Magazine

Soul Source music magazine feature.

New set of podcasts dedicated to the Stafford era.....

http://www.soulunderground.co.uk/StaffordTOTW/

First two podcasts online and feature two sets of Modern and Crossover Soul from Dave Thorley. Hopefully a set of Dave's 60's spins will be added tomorrow.

Download and enjoy....

By Chalky in News Archives · November 15, 201113 yr

An highlight post as Jo Wallace has just passed on word that the hotel for this long running event was thought to be sold out but it turns out that this is no longer the case and it does still have some vacancies for those who fancy a weekend down Margate!
Brief word on the event from Jo below
t the end of the month it's Soulgate on Sea which replaces this year's Soulgate in Southgate - in memory of Randy Cozens.
The dates are: Friday Nov 25th/ Sat 26th/ Sun 27th November.
There will be a soul night on the Friday 8.30 - late
There will be 'Southgate on Sea' - 1-7pm and a soul night 8.30 - late on the Saturday
There will be a chill on the Sunday from 3-7pm and a soul/ska night from 8.30 to midnight.
DJs TBC - let me know if you'd like to dj...
Let's make this 29th Soulgate a good 'un and collect plenty of dosh for Macmillans and my other chosen charity, Royal London Air Ambulance.
.
Full details of event, bookings etc can be read here
here's a few photos from past Soulgates via soul source members albums
(gallery searches pull up a fair few more)

By Mike in Event News · November 15, 201113 yr

Having been involved in the running of the Pembo for the last 5 years, I am sad to say that the December Soul night will be our last.
We have had several issues with the management particularly the finishing time and we feel that for that reason it has run its course. It is fitting that Soul Sam will be our main guest for our grand finale. I am pleased to say that I will be joined by Jem Brittin and Len Dopson who are throwing their hearts and souls into this last event with me. The 3 of us have put so much effort into the Pembo over the years by bringing the Country's top DJ's to Northamptonshire and are determined to bow out with a bang!

The good news is that the management have managed to get us an extension until 1 o'clock and a bar extension until 12.30 am..

As a thank you to all of our supporters we will be giving away a CD on the night with many of the tunes that have been played here over the years.

Once again a big thanks to everyone that has helped us and supported us over the years.

See you all on the 10th. Let's make it one to remember.

Atb, Steve.

ps We have a new venue in the pipeline for 2012 with dates already booked. Details coming soon.

By Steve Brown in Event News · November 14, 201113 yr

Posted on the event thread, words on both the Wilton just gone and also plans for 2012 from the team
Just woke up!!
Seem to sleep longer now Wilton finishes at 4.30am - must be an age thingy.
Wilton clashed with many other events this weekend and we expected to lose numbers, but what a great night. Lots of smiling faces and much merriment. The music was top notch.
Nice to see Gouch and friends making the long jouney north, and Colin and Jock making the long jouney South. Had great time catching up with Mr Billingham; I've known Dennis for about 40 years. He told me he likes the Wilton because he knows he's not going to be the oldest punter there - I think he was pointing to me and Mr Skidmore at the time!!!
Thanks to you all for making last night so enjoyable, yes we could have done with another 50 folk in the place but musically it was outstanding.
Andy was on top form spinning some great Chicago tunes which I hadn't heard before and will never have enough money to own - B*****d!!!! Something similar was going on with Andy and Mr Goucher which was very entertaining.
Thanks to all the Dj's who continue to play great sets and support the Wilton.
Thanks to our very own Wilton happy snapper Alison for taking countless megabytes of pictures of the night's proceedings - So be a good girl now Alison and don't forget to send them to me.
Hope to see you all in January on our first Saturday night at the Wilton - 9.00pm - 2.00am it may be, but it's a start in the right direction.
We hope to play more 70's and Crossover at the Saturday sessions to try get back some of our old regulars who have left us for other venues over the years and prefer not to do niters anymore. Let's see how 2012 goes.
Thanks again
Mouse & Boxy
wilton november thread can be read here
all allnighter lookbacks can be viewed

By Mike in Event News · November 13, 201113 yr

Mentioned in todays (Sunday) Twisted Wheel event post via the in house event guide
News that BBC Radio 2 have commissioned a company to produce a documentary on Northern Soul.
Scheduled for broadcast during late December 2011 apparently the show is being presented by Peter Waterman.
Have to say given the BBC's current dismal record of covering 'northern soul', it will be interesting to see if they actually come up with something worthwhile this time...
Twisted Wheel event post with further details - link below

By Mike in News Archives · November 13, 201113 yr

Looks like a few passed away lately...

Jimmy Norman died yesterday after a long illness and battle with his health.

http://www.jimmynorman.org/

R.I.P.

clip from above site

Jimmy Norman, after a long illness, died on Nov. 8 in New York City. When he left the Coasters after 30 years of performing, Jimmy was in poor health for over a decade. However, during this period, he recorded Little Pieces in 2004 and The Way I See It earlier this year. Those two records, produced by Kerryn Tolhurst, were among Jimmy's best work.
In addition to be a prolific performer, a great storyteller and a master musician, Jimmy was an old school songwriter from Nashville. He combined the best of soul and R&B, along with country and blues, and turned into a music of his own. He schooled a young Bob Marley, who at the time wanted to be an R&B singer, and was close friends with Jimi Hendrix...

clip from wikipedia

Jimmy Norman (August 12, 1937 - November 8, 2011) was an American rhythm and blues and jazz musician and a songwriter. In his early career, Norman had a charting single of his own, "I Don't Love You No More (I Don't Care About You)", as well as performing session work with Jimi Hendrix, but he is better known as a lyricist and songwriter.

