Cosby's 23 piece orchestra director during a stint in Las Vegas .Into the 70's and Mike found himself in Atlanta working with Dave Crawford on two Mighty Clouds Of Joy albums .This led to him re locating to Atlanta where he worked with Loleatta Holloway on her classic Aware albums, and Etta James .By 1976 Mike had moved again , to New Jersey , hooking up with Sylvia Robinson at All Platinum studios and cutting The Dells with their "No Way Back" set on Mercury ,which includes a personal fave "Life Is The Time".

Mike continued to work in the music business until the late 70's , but then stepped out of the picture to spend more time with his family , becoming a lorry driver for a while during the 90's. My great friend Rob Moss hooked up with him during this time and took him back to the Motown studios in 1993, the first time he had returned, since he left in 1967. Mike eventually returned to live in Detroit for the remainder of his life, where he sadly passed away on 30th October 2008. Thankfully, before he passed away, Mike Terry did eventually realise that his life's work was revered by a whole world-full of soul fans and when looking round for people to consider for the inaugural Inductees to our Northern Soul Hall Of Fame Mike Terry came top of the list.

Eddie Hubbard & Dave Moore : 01 November 2014.

Notes and References:

1. Acknowledgment to Rob Moss article: Mike Terry, Sax God: Manifesto Magazine.
2. Acknowledgment to Keith Rylatt's book - Groovesville USA.
3. Acknowledgement to There's That Beat! www.theresthatbeat.com
4. Acknowledgement to soulfuldetroitforum

Discography:

Below are some key examples of Mike Terry Baritone sax performances featured on 45s produced by Berry Gordy's Motown stable of labels.

The Velvelettes - Let Love Live
The Four Tops - Something About You
The Four Tops - I Can't Help Myself
The Four Tops - It's The Same Old Song
The Originals - Suspicion
Jnr Walker - Shotgun
Jnr Walker - Roadrunner
The Temptations - I Gotta Find A Way To Get You Back
The Supremes - Love Is Like An Itching In My Heart
The Supremes - Don't Let True Love Die
The Isley Brothers - This Old Heart Of Mine
Kim Weston - Helpless
Marvin Gaye - Baby Don't You Do It
Martha Reeves and Vandellas - Heatwave
Jimmy Ruffin - He Who Picks A Rose
Martha Reeves and Vandellas - In My Lonely Room
The Supremes -[ I'm So Glad ] Heartaches Don't Last always
Stevie Wonder - I Want My Baby Back
The Four Tops - Something About You

Below are some examples of records touched by the magic of Mike Terry, either playing his baritone sax, arranging, producing, sometimes all three.The list is in no way complete, new examples are coming to light all the time, such was the intensity of his workload and creativity .

JJ Barnes - Sweet Sherry [ Stax ]
Melvin Davis - I Must Love You [ Groovesville ]
Lorraine Chandler - What Can I Do [ Giant / RCA ]
Emanuel Lasky - I'm A Peace Loving Man [ Thelma ]
Luther Ingram - Exus Trek / If It's All The Same To You Babe [ HIB ]
Doni Burdick - The Bari Track [ Sound Impression ]
Valentinos - Sweeter Than The Day Before [ Chess ]
Edwin Starr - You're My Mellow / My Kind Of Woman [ Ric Tic ]
The Fantastic Four - Gonna Live Up To What She Thinks [ Ric Tic ]
Thelma Lindsey - I'll Bet You [ Golden World ]
The Chalfontes - He Loves Me [ Mercury ]
Patti Young - Head And Shoulders [ Ernstrat ]
Deon Jackson - Thats What You Do To Me [ Carla ]
Deon Jackson - I Need A Love Like Yours [ Carla ]
Barbara Lewis - The Many Grooves Of ....[ Stax / Enterprise ]
Cody Black - It's Our Time To Fall In Love [ Gig ]
Sonny Allen - Your Love Was So Wonderful [ Hit Pack ]
Yvonne Vernee - Does He Love Me Anymore [ Correctone ]
The Volcanos - Laws Of Love [ Arctic ]
The Rotations - [ Put A Dime On ] D- 9 [ Frantic ]
Gene Chandler - Mr Big Shot [ Constellation ]
Darrow Fletcher - What Good Am I Without You [ Jacklyn ]

By Dave Moore in Articles · November 7, 201410 yr

Date Of Induction: 01 November 2014 Category: Male Vocalist

Edwin Starr’s name will always reverberate wherever soul music is discussed. His story is a typical one of talent v circumstance and although he made a good living from his vocal skills he will always be remembered in his homeland for the one song that, in 1970, pushed him into the national spotlight, Edwin Starr — “War b/w He Who Picks A Rose” — Gordy 7101. But as any self respecting fan can tell you, there was so much more to the man’s career than this one song.