He wrote the lyrics of the song "Time Is on My Side", which became a hit for The Rolling Stones,and later in 1985 re recorded and produced by Stephen Vanderbilt featuring "St. Tropez" as the A side of a 45 released on the album "Home" throughout Europe. Norman composed a number of songs performed by well-known musicians including Johnny Nash and Bob Marley. In 1969 he became involved with doo-wop band The Coasters, first as a producer and then as a touring member.

He was also recording independently, releasing a solo album in 1998, the same year poor health forced him to retire from performance. Like many other musicians of his time, he was not financially prepared for retirement or heavy medical bills, and with few royalties for his writing soon found himself in economic crisis.

With the assistance of charitable organization Jazz Foundation of America, Norman regained his feet and resumed performing, releasing his first wide distribution album in 2004,Little Pieces. He performed in the Manhattan area until shortly before his death.

more at
http://en.wikipedia....ki/Jimmy_Norman

By Chalky in News Archives · November 9, 201113 yr

Arrived back from Detroit yesterday with sad news Percy Williams from The Metros passed away . This was my main reason to go to Detroit to visit a dear friend , I managed to vist percy last thursday and although he could hardly speak he gave me a smile , it would have been percy's birthday later this week and his family was planning a birthday party but as myself and Burnley Dave was leaving Monday night so the family decided to bring it forward to sunday night but with in 10 mins of arriving on sunday Percy sadley passed away .. such a heart breaking experaince . My prayers and thoughts go to Percy's family ..RIP PERCY your music will live on .

added by site

By Hitsville Chalky in News Archives · November 9, 201113 yr

BROTHERS of SOUL in concert. Caribbean Centre, Coventry - 22nd October, 2011.

I'd like to nominate this performance as one of the '50 key landmarks in Northern Soul history' for a number of reasons, the least of which is my own involvement as a humble organiser. The outstanding contribution to our scene, as writers, producers and performers by the individual members of this group is reason enough.

These are the people who created 'Just loving you', 'Baby don't you weep' 'I am nothing' 'I got the power' 'Gone but not forgotten' 'Wish I had known' 'Don't turn your back on me' 'Wonderful nite' 'Never in a million years' plus scores of other songs for artists like Carl Carlton, The Devotions, The Two Fellows, Shirley Lawson, Maxine Brown, The Precisions, Chuck Bernard, The Masqueraders and many others - a veritable lexicon of top-flight material that has nourished and nurtured our scene for decades.

And then there is their own material - 14 solitary, yet significant, sides that stand up to scrutiny or surveillance against any other self supplying group in any and all modern decades.

The original trio of Bridges (Fred), Knight (Robert and/or Ben) and Eaton (Bobby) became a duo of Bridges and Eaton, through an unexpected combination of bureaucratic bungling and medical necessity on the other side of the pond, yet this adversity could not prevent a performance of legendary proportions.

For the first time at a 'live' Northern event, a four-piece string section augmented the horn led rhythm section ('The Funk 'n Soul Band') and, by a small miracle, a local professional singer, Johnny St. John, was recruited at the eleventh hour to assist with the vocals. The result was as close to an exact reproduction of the original recordings that has probably ever been heard on these shores, combined with a spine tingling delivery that brought many tears to many eyes.

The evening was made even more memorable by the glittering line up of top DJs that graced the decks - Eddie Hubbard, Cliff Steele, John McClure, Neil Rushton, John Manship and Mark Speakman delivered a voluptuous volley of Detroit dancers that set the perfect backdrop to the main event.

a few quotes

just wanted to say a BIG WELL DONE and Congratulations to everyone connected with bringing the guys over to UK.
I had a great night, culminating in a fantastic 15 mins with Fred and Bobby after the show. Like Eddie H said, we were like kids in a candy shop.
There's not many would have the balls to bring over an act like BOS. And to add the string section and then have the band play Bari Track in their opening salvo was a real ballsy decision by Rob.

can only echo the sentiments of others, great emotional night for everyone. Privileged to be in the company of two of the greatest singer/songwriting teams the Northern Soul scene has known

When I was given a copy of 'Come on Back' by the Brothers of Soul about 20 years ago as a present, I was really pleased, and it's always been one of my favourite records. But back then if someone had said, 'how about you get to see them perform live, but not only that, you get to rehearse and play in the band with them', I would have politely said 'haha, pull the other one'!
But it happened!

can view all comments made (and can add your own if there) via the event guide entry

More images can be viewed at Chris Watermans Soul Source Album

videos from Munchkin (Kev S)

More images from Flickr from Chalky

http://www.flickr.com/photos/crosseyedbear/sets/72157627958150060/

More images from Flickr by Seano

http://www.flickr.com/photos/seanosullivan/sets/72157627969283662/

By Rob Moss in Articles · October 27, 201113 yr

I searched to see if this was already mentioned but found nothing.

Kings Go Forth are playing in London on 7 November. Their only London date of the tour.

http://www.seeticket.../KINGS-GO-FORTH

added by site

press blurb

After spending years lamenting the lack of soulful vocal harmonies in the deep funk revival, Andy Noble (owner of Lotus Land Records in Milwaukee, WI) decided to bring back the sounds of the '70s. In 2007, Kings Go Forth was born, pulling together some of the best talent Milwaukee had to offer. The ten-piece lineup consisted of Noble on bass, Dan Flynn (guitar), Jeremy Kuzniar (drums), Dave Cusma (trombone), Jed Groser (trumpet), Dave Wake (keyboards), CecilioNegron, Jr. (percussion), and singers Danny Fernandez, Matt Nordberg, and Black Wolf. Putting their own twist on the funk/soul revivalism of Sharon Jones and Amy Winehouse, the band uses their trio of singers to resurrect the classic vocal harmonies of Philly soul.
upcoming shows:
Date Venue City
October 27, 2011 - Thursday Choice Cuts Dublin, Ireland
October 28 - October 30 Cork Jazz Fest Cork, Ireland
October 31, 2011 - Monday Vooruit Ghent, Belgium
November 2, 2011 - Wednesday UBU Club Rennes, France
November 4, 2011 - Friday People's Place Amsterdam, Netherlands
November 5, 2011 - Saturday Bal a Fives Lille, France
November 6, 2011 - Sunday Le Plan Ris Orangis, France
November 7, 2011 - Monday 02 Academy Islington, UK
November 8, 2011 - Tuesday Ancienne Belgique Brussels, Belgium
November 10, 2011 - Thursday Kaserne Basel, Switzerland
November 11, 2011 - Friday Cargo De Nuit Arles, France
November 12, 2011 - Saturday Cosmic Groove Montpellier, France

By Guest in Event News · October 25, 201113 yr

PIED PIPER AT THE 100 CLUB Pt2

Following on from our 32nd anniversary debut of the September Jones and Cavaliers tracks, we are proud to announce that new discoveries from the vaults of Pied Piper Productions will be played this Saturday Oct 29th at the all nighter.

New finds include the original version of Tony Hester's 'Just Can't Leave You' Karate 45, it's called 'Love Will Find A Way' by Harry Gates.

There is a different recording of Lorraine Chandler's You Only Live Twice with alternate lyrics, lead vocal and song construction.

Also the original version of 'I Miss My Baby' by Detroit session singer Telma Hopkins recorded a year before Rose Batiste's release with different lyrics and titled 'This Heart Is Lonely' and a stunning Pied Piper instrumental of the recently massive discovery 'Gambler's Blues'.

More finds are imminent but these four in conjunction with the September Jones and Cavaliers, should make it a historical and memorable occasion.

Ady Croasdell

By Ady Croasdell in Event News · October 24, 201113 yr

Soul Junction has a forthcoming 45 release lined up from The Coalitions - The Memory of You. As part of the info side of the release the site has been passed on this informative bio of their founding member, Philadelphian William Anthony Anderson who recorded and performed under the name of "Little Tony Talent"

Biography of Tony Talent

Little Tony Talent, the 12 year old singing sensation.Little Tony Talent (real name William Anthony Anderson) was born in Philadelphia on February 11th 1954. Tony first began singing as a member of the Hanna Elementary School, glee club.

At the age of 11, Tony through a friend of his mother's sister (Charlotte) was first introduced to local talent scout and promotion man, Gene Lawson. Lawson, who at the time was acting as Otis Redding's publicity agent arranged for Little Tony to open the show for Redding during his first appearance in Philadelphia at the cities Uptown Theatre. Tony backed by Redding's band captivated the audience with a rousing rendition of James Brown's "I Feel Good". Thereafter as part of Redding's touring show Tony would go on to perform in venues in and around Baltimore and Washington D.C.

In 1966, Lawson introduced his by now 12 year old, singing sensation Little Tony Talent to New York record producer and owner of Sue records Juggy Murray. Juggy was suitably impressed enough to sign Tony to one of his subsidiary labels, Symbol. Where under the tutelage of producer Jesse Herring Tony recorded "All That's Good Baby/Your Too Young" (Symbol 218) at the Cameo Parkway studios in Philadelphia.

During the following year, Lawson secured Tony a further recording contract with Vando Records in New York. The Vando label was jointly owned by Van McCoy and Douglas "Jocko" Henderson (With Vando being an amalgamation of both partners Christian names). Here Tony recorded "Gotta Tell Somebody (About My Baby)/Hooked On You" (Vando 3001) both sides where written and produced by McCoy (with both songs also being recorded by fellow Vando artist Chris Bartley).

Sadden by the tragic death of his friend Otis Redding, Gene Lawson took a break from the recording industry for a while (Lawson later returned in 1969 to form the Uplook label). With his mentor now gone Tony's burgeoning career was bought to a temporary halt.

At this moment in time everybody seemed to want to record harmony groups and after losing out in a few talent shows to such acts Tony decided that the best way forward was to form a group of his own.

So in 1968 with high school friends Alan Williams, Bruce Dunbar and Carl Smith, Tony formed a group known as the "Deltones".

Although later due to a similarity of names with another Philly harmony group "The Delfonics" a change of name was soon to follow. So in 1969 with the guys choosing a name that they thought was more relevant to the times they were living in, the Deltones became "The Coalitions". At this juncture Carl Smith left the group to be replaced by the late Dwight Mitchell.

The Coalitions were to record a song written for them by Wilbert Hart of the Delfonics entitled "Freedom" although this was reputedly never released.

Their big break came in 1974 when under the guidance of producer Michael Nise they recorded "Instead ... How Are You/I Don't Mind Doin' It (Instrumental)" for Leon Dunbar's local "Re Dun" label. Michael Nise was later responsible for taking "Instead... How Are You to Jamie/Guyden who picked up the release for national distribution on their Phil. LA Of Soul label (367).The Coalitions hit the road, touring the chitlin circuit to help promote their release. A second release (371) of "Instead ... How Are You" was issued in early 1975 this time dropping the instrumental flipside in favour of a vocal outing "Later Than You Think". The highlight of this period for the group was being invited to open a concert in Philadelphia for The Jackson Five.

After the Phil. LA Of Soul adventure closed The Coalition entered a barren period recording wise during which time Bruce Dunbar left the group. His position would later be filled by Bruce Fauntleroy, with a fifth member Stephen Ferguson also joining the group.

In circa 1980 with the group line up of Tony Anderson (Talent), Alan Williams, Bruce Fauntleroy, Milton Williams and Stephen Ferguson the Coalitions embarked on a vanity project to record the "Colour Me Blue" album. Although the project was completed, due to lack of finance the finished product was never issued.

The Coalitions are, from left to right:
Bruce Fauntleroy, Alan Williams, Tony Anderson (a.k.a Tony Talent), Milton Williams and Stephen Ferguson.