Edwin Starr was born in Nashville, as Charles Edwin Hatcher on 21 January in 1942. His father, a serviceman, was constantly on the move, but the family finally settled in Cleveland, Ohio when Charles was three years old which is where the young future soul icon first developed his interest in music. Having attended Cunard Junior High School it was as a student at the city’s East Tech High School, that Charles became a member of his first group, The Futuretones. As Philadelphia cornered the market in the 'bird' group names, so it seems that Cleveland groups had a penchant for the 'tones'' in their names and The Futuretones group name being derived from an existing local group. The Metronomes that had already established itself and looked like it may gain national recognition when they secured a recording contract with the Reserve label owned by local entrepreneurs Sandy Beck and Henry George. Unfortunately The Metronomes would struggle to get past a couple of releases but their lead vocalist was a certain Mr Sonny Turner, who of course went on to become the voice of The Platters on their Popcorn Wylie-Tony Hester penned classics. Another 'tones' group of the day that was blazing a musical trail from Cleveland was the multiracial outfit, Dave and The Sharptones.

The Futuretones set about rehearsing and eventually put an act together that gained them winners trophies in local competitions leading to employment on the local Cleveland club circuit. The group were self sufficient in hat many of the groups of the day were harmonisers whereas The Futuretones comprised their own musical team consisting of Russell Evans (guitar), Gus Hawkins (sax), Pinhead (trumpet), Julius Robertson (bass), and Brownie (drummer). (1) The group improved with every performance, winning a number of competitions against their rivals and once they had High School graduation behind them in 1956, were keen to develop their musical careers playing all the local hotspots of the day with such fantastic sounding names as The Chatterbox, The Lucky Strike and The Majestic Hotel, which was the location that future Temptations, Eddie Kendricks and Paul Williams would develop their friendship alongside that other future Northern Soul icon, Kell Osborne.

Having won numerous talent competitions and gained something of a following, the young aspiring group were invited to perform on the area’s premier TV talent show, The Gene Carroll Talent Show that aired on WEWS on Sundays and would eventually reach the milestone of 25 years of continuous shows. The group secured a recording deal around the same time and a solitary single, The Futuretones — “Roll On b/w I Know” — Tress TR1 is the groups only vinyl legacy. The top side is a rock n roll outing with the customary guitar solos and to be honest sounds like a hundred other songs from the same time. The flip however is a doo wop inspired ballad on which the young Charles and the rest of the group get a chance to highlight their combined vocal talents.

Uncle Sam now required Charles to do his duty and for the next two years Charles untilised his singing ability to entertain his fellow troops, both at home and in Europe where he US military still deployed a large military force in what was then West Germany. In his discharge in 1962 looked to resume his singing aspirations with The Futuretones but on realising the impetus had dwindled, cut his losses and accepted a position with Bill Doggett’s show band, a position he stuck with for the next couple of years. Eventually feeling that he needed to kickstart his solo career he moved on but not before being advised by Don Briggs, Bill Dogett’s manager that he should undergo a name change. Briggs was convinced he young vocalist had it in him to become a star and suggested a play on that theme. With Charles utilising his middle name his alter ego of Mr Edwin Starr was born. His introduction to Ed Wingate, the Detroit businessman who also owned Golden World studios came via one of his last appearances with Bill Dogget’s outfit, an appearance at the legendary 20 Grand in Detroit. In the audience that night was Lebaron Taylor, local DJ and musical impresario who was struck by the vocalists and arranged a session at Golden World. Whilst singing with Doggett’s band, Mr Hatcher had laid the foundations of a song that took advantage of the popular spy themes of the era and it was this song that they selected to be his first solo release on Wingate’s Ric-Tic label. Little did they realise that the song would capture the imagination of a group of fans in UK and become one of the 45s that started a whole musical movement known as.... Northern Soul.

The opening salvo of Edwin Starr — “Agent 00 Soul b/w Instrumental” — Ric Tic 103, delivered by Motown’s moonlighting Funk Brothers is nothing short of monumental. The deep rich bass sets the beat whilst the horns and vibes draw you in. The backing voices atmospheric, single phrased sentence, “Agent Double O Soul”, paves the way for a tinkling piano to introduce the man himself who, once he's let you know that he, “digs rock n roll music”, delivers one of the all time great soul performances of Detroit’s mid sixties golden era. Co-written by LeBaron Taylor under his nom de plume of B Sharpley, it’s a great example of the sound that Taylor would eventually develop alongside his musical partner Don Davis with their Solid Hitbound Productions. The release became an instant local smash and eventually climbed the Billboard Hot 100 peaking at #21 whilst it nestled at a very respectable #8 on the RnB equivalent. All this despite having to be reissued as ‘Double-0-Soul’ due to some DJs not being able to work out the correct pronunciation of the title! Following this initial success, Ric Tic, Taylor and Edwin Starr seduced the record buying public with a series of releases that helped Wingate’s company develop enough chart action for Berry Gordy to look over his shoulder with a certain amount of trepidation.

The next release, Edwin Starr — “Backstreet b/w Instrumental” — Ric Tic 107 continued the developing Solid Hitbound sound with another Starr/Taylor penned uptempo outing full of crashing drum fills, angelic backing singers, burping sax interlopes and, right in the centre, is Mr Hatcher’s unique impassioned, expressive vocal, displaying what made him what he was as he chastises the staid folks who live on Main Street and his preference for the more fun loving folks on the backstreet! Although not matching the success of the first outing, it nevertheless just missed out on a Top 30 RnB slot, stalling at #33. If proof were needed that Starr, (and Wingate’s Ric Tic logo), were here to stay, it came with the next release.

Edwin Starr — “Stop Her On Sight, (SOS) b/w I Have Faith In You” — Ric Tic 109, it could be argued is the pinnacle of his Ric Tic period. All his releases feature a fanastic hook be it the embedded in the music or in the lyrics and this performance probably highlights that characteristic more than any other with its distinctive piano riff mimicking the emergency mayday morse-code of Save Our Souls. As fantastic as this top of the range dancer is with its uptempo, heavy drum and bass line, wonderfully aggressive sax and atmospheric backing of ‘doo doo doo do dos’ accompanying Edwin’s magnificently hot blooded presentation of his lament over his losing his ‘baby’ is, for many the flip is actually Edwin’s all time greatest performance. In fact, it’s a product of the amalgamation of the era's premier music makers and each one of them proving to be, at that moment in time, right at the top of their game.

From the menacing, rumbling piano , that diminishes as the powerful drum and string combo announce the opening “I Have Faith In You Baby” which is delivered by a note perfect angelic set of backing singers, the song simply oozes quality right out of its musical starting blocks. Edwin’s story of blind devotion to his girl, despite the warnings from those around him, is told in just about as an impassioned, heartfelt way as it ever could be. Although a second version of the song appeared a little later on the flip of Doni Burdick — “Bari Track b/w I Have Faith In You” — Sound Impression Records 6808 and even accepting that Mr Burdick did indeed do it credible justice, it pales against the maestros original. When fans of Detroit’s soulful musical landscape gather together, inevitably the songs that get the heads nodding in appreciation are songs like this. Timeless, great musicianship, great production, fantastic song sung by a fantastic singer. The attribute of real musical excellence is when it all sounds so effortless... never has the adage, 'form is temporary but class is permanent', been so pertinent than when appreciating the performance on his particular 45. The ‘SOS’ side dragged Edwin back into the Hot 100, delivering a Top 50 spot (#48) alongside a #9 on the RnB chart. Probably more significant to UK fans is that it put him on the Top 40 radio playlists when it peaked at #35. Mr Starr had a 1966 hit in UK and he headed there to make the most of it. Back in Detroit though you could hear Edwin's vocal tribute to local WKNR radio DJ, Scott Regan "Scotts on Swingers, on the Radio, Scotts on Swingers, on the Radio!" a version he'd recorded over the SOS backing track. Regan was an influential radio broadcaster who would later host 'Motown Mondays' at a local night hot spot :The Roostertail and I guess a little mutual backscratching wouldn't go amiss eh?