In 1982 Tony married Carmen raising their two children Antoinina and Laquia. Tony also has three other children Tony Jr, Shasaree and Shamia (now deceased) from a previous relationship.

It was at this point that Tony turned his back on a career as a full time performer to pursue a new career in the Banking Industry. He currently is in the employ of the Citizens Bank in Philadelphia (the U.S subsidiary of Royal Bank of Scotland).

Following a decade of inactivity Tony rediscovered his passion to perform once again. So in 1995 under the new group name of "Ol' Heads" Tony with former Coalition members Alan Williams and Bruce Fauntleroy and additional member Alfonso Smith recorded the "Before You Go" album.

The Late Donald Murphy was the producer on the "Before You Go "project. He also featured as a songwriter on the project along with Marty Sutton. The album was recorded at Gerald Levert's "Trevel" studio in Cleveland Ohio.

A further name change and album project followed in 2003 when under the pseudonym of "The Rheel Menn" the group recorded the "Keepin' It Rheel" album. The group had by now grown to six members with Tony McFarland and Leonard Deans (both former members of the group, Maximum Level) joining Tony Anderson (Talent), Bruce Fauntleroy, Alan Williams and Milton Williams (who later left the group).

Returning to the previously mentioned "Colour Me Blue" unissued album. After lying dormant in the can for circa 30 years it was recently rescued from obscurity by Soul Junction's Philadelphia A&R representative, Charles Anderson.

A lead 45 featuring two of the album tracks "The Memory Of You" and "On The Block" will be released for the first time in the fall of 2011 (release number SJ512) with the complete album appearing during 2012.

For upto date information and to hear sound clips of the 45. Please go to our website
:Release Info: http:// www.souljunctionrecords.co.uk or Releases Listing

David Welding

Acknowledgments:
Photographs: courtesy of Tony Anderson (Talent)
Little Tony Talent "All That's Good Baby" label Scan courtesy of Mark Dobson
Coalitions "Instead...How Are You" label scan courtesy of: Steve Guarnori
Editorial layout courtesy of Steve Lloyd

artists

By Louise in Articles · October 23, 201113 yr

Out now the latest 45 from Shotgun records
DEBBIE TAYLOR - Just Don't Pay (Long Version) / (Edit)
Shotgun Records
SHOT 110
Distributed by SELREC
Release date: 7 November 2011
SHOTGUN RECORDS
SHOT 101
DAVID SEA
Believe In Me / Let’s Just Get Together

SHOT 102
ROZETTA JOHNSON
You Better Keep What You Got / Mine was Real

SHOT 103
SAM DEES
Fool Of The Year / Train To Tampa

SHOT 104
EDDIE FLOYD
Missing You / You Must Have Been Dreaming

SHOT 105
SIR TED FORD
I Wanna Be Near You / Disco Music

SHOT 106
SANDRA WRIGHT
I Come Running Back / Please Don’t Say Goodbye

SHOT 107
RHETTA HUGHES
Cry Myself To Sleep / Giving Up My Heartaches

SHOT 108
DON VARNER
Power Of Love / Masquerade

SHOT 109
GLORIA LYNNE
I’ve Just Gotta Tell Somebody / I’m So In Love

SHOT 110
DEBBIE TAYLOR
Just Don’t Pay (Long Version) / Just Don’t Pay

SELECTA RECORDS
SSP 8001
SHEBA POTTS-WRIGHT
I Just Can’t Walk Away / Just For The Night

SSP 8002
BOBBY HUTTON
Twenty Years Later (Radio Edit) / (Long Version)

SSP 8003
SIMONE DE
Since I Lost You Baby / Show Me

releases

By Guest in News Archives · October 23, 201113 yr

stumbled on this
may float some members boats
let us know it do have a view

THE COVER ART OF STUDIO ONE RECORDS

Pre-order now here for special price of £20 (RRP £30)!

100% Essential Super Deluxe hardback 12x12" 200 page full colour book featuring hundreds and hundreds of killer Studio One album sleeves including loads of amazing rarities! Introduction by Steve Barrow.

In all good retail and internet stores from 2 Nov 2011.

A collectors' paradise of classics, rarities, alternate sleeves, silkscreen covers and more. This book is the bomb!

Check out this feature in the Quietus here.

By Mike in News Archives · October 22, 201113 yr

Bobby Womack in-demander now released on GO AHEAD

Just to let everyone know that GO AHEAD are proud to announce the third 45 release on the label:

TICK 003 BOBBY WOMACK "Home Is Where The Heart Is / Something For My Head" - LIMITED EDITION!

This third release from Go-Ahead Records revives and finally makes available Bobby Womack's anthemic 'Home Is Where The Heart Is' an indemand 'Modern Soul' rarity that has been a firm favourite on the Northern Soul dancefloor in recent years. It is now regarded as a Top 10 Northern Soul tune throughout the UK and Europe.

How fitting that in 2011, the year of Bobby's highly acclaimed UK tour, the record should once again see light of day as a 45 in the UK (having originally been released in 1976) coupled with another track which has been hugely indemand, as an LP only title, for some 25 years. 'Something For My Head' makes its first appearance ever on a 45. Complete with Picture Sleeve and full history on the reverse, this worthy, limited edition, vinyl record is a superb addition to the Go-Ahead Records collectors' series.

Now available from Soul Music Dealers or go to the GO AHEAD RECORDS official website to purchase this limited edition item : www.goaheadrecords.co.uk
Other releases still available are:

TICK 001 THE EPITOME OF SOUND "Where Were You / You Don't Love Me"
TICK 002 MEL BRITT / RUBY ANDREWS "She'll Come Running Back / "Just Loving You"

Two more releases will be forthcoming before the end of the year and work is now well in progress for our first compilation album for release in 2012.