As well as touring UK that year, Edwin Starr enjoyed a significant boost back home too, having been involved in three other successful chart breaking singles. In March that year a white group from Livonia Michigan, under the guidance of John Rhys-Eddins, (co writer of Tobi Legends — “Time Will Pass You By” — Mala 591), had recorded and released one of Edwin’s songs and The Shades Of Blue — Oh How Happy b/w Little Orphan Boy - Impact 1007 and had rocketed up the Hot 100 to #12. Mr Starr now had a smash a songwriter too. In addition to this, Ric Tic released his next single, Edwin Starr — “Headline News b/w Harlem” - Ric Tic 114, which also saw him Hot 100 chart-bound, albeit a lowly #84 and #35 RnB. To round of a cool hat-trick of 1966 hits, Golden World released a song by a Detroit group named The Holidays that Edwin had overdubbed vocal on, and The Holidays — I’ll Be Loving You Forever b/w Making Up Time — GW 36, hit the #63 Pop spot whilst climbing to very respectable #7 RnB, delivering Edwin’s highest RnB success to date. The end of 1966 saw the release of Edwin Starr — “Girls Are Getting Prettier b/w It’s My Turn Now” — Ric Tic 118 and, two catalogue numbers later, as 1967 dawned his fantastic, and much sought after double sider, Edwin Starr — “My Kind Of Woman b/w You’re My Mellow” - Ric Tic 120, was made available.

Edwin’s Starr’s own star was on the rise, a successful singer and songwriter with a developing fan base and part of a record label hat was helping establish Detroit as he go to place for soul music. As he returned to the US and took up an engagement at New York’s famed Apollo Theatre little could he have suspected that that success was about to snatch the rug from under him. Berry Gordy’s house band that were responsible for laying down the tracks that formed his company’s “The Sound Of Young America” were undertaking covert sessions outside of Motown on West Grand Boulevard and that included the majority of the output eminating from Golden World studios. Gordy’s decision to stifle any competition meant that when he made an offer, which was accepted, to Ed Wingate, his biggest rival, Golden World, its masters and artist roster as well as the studio were transferred to Motown.

For the next couple of years Edwin’s wrangles with Motown would stifle his contribution o his output somewhat. A victim of Gordy’s existing A&R stable, Edwin found himself having to compete with the established and chart topping act and in the melee was seen simply another singer. I guess in a way Edwin could have been luckier than some even despite this as none of the artists that were absorbed by Motown from Golden World except Edwin had any real success. Although unhappy at being shunted to a rival company, Edwin set out his musical stall, relying on his strongest asset, his deep rich and soulful voice. His first releases for his new label Gordy, saw him teamed with different producers including Norman Whitfield who had Edwin record a couple of his own penned songs that gained a release back to back with Edwin Starr — “I Want My Baby Back b/w Gonna Keep On Trying ‘Til I Win Your Love” — Gordy 7066.

In 1967 however, with the company’s promotion efforts concentrated on their Big Five (Temptations, Four Tops, Supremes, Mavin Gaye and Stevie Wonder), Edwin’s outings kinda got lost in the musical shuffle resulting in his next couple of releases also missing out on any chart success. 1968 looked like it may well be just as bleak in terms of he Hot 100 as, Edwin Starr — “I’m The Man For You Baby b/w My Weakness Is You” — Gordy 7071, also failed to obtain any national sales. That didn’t stop fans a continent away from discovering the fantastic Whitfield produced dancer on the flip though, a great uptempo tale of unbridled love set over the Funk Brothers metronome like track that put Edwin and The Motown Sound in real harmony for the first time. His Soul Master LP (Gordy #931), a mix of his old Ric Tic outings sprinkled with a few Motown recorded songs appeared on record store shelves but that too could impact any chart of note.

Despite Edwin’s poor showing chart wise, (his next outing, an up-tempo raucus version of Smokey’s classic, “Way Over There”, also bombed), he needed have worried. Just round the corner was a chance to display his raw talent and well as his song-writing skills. Observed by the folks at Motown performing a self penned song on the TV show broadcast from the famed 20 Grand lounge, they asked him to record it. Paired with Harvey Fuqua and Johnny Bristol, the production duo recommended a slight change to the intro to the song which, much to Edwin’s chagrin, of course gave them a co-writers credit. Edwin Starr — “25 Miles b/w Love Is The Destination” — Gordy 7083, put Edwin right back in the spotlight via a #6 placing on both the Hot 100 and the Billboard RnB chart. It also hit the Top 40 playlists in UK when it was released on the Tamla Motown label. A somewhat funkier style to Edwin’s earlier waxings, it highlights his evolving sound that would set him up as an individualistic performer at last within the Motown empire.

His later single Edwin Starr — “Time b/w Running Back and Forth” — Gordy 7097, would consolidate his reputation once more with Northern Soul fans, the A side delivering an up-tempo dancer that rammed dance-floors in the mid seventies whilst the flip, a wonderfully haunting mid tempo performance sat unannounced for more than a decade or so until ‘rediscovered’ by the DJ masses.

Looming over the horizon now was the song that would propel him into international recognition. Nestled on the Norman Whitfield produced Temptations LP “ Psychedelic Shack” (Gordy LP # 947), was a song that became a counter culture anthem of the times once Mr Starr had grabbed it by its musical horns, wrestled it to ground, beat it to death and breathed an incredible new zest of life into it. The 1970 release of Edwin Starr — “War b/w He Who Picks A Rose” — Gordy 7101, saw Edwin dominate the proceedings with a series of commanding ‘War...Uh!’ and powerful “Good God Y’all!”s as he poured soulful scorn on the futility of war. Powerful stuff indeed and rumour has it, that due to the US involvement in Vietnam the song was seen as too controversial to risk it as a single with The Temptations and so The Temptations loss was Edwin and ours’ gain and in addition to topping the Billboard Hot 100 Pop Chart he went on to win a Gammy Award for his outstanding performance. Edwin continued his career at Motown throughout the early 70s and his releases regularly skirted the lower echelons of the charts but without repeating his earlier success and despite a move to Gordy’s sister labels and the obvious quality of outings like the flip to, Edwin Starr — “You’ve Got My Soul On Fire b/w Love, The Lonely People’s Prayer” - Motown 1276, he felt his future lay away from Detroit. Reported to have given up any claims to royalty debts owed to him in order to leave the company, he looked around for new opportunities.

As his loyal fan base was over 3000 miles away in UK, he made the decision to trek to England and try his luck there. Detroit’s loss was UK’s gain and Edwin Starr continued a love affair with his UK fans that stretched back to the sixties when he’d appeared at fledgling Northern Soul clubs like The Twisted Wheel in Manchester. Although he had some further recording success with “Contact” and “Happy Radio” being picked up for plays on the Northern circuit, his real forte was in bringing the 60s sound of Detroit via his Ric Tic and Gordy Records to life on stage. He made regular live appearances throughout UK, both as a soloist and often teaming up with other past Motown or soul stars to create he heady days of 60s soul. A consummate professional, his stage presence was a great asset to him in UK and his humble off-stage personality and fan friendly demeanour man that he became a much loved and essential part of what became one of the most enduring music genres of all time. Fully embraced as, ‘one of our own’, Charles Edwin Hatcher sadly passed away 2nd April 2003 having suffered a sudden heart attack in his adopted town of Bramcote in Nottinghamshire.

From Detroit’s Solid Hitbound legend to UK Northern soul boy, Edwin Starr’s soulful journey began in Ohio, passed through the Motor City and came to rest in Nottinghamshire, England. His legacy is one of atmospheric, superbly delivered performances that have stood the test of time and still remain on lists of peoples all time favourite records and so, we ar proud to have Mr Charles Edwin Hatcher aka Edwin Starr as an inaugural Inductee in our Northern Soul Hall Of Fame.

Pete Swift & Dave Moore 01 November 2014

Notes and References:

(1) John Smith’s bio of Edwin Starr www.edwinstarr.info

Discography:

The Futuretones

I Know b/w Roll On — Tress 1-2

Edwin Starr
Agent Double 00 Soul b/w Instrumental — Ric Tic 103
Backstreet b/w Instrumental — Ric Tic 107
Stop Her On Sight (SOS) b/w I Have Faith In You — Ric Tic 109
Scotts On Swingers b/w Same Tic Tic 109X (Promo Only)
Headline News b/w Harlem — Ric Tic 114
It’s My Turn Now b/w Girls Are Getting Prettier — Ric Tic 118
You're My Mellow b/w/ My Kind Of Woman Ric Tic 120
Gonna Keep On Tryin' Til I Win Your Love b/w I Want My Baby Back — Gordy 7066
I Am The Man For You Baby b/w My Weakness Is You — Gordy 7071
Way Over There b/w If My Heart Could Tell The Story — Gordy 7078
Twenty-Five Miles b/w Love Is The Destination — Gordy 7083
I'm Still A Struggling Man / Pretty Little Angel — Gordy 7087
Time b/w Running Back And Forth — Gordy 7097
War b/w He Who Picks A Rose — Gordy 7101
Stop The War Now b/w Gonna Keep On Tryin' Til I Win Your Love — Gordy 7104
Funky Music Sho Nuff Turns Me On b/w Cloud Nine — Gordy 7107
Take Me Clear From Here b/w Ball Of Confusion (That's What The World Is Today) — Soul 35096
Who Is The Leader Of The People b/w Don't Tell Me I'm Crazy — Soul 35100
There You Go (Vocal) b/w/ There You Go (Instrumental) — Soul 35103
You've Got My Soul On Fire b/w Love (The Lonely People's Prayer) — Motown 1276
Ain't It Hell Up In Harlem b/w Don't It Feel Good To Be Free — Motown 1284
Big Papa b/w Like We Used To Do — Motown 1300
Who's Right Or Wrong b/w Lonely Rainy Days In San Diego — Motown 1326