Visit Richard's blog for regular updates:

http://www.richardse...ed-on-go-ahead/

And join us on Facebook here:

http://www.facebook....199688910056638

Many thanks,

Sean

By Sean Hampsey in News Archives · October 22, 201113 yr

A lengthy and interesting talk from 2005 and while has been available on the red bull site its been given a shout as its just now fresh on vimeo
The below is a clip from the transcript which can be read via the links after the video
Lecture: Leon Ware (Seattle 2005) by Red Bull Music Academy
Leon Ware is a living legend. In his session he truly lives up to his reputation as the 'sensual minister', aka the ambassador of nastiness. The critically acclaimed Motown songwriter and arranger recorded a couple of the greatest albums ever. Marvin Gaye's classic I Want You was supposed to be Ware's solo-album but Berry Gordy convinced him to collaborate with the superstar. He wrote the first No. 1 hit for Michael Jackson as a soul artist. Born in Detroit in 1940 as the seventh son of a Ford worker and a beautician, Leon Ware created his first song when he was nine years old. Together with Motown producer Lamont Dozier he played in the band The Romeos. When the '60s began he joined the producer staff of Motown where he worked with The Isley Brothers, Ike And Tina Turner, Diana Ross - you name it. The list of collaborations include Donnie Hathaway, Quincy Jones, and Minnie Riperton - for whom he wrote the quintessential tune Inside My Love. So feel the vibe in this session of Leon Ware and his love for music; and get to know the freaky side of creativity and Leon´s passionate relationship to his equipment.
RBMA: »Good afternoon.«
Leon Ware: »Good afternoon! How is everybody today? (shouts: "Great!" / applause / Leon clapping back) I'm clapping for you all because being here is a step in the right direction, I truly believe. I'm actually very pleased to be here because the meaning of being here is touching as you all came here for the same reason: to touch each other in a way that you can't, I would say, normally. You see the e-mail that we have these days, which is not a bad thing, but at least in this form you get a chance to get into each other one on one and share some ideas. I actually have a couple of songs that I have written for the moment, I won't get into it right now, but let's say that kind of exemplifies the moment in itself. And me being religiously nasty you can expect it to be something that you will smile about, I'm sure.«
RBMA: »Well, those words came from a man who doesn't need all too much introduction. He has been behind a couple of - I think it's fair to say that and a good reason to take off the hat as well (takes off the hat) - one of the best albums - albums are those long records that you can listen to for a long time and not just a three minute hit - that ever have been recorded, I guess. And yeah, I think it's a very good thing to give him an official welcome, Mr. Leon Ware.«

session transcript:
https://www.redbullmusicacademy.com/lectures/leon-ware-come-with-me-angels
red bull music academy website
http://redbullmusicacademy.com/

note - article updated 2019

By Mike in Articles · October 18, 201113 yr

NEW EPISODE NOW ONLINE

Possibly the last episode in this series, this time we're looking at UK 60's 45's, some US imports, and a selection of Ska, Rocksteady and Reggae singles. And I managed not to swear for the entire 54 minutes!

Featured records include John Dankworth Orchestra, Danny Williams, The Dennisons, Kiki Dee, Marie Knight, Honey Boy Martin, The Uniques, The Ethiopians, Shorty The President, Alton Ellis, The Pageants, Joanie Sommers, Jan Bradley, loads more - 54 minutes running time. All unscripted and unrehearsed as always.

Hope you enjoy it.

Pete

http://vimeo.com/30457104

By Pete S in News Archives · October 17, 201113 yr

Brand new release from Kent Records.

The Complete Jackie Day: Dig It The Most.

Most of us should know at least one Jackie Day song. even though she more or less failed to hit Stateside several 45's have hit with Northern Soul lovers. Two on Modern, "Before It's Too Late" and "Oh What Heartaches", both considered classics, the monster Stafford spin "Naughty Boy" to the recent discovery that has been getting major plays on the scene "Get To Steppin'"

An essential buy for lovers of Rare Soul Music.

Here's what Ady Croasdell has to say......

It has been at the back of my mind to compile an album of tracks by Jackie Day, a charming and elegant woman I met in the 80s, for many years. Back then I wanted to promote her singing talents in any way I could and some live performances were arranged overseas, but personal matters intervened, preventing her from visiting the UK. I could see that an LP of her recordings would have been viable, but there just didn’t seem to be enough material for a CD.

Jackie’s first recordings were made for Music City, a label run by Ray Dobard, a stubborn entrepreneur who didn’t have much time for white music business operators like me or my colleagues. Consequently her Music City tracks were unlikely to be licensable nor was her ‘Naughty Boy’ 45, which she cut for a company owned by Johnny Cochran (the father of the lawyer who got O.J. Simpson acquitted). A continued lack of response from the Cochran office indicated that they were not remotely interested. It was particularly frustrating as Jackie’s sessions for Modern had produced three stunning singles and one unissued track. Then there was a 45 and at least one unreleased title for Specialty and two very good sides for the Paula label. We were getting closer to gathering enough material but needed some good fortune to fill a CD.

The first break came with Ace’s purchase of Music City following Ray Dobard’s death. As Jackie had indicated to me, among the tape boxes were two excellently sung proto-soul recordings of country standards. Secondly a little more research into the Specialty tapes revealed not one but two similar and equally fine unissued titles. Then, on another tape, I discovered ‘Get To Steppin’’, a fabulous unreleased on-the-fours dancer from Jackie’s Modern sessions that I’d previously overlooked. As a DJ at the longest-ever running Northern Soul all-nighter, I should have been hammering it on the decks for the past decade to the audience’s undoubted delight. With eight Modern tracks, two Music City titles, four Specialty plus two easily-licensable Paula sides, it was just the pesky Cochrans holding back a potentially great CD.