The Holidays

I'll Love You Forever b/w Makin' Up Time — Golden World 36

Edwin Starr & Blinky
Oh How Happy b/w/ Ooh Baby Baby — Gordy 7090

By Dave Moore in Articles · November 7, 201410 yr

Date Of Induction: 01 November 2014 Category: Male Group

The Precisions singing group are enmeshed in Detroit’s golden era of soul music having actually had a record label established in the Motor City, specifically as a vehicle just for them. When high school friends Paul Merritt, Michal Morgan Willie Norris and Fred Shockley established the group in the early sixties little could they have imagined that the name of The Precisions would appear, (albeit a different line up), as a headline act on a different continent almost 50 years later, performing songs that had been tumultuously received by a legion of loyal fans!

After establishing the group, Fred Shockley decided to seek his fortune elsewhere and left the group which left a void that was ably filled by Arthur Ashford and it was this quartet that ventured into the recording studio having secured a tentative deal with Mike Hanks’ D-Town Records. The subsequent two 45s that Mike released sank without a trace insofar as sales and chart recognition was concerned but would, a few years later, become sought after outings by UK collectors with an insatiable thirst for Detroit mid-sixties soul. The first of these 45s, a 1964 release, The Precisions — “I Wanna Tell My Baby b/w My Lover Come Back” — D Town 1033 features two great mid-tempo, sweetish group sounds full of tight harmonies that have gained sporadic plays over the years and is extremely hard to find in any kind of decent playing condition which means it’s probably their most sought after collectors piece. Hanks followed it up with, The Precisions — “Mexican Love Song b/w You’re Sweet” — D Town 1055 which is a similar sound to their initial outing albeit a little more refined as Hanks developed his production and engineering skills. Neither of the 45s made any real impact (or money) and the group fell silent for a while as Mike Hanks developed his labels.

A move from D-Town to John Powers’ Sidra set up was facilitated by legendary producer Dale Warren in 1967 and it was soon after that that Dennis Gilmore arrived to take over from Paul Merritt who had decided to call it a day. Mr Merritt though had taken part in the initial recording session for their new label and was the original lead vocal on a song that would later come to identify the group’ sound so well. That particular cut wouldn’t make it to vinyl for another 40 years but more of that later. Shortly after Merritt’s departure, Willie Norris also looked to seek pastures new and was replaced by Ron Davis. The quartet now chose to add a fifth member, Mr Billy Prince, who was a former school mate of Dennis Gilmore’s and it is this line up of Michael Morgan, Arthur Ashford, Dennis Gilmore, Ron Davis and Billy Prince that would lay down the vocals that resulted in the five quintessential Detroit soul sides that were released on the Drew label that had been established specifically for them. With another legendary producer George McGregor now at the Drew production helm and fellow inaugural Inductee and equally legendary arranger Mike Terry also on duty the group set about creating their signature sound.

Straight out of the starting blocks the team launched a veritable monster! With Dennis Gilmore’s desperately pleading vocal leading the group, The Precisions — “A Lover’s Plea b/w Such Misery”— Drew 1001, combined the A side, a pleasant enough mid-tempo affair that gave the group an opportunity to harmonise to great effect but it was the flip that would blow people away over 3000 miles away on the UK’s Northern Soul scene. A full blown leviathan of a record it strings together all the fantastic signature components of the best of Detroit sixties soul scene when competing with Berry Gordy’s bourgeoning musical empire. A metronome inspired drum beat, a simple but highly effective rhythm guitar riff and horn section as tight as a duck’s chuff! Shove a few musical peaks and troughs in amongst the fantastic vocal mastery and hey presto...a classic in the making.

The second scheduled 45 for the group created one of Detroit’s most sought after 45s. Once recorded, The Precisions — “Sugar Ain’t Sweet b/w Why Girl” — Drew 1002 arrived back at Sidra having been manufactured off centre! A disaster in the making? Well not quite, as George McGregor had already made the decision to place Billy Prince’s distinctive vocal at the centre of the group supported by the rest of the guys’ voices in order to develop what became their signature ‘sound’. (1) He subsequently turned the potential drama into an opportunity to do just that and undertook another session resulting in The Precisions — “Why Girl b/w What I Want” — Drew 1002 replacing the damaged disc as Sidra’s second 45. As is usual in these cases a small number of the defective 1002 disc escaped the junk skip and have surfaced over the years revealing that “Sugar Ain’t Sweet” is in fact a great Northern Soul dance song and so it became something of a holy grail for Detroit collectors. The A side of the actual official 1002 release delivers another dancer that did solidify their ‘sound’ as required with signature drum fills, the chanking guitar and the odd break thrown in for good measure. The flip is a Dale Warren produced dancer that sounds a little weird to be honest and seems out of place with its darker overtones. It does however sound like it’s related to that other outing by Mr Warren, Ronnie and Robyn — “As Long As You Love Me” — Sidra 9011 and it wouldn’t surprise me to find out that it was recorded by the very same musicians and maybe even at the same session as the two labels were intertwined. ‘Why Girl’ slid into the Billboard RnB chart finally resting at #28 and made a respectable #39 on Cashbox’s equivalent.

Buoyed by the early success of the group, they solicited three of Motown’s songwriters and were subsequently furnished the song that would come to define their careers as far as many Northern Soul fans are concerned. The opening string arrangement to The Precisions — “If This Is Love (I’d Rather be Lonely)” b/w You’ll Soon Be Gone” — Drew 1003, that the group recorded at United Sound Systems studio on 5840 Second Avenue, is as poignant and mournful as just about any vocal you’ll hear. Instantly recognisable it became an anthemic intro to what became a huge ‘hit’ with UK soul dance-floors. It became the group’s biggest selling 45 reaching #60 on the Billboard Hot 100 and delivered the group a Top 30 RnB hit peaking at #28. Billy Prince’s vocal on the song, which weaves a tale of love’s betrayal in amongst the spiralling “Aahs” from the guys and the swirling string and piano combinations played by some of Detroit’s finest, creates some of soul’s finest moments. Billy Prince was a student of Chadsey High School on the West Side of Detroit, (the same school as Spyder Turner who was a school friend). (2) A fan of Ike and Tina Turner and Little Richard as a youngster, he came from a musical home, his father being a church organist/pianist who played at home a lot. Detroit’s Swing Time and eventually American Bandstand brought pop music into the Princes' home and influenced the young aspiring singer. All these influences come to fruition on his particular song, so much so that when Billy and the guys rehearsed the song on stage at The Prestatyn weekender in 2008 they blew folks away. The lead by Mr Prince and the vocal support from Dennis and Michael was indeed soul personified. (Michael had unfortunately had to miss the previous visit by the group). The flip of this iconic 45 is also worth investigating by those that file their 45s without checking flips. (We’ve all done it!). A moody, atmospheric mid-tempo dancer with just a hint of the funkier side of black music of the day.

As a matter of interest, "If This Is Love" received a contemporaneous issue in UK too as a 45, on the Track label (#604014) and also appeared on the LP the company issued of that included Al Kent's, "You Got to Pay The Price". In addition, the backing tracks to a couple of The Precisions outings also surface elsewhere, so the songs must have made an impact on people. A Jamaican born singer based in Canada used Bay Studios in Toronto to put his vocal onto “If This Is Love”, which saw a release as a B Side on the Canadian Arc label as, Eddie Spencer — “You’re So Good To Me b/w If This Is Love” — Arc 1206, which also picked up plays in UK resulting in a reissue on the Power Exchange label (#207) but with a different flip entitled “Power Of Love”, a song penned by Mr Spencer himself that had previously seen a release in its own right in Canada on the GoodGroove imprint (#5006). He'd maybe heard the song via the release on the Canadian Stone logo?

Meanwhile, in a Dallas, Texas studio named Sunset Studios, the co-owner of the largest black club in the US, Sam Coplin, was attempting to establish an entertainment empire around his artist management company and his Karma record label. Within his label’s A&R roster were Stemmons Express, a white group whose name was derived from the local Stemmons Expressway a major thoroughfare in the city. In a similar fashion to Eddie Spencer the group simply placed their vocals over an existing Precisions track, this time utilising, “Such Misery” but with different lyrics. The resulting 45, Stemmons Express — “Woman Love Thief b/w Love Power” — Karma 201 was a hugely popular dance-floor filler in the soul clubs of mid seventies UK. It was also re-released on Florence Greenberg’s Wand logo, (#1198) so it must have gained enough sales to garner some interest. Just how Such Misery came to the attention of Coplin I’m not 100% sure but he had lots of fingers in lots of musical pies and he was the main distributor for Detroit based Tri City Records whose head of promotion was none other than Choker Campbell.