Eventually, via one of our US friends and super-sleuths, who looked at the family records, we managed to get a couple of contact numbers. Lo and behold, one call didn’t get a disconnected line, an answering machine, or an operator telling us that our call could not be put through because we had no caller ID, but a real person who was a close member of the Cochran family, and asking how she could help us?

The full story is in the liner notes. Noted LA musicologist Jim Dawson who has written Jackie’s story, me and a cast of hundreds have put together a glorious package on a terrific soul singer that we think everyone will dig the most.

By Ady Croasdell

1. Before It's Too Late
2. Without A Love
3. Oh, What Heartaches
4. If I'd Lose You
5. As Long As I Got My Baby
6. What Kind Of Man Are You
7. Get To Steppin'
8. I Dig It The Most
9. Guilty
10. I Can't Wait
11. Naughty Boy
12. I Want Your Love
13. Free At Last
14. What's The Cost
15. Step Aside
16. What Happened
17. Don't Fence Me In
18. You Are My Sunshine
19. Without A Love (Alternate; Take 1)
20. What Kind Of Man Are You (Alternate Vocal Take)

>>>>BUY FROM AMAZON<<<

Photos below courtesy of http://www.electrice...ckie/index.html

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By Chalky in News Archives · October 15, 201113 yr

Latest issue of the "The Peoples Fanzine" out now....

WHAT'S IN ISSUE 73

COVER PHOTO
THE LARKS

SOUL UP NORTH COLLECTOR'S CD
Lonely People Can Afford To Cry - Compiled by Craig Butler

USA - A BAKER'S DOZEN OF SOUL SIDES
by Hasse Huss

THE STORY OF SAMMY & THE DEL-LARKS Part 2
Charlie Horner with contributions from Pamela Horner

WESTERN SOUL - COWBOYS (NO INDIANS)
A QUEST CALLED TRIBE - FOUR BABARA LYNN SINGLES
Martin Scragg treats us to two articles this issue

SWINGING R&B
Derek See reviws raw R&B

THE MEN BEHIND HARTHON RECORDS
Soulmanjan's interview with the main men behind Harthon

A-Z OF SOUL - Give me a 'V'
Steve Copeman continues his label reviews - this time its a 'V'

TWOFER TIME!!
Hull's Martyn Bird continues his reviews of double siders

PETE 'SPOT' BOTTOMLEY'S VENUE REVIEWS
Those of you that know Spot's reviews know they are a must read

Plus all the usual great regular pages
Dave Halsall's "Good Toons & Great Grooves", Howard Priestley's "Funk in Yo' Face", Mark Randall's "Modern Musings", Wayne Hudson "Hitting the Decks", Mike Finbow's "Deep Soul Corner", Craig Butler's "Touch Of Early and RnB Obscurity", Pete "Spot" Bottomley's venue reviews, Howard E's "Hot Off The Vinyl Press" and "Those Little Silver Discs" CD reviews

£3 plus £1.30 postage uk.. 5 euros to Europe...
Email.. stevecato64@yahoo.co.uk
Paypal available

By Little-stevie in News Archives · October 13, 201113 yr

Just a quick highlight of an article written by long time member Idell ( member name nubes) and mod of the mag: general forum that has just been featured in the online web magazine Pure Grooves

It's an article that was originally featured in Manifesto in the 90s and has been updated to the current day.
You can read it via the Pure Grooves Web Mag link below...

http://content.yudu....urces/index.htm

The article starts on page 6

"It has been generally accepted by all on the rare soul scene that the Twisted Wheel club in Manchester was the piviotal rare soul all nighter which shaped the whole northern soul sub culture.everything preceeding the Twisted Wheel..talked about those early London Clubs... scant mention is made of them..."

By Mike in News Archives · October 12, 201113 yr

As the title suggests, ‘Billboard’ magazine began life as a trade paper for the bill posting industry at a time when slapping posters on blank walls was viewed as a helpful and constructive pursuit, not an act of anti social vandalism. It was started in 1894 by two American visionaries called William Donaldson and James Hennegan as a ‘paper of record’ for circuses, carnivals, amusement parks, fairs, minstrel shows, whale displays and whatever else appealed to the public taste of the day, and evolved into a publication that covered motion pictures in 1909, radio in 1920 and music charts by the early 1930s. By 1961 Billboard Music Week concentrated solely on the music business, publishing three weekly sales charts – Pop, Country & Western and Rhythm & Blues. Along with Cashbox magazine, it became one of the leading trade publications for the music industry, providing news, domestically and internationally, advertisements, updates, technical developments and many other issues pertinent to industry professionals. The recent posting of almost every issue dating back to the 1940s and extending to modern times, provides a fascinating insight into various periods of music history. Every issue published between January 1963 and December 1973 was carefully perused in an attempt to capture the mood, spirit and psychology of the most important decade in the introduction and development of rhythm & blues and soul music in America, and around the world.

In the earlier 1960s magazines the placement, prominence and priority of R&B adverts tended to reflect the social standing, budgetary restraints and artistic perceptions of the music. The Pop charts assumed the greatest visibility and positioning, followed by C&W and then R&B. Most full-page ads featured white artists, usually accompanied by a photograph, in both Pop and C&W contexts, while most ‘black’ ads, including many of the early Motown singles, did not identify the singers pictorially. This is in stark contrast to C&W artists who, on almost every occasion, have an accompanying photograph within the ad. This did change however, as the decade proceeded, quite probably due to the popularity, and economic success, of black music in the greater commercial arena. Inevitably, the most successful companies tended to advertise the most and with the greatest prominence. Companies like Atlantic, Motown, RCA regularly placed full page ads, (although Motown retained a reticence to publish photographs, choosing, instead, to use drawn art depictions) and smaller companies like Jewell/Paula, Okeh, Date, Loma and many others advertised on a regular basis, including photographs of their artists.