Up next, release wise came two further dancers but this time as a quartet because they were without Ron Davis, who had decided to quit as he struggled with the now more concentrated Huey Fluke choreographed dance steps that the group were perfecting for their stage show. (3) The Precisions — “Instant Heartbreak (Just Add Tears) b/w Dream Girl” — Drew 1004, which was written by the group members, scraped only the bottom rung of the Hot 100 despite its obvious quality and failed to make the most of the success garnered by “If This Is Love”.

The final outing on Drew that bore the group’s name was The Precisions — “A Place b/w Never Let Her Go” — Drew 1005 and drew on the combined talents of three of the city’s musical royalty the Fred Bridges, Bobby and Richard Eaton aka The Brothers Of Soul. With a female spoken intro and its cleaner, fresher presentation, it’s a departure for the group but one that remains true to the group’s vocal strength which lay squarely steeped in harmonising around the one lead. The flip is fantastic. Once again a Bridges-Knight-Eaton penned song but this time the trio concentrated their efforts on a ballad, subsequently delivering a beautifully crafted slice of Motortown crossover as you’re likely to hear.

The group had resisted a move of label when Capitol had come a-knocking on the back of their success with, “If This Is Love” but with Laurie now distributing their records when Doug Morris, Laurie’s conduit to the group left for Atlantic Records the group moved with him. After two Jerry Williams, (Swampdog) produced 1969 releases on the Atco subsidiary failed, the group were let go and the guys, as a group at least, faded from the scene.

That wasn’t quite the end of the group’s vinyl output though as just prior to their first appearance at the Prestatyn Weekender in UK in 2006, JoeBoy Records struck a deal John Powers and issued an EP on the group which not only included a number of their already issued Sidra sides but included much lauded “Sugar Ain’t Sweet”. For their second appearance at the same event a couple of years later, JoeBoy again released Precisions material as an EP but his time also included the original studio cut of "Such Misery", with the lead vocal recorded by Paul Merritt. In addition JoeBoy released an album simultaneously which contained the whole catalogue of The Precisions Drew recordings.

The template of the musical story of The Precisions could probably be placed over a huge number of groups that saw their well produced but weakly promoted and distributed records flounder in the mass of weekly releases that swamped the US 45 market in the mid sixties but I wonder how many could compete, pound for pound with the quality of the groups outings? The Precisions delivered on all counts, from fantastic dancers to beautifully harmonised ballads and we are proud to have them as inaugural Inductees in our Northern Soul Hall Of Fame.

Dave Moore November 2014.

Notes and References:
Sleeve notes by Neil Rushton : The Precisions — Why Girl - Joeboy/Inferno EP 2008 Colton Thomas Interview with Billy Prince http://www.blogtalkradio.com/soul-fm/2009/11/20/billy-prince-of-the-precisions-1 Groovesville USA: by Keih Hylatt, Page 234. Dated 2010. Discography:

My Lover Come Back b/w/ I Wanna Tell My Baby - D Town 1033
Mexican Love Song b/w You're Sweet — D Town 1055
Such Misery b/w A Lovers Plea — Drew 1001
Sugar Ain't Sweet / What I Want — Drew 1002
Why Girl / What I Want — Drew 1002
If This Is Love (I'd Rather Be Lonely) b/w You'll Soon Be Gone — Drew 1003
Instant Heartbreak (Just Add Tears) b/w Dream Girl — Drew 1004
A Place b/w Never Let Her Go — Drew 1000
Into My Life b/w Don't Double With Trouble — Atco 6634
New York City b/w You're The Best (That Ever Did It) — Atco 6669

By Dave Moore in Articles · November 6, 201410 yr

Hello All,
We've just released the EP for Xiantoni Ari on Angel City Records. This is a clip of the upcoming 45 taken from the EP:

please visit our website to pick up a copy at:
http://www.angelcityentertainment.info/#!merc/c1yqi
Hope you all enjoy this release. Thanks for all the support. Truly appreciate it.
kinds regards
Mark
Angel City Records

By dowmam in News Archives · November 5, 201410 yr

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