Of particular interest to soul fans are the ads for records that did not achieve commercial success, and that would subsequently become collectors’ items with inflated price tags. Full page ads were taken out for white artists like Paul Anka , Frankie Valli, Dana Valery, The Tempests, Nancy Ames, Lada Edmund Jnr., who, it transpired was the ‘Girl in the cage’ from hit television show ‘Hullabaloo’, Dusty Springfield, Evie Sands, Susan Rewis and David and the Giants, most with photos. In stark contrast, obscure black artists that merited full page status, were rarely visually identified. Yet, full colour ads were placed for the Jelly Beans, the Younghearts, Nikki Blu and the Bronzettes, Donald Height, Gladys Knight and the Pips, Edwin Starr, to name but a few, with black and whites published for people like Dobie Gray, Candy and the Kisses, Barbara Acklin, Jackie Wilson, Homer Banks, Willie Mitchell, Steve Karmen Big Band (!) and Emanuel Laskey . The hope, confidence and expectation record executives must have shown, as promotion expenses were decided and cheques made out to ‘Billboard’ were written!

When asked about the failure of their record(s) to become a hit, many artists will cite a lack of promotion by the record company. While this may be true in many cases, the pages of Billboard clearly show that many small, independent record labels attempted to compete with their much larger counterparts in the chase for that elusive success. Promotional campaigns ranged from the insertion of one small ad., in a single issue; to a regular spot espousing several different releases, or a full page with photographs and details of radio play. It is fascinating to discover which obscure artists and/or labels appeared, especially when, with the benefit of hindsight, the eventual failure is considered. Ironic too, that many of them have soared in value as collectors realised their true worthiness and worth. Artists like the Hytones, the Volcanoes, Sam Fletcher, Bobbie Smith, the Aubrey Twins, Bobby Paris, Rhetta Hughes, Barbara Mills, the Volumes, Tommy Navarro, Jimmy Robbins, Cindy Scott, Bunny Sigler, George Smith, Kenny Gamble, plus others, are advertised while labels like 123, Musicor, Excello, Blue Rock, Zea, Soul City, Arctic, Huff Puff, Joda, Dynamo, Scepter, SSS International, Jamie-Guyden, Sidra, Quinvy, Jubilee and many more are featured. Of even more interest are the adverts that contain photographs of artists, many of whom have been previously unidentified or anonymous. Roy Redmond, J. B. Troy, Don Ray Sampson, Porgy & Monarchs, the Justifiers, Bobby Patterson & Mustangs, Jimmy Robbins, Sisters Love, Tony & Tyrone, Spellbinders, Roger Hatcher, Maskman & Agents, Preston Foster, Ruth McFadden, Barbara & Brenda, Sam & Bill, Timothy Carr, Toni & Hearts, Debbie Rollins and Chuck Edwards are just a few of the artists identified.

Perhaps the most amazing advert on show was commissioned by Golden World / Ric Tic and published on 23rd October 1965. Under the banner ‘Hits A’ Go-Go’ are five new Ric Tic/Volkano/Wingate releases including Wingate 009, Jimmy Randazzo ‘Hungry for love’ which was never ever released! One can only surmise that it was a vocal to the San Remo Strings release but, as it has never surfaced in any form, this is open to speculation.

Almost as interesting as the advertising are the reviews of records and the related news items. The language used in both areas displays a dated naivety and innocence that captures the spirit of the age. Words like ‘wail’, ‘driving’, ‘powerhouse’ ‘rocker’, ‘beat’, and many other equally quaint phrases and terms, appear frequently. A Billboard critique of the Younghearts ‘A little togetherness’, for instance, describes it as “Powerhouse teen dance beat and good group sound”, Major Lance’s ‘Investigate’ is “An exciting vocal performance on this wailing rocker.” ‘Help me’ by the Spellbinders “Hard driving beat backs an exceptional vocal performance”, Barbara Banks’ ‘River of tears’ receives “This rocker should be a sales monster. Wild wailing vocal work with strong support from the driving Herb Bernstein arrangement” and Kurt Harris’ “Emperor of my baby’s heart” is portrayed as “An impressive ballad and the artist has a good new sound used to great effect on this budding side” Jackie Ross’ Chicago recording ‘I’ve got the skill’ is called “A high pitched ‘chi chi’ vocal coupled with a Detroit beat” whatever a ‘chi chi’ vocal is! Marie Knight’s ‘That’s no way to treat a girl’ is a “Powerhouse wailing performance on pop hit material. Strong dance beat. The Devonaires (sic) ‘Please don’t say we’re through’ merits “Zippy beat and catchy arrangement. Gals are in the groove.” The best, and most creative, narrative however belongs to this gem from October 17th 1964 in a review describing Earl Van Dyke’s ‘Soul stomp’. “Socko instrumental spotlighting swinging organ with pow pow beat supplied by big brass. Really moves out.” Most reviews were only two or three lines long and followed a similar pattern. The ‘wrong’ sides were sometimes reviewed, as was the case with Nancy Ames’ ‘Cry softly’ instead of ‘I don’t want to talk about it’, Little Richard ‘Hurry sundown’ instead of ‘I don’t want to discuss it’ and Ben E King ‘Goodnight my love’ instead of ‘I can’t break the news to myself’ to name but a few, notwithstanding the preponderance of many rare soul favourites actually beginning life as ‘B’ sides.

By 1967 a regular weekly R&B news update column, called ‘Soul Sauce’, began featuring snippets of news, tour details, future releases, ‘live’ appearances plus much more under the sub heading ‘Soul slices’. It was written by a white journalist, Ed Ochs, who also launched a weekly element called ‘Best new record of the week’. His judgement appears to have predated future rare soul tastes, if his choices are anything to go by! Accompanied by photographs, the following artists received this accolade – the Constellations, Big Ella, the Vibrations, Billy Guy, the Esquires, the Invitations, Maxine Brown, Diane Lewis, the Hesitations and Ruby Winters with songs that, in every case, failed to achieve significant chart success. His use of the term ‘soul’, while in common usage throughout wider society at the time, wasn’t adopted by Billboard, officially, until August 1969 when it announced that “ The change in terminology will be reflected in chart headings as well as regular editorial text.” adding “ …this change is motivated by the fact that the term ‘soul’ more properly embraces the broad range of song and instrumental material which derives from the musical genius of the black American.” as if ‘the black American’ was some kind of separate species. Or perhaps that was the intent? Amazing that it took the editorial staff over two years to make the change. Draw your own conclusions.

Although the number of the more significant stories and reports relating to R&B/Soul matters were sparing, at best, those that made it through make interesting reading. In the October 28th, 1967 edition under the bi-line ‘STAX REDESIGNS LOGO TO FOIL COUNTERFEITERS’ Jim Stewart complained that Stax material had been “…run off by the thousands” and that the company would be ‘…shortly coming out with a complex multi-colored (sic) label that will be more difficult to counterfeit.’ He complained, “ …penalties for bootleggers are not stiff enough. We can’t seem to convince anyone that this is a major crime.” How many collectors will be checking their light blue U.S. Stax issues now? The legendary Loma label was mentioned on October 3rd, 1964 when the first release, ‘Baby don’t look down’ by Billy Storm ‘ has passed 6000 in sales. An executive revealed that the label is on a major recruitment drive and will have the top two artists in the R&B field on the label by the end of the year.’ Another label that received an initial mention was Turntable Records on August 14th 1965. ‘Turntable’s first product is George Smith, the current lead singer of the ‘new’ Ink Spots, singing ‘I’ve had it’. Major shareholder is Sam Goody owner of a national chain of record stores.’ An accompanying review announced ‘Dramatic, soulful performance serves as an exciting debut of artist and label.’ In the same issue, in bold type, the following bi-line appeared - ‘JOHNNY BRAGG DENIED PAROLE’ and a detailed account of the circumstances surrounding his previous convictions, the reasons for the denial and the disclosure that he ‘…is not ready for civilian life again.’ Seems excessive, considering that the only reason given for such a detailed and lurid story was the fact that he had written the 1956 hit ‘Just walkin’ in the rain’ while in prison. Wonder if a white songwriter would have received the same coverage. Of previously unknown provenance was a story involving Shelley Haims, the executive who brokered the deal to connect Pied Piper productions in Detroit with RCA in 1967. In the July 24th 1965 edition of Billboard it was announced that ‘Shelley Haims named as Vice President and General Manager of Golden World, Ric Tic and Wingate Records in charge of marketing, promotion and product control. He will report to Joanne Bratton (President)’ Remarkable how his name has never been mentioned in any previous histories of the label, the studio or other business dealings. There are some interesting photographs within the pages though they are usually extremely small. Shots of Scott Reagan with Martha & Vandellas, Susan Rewis with Ronnie Savoy, Eddie Anderson with the Four Tops, Aretha being signed by Atlantic vice president Jerry Wexler are probably the best.

The musical rivalry between Motown and Stax during the 1960s and 1970s highlighted the vastly different styles of delivery and expression each company portrayed. The approach to advertising their products varied greatly too. Motown tended to place more emphasis on artistic display type ads, with few photographs of artists, whereas Stax, under the Atlantic banner, stuck to a similar, relatively simple lay outs with photographs included. Atlantic’s promotional material tended to stick to the same formula throughout the sixties and early seventies, whereas Motown’s changed quite dramatically as the decade progressed. Early Motown ads tended to feature several releases at a time, usually encased in a separate and unique theme design. As the company grew in stature and wealth, more sophistication was employed on their publicity campaigns. The innovation and creativity of Motown’s promotion reached it’s peak in the late 1960s when classical references were used in the images that accompanied songs like ‘I love you madly’ ‘I want my baby back’, ‘Ain’t no mountain high enough’ ‘Love child’ and many more.

Both companies used the pages of Billboard to promote or announce matters not directly associated with record promotion. In early 1965 Motown published a double page colour ad promoting the upcoming tour of Britain and France (one show in Paris) with photographs of the artists and the full itinerary. Interesting to note that Goergie Fame opened the shows. Following the tragic deaths of Otis Redding and most members of the Bar Kays in a plane crash in 1967, Atlantic commissioned full page ads commemorating their passing. Not long after this Calla Records produced a similar tribute on the death of Martin Luther King and later still London Records posted a salute to the passing of Hi Records founder Joe Coughi. Motown’s publishing arm, Jobete was featured on several occasions, as was a tribute to Berry Gordy Jr. by his staff on the announcement of his winning a prestigious business award , and a bizarre exchange between Gordy and Bill Cosby appeared discussing the release of his interpretation of Stevie Wonder’s ‘Uptight’, ‘Little old man’. In 1968 an appeal to help boxer Joe Louis was published listing Berry Gordy Jr.as Honorary Chairman of the ‘Salute to the Champ Joe Louis’ appeal.

By the early 1970s full page ads began to appear detailing the availability of recording facilities, list of artists operating out of a particular city or on a group of labels, and the launch of ‘new’ labels. Enterprise Records and Music Merchant Records were announced this way. For the first time in print, Motown produced ads for The Undisputed Truth that gave equal billing to the songwriters/producers, Norman Whitfield and Barrett Strong, and featured photographs of the entire ensemble. Generally, the artistic quality and creativity of ads during this period declined markedly. Stax provided two full colour pages of their artist roster and studio facilities and Sam Phillips published a tribute to the soulful music being produced in Memphis

Rob Moss

By Rob Moss in Articles · October 7, 201113 yr

What a great time we had.

Johnny Weston and I left Birmingham airport at midday on the Saturday with brifght sunshine and 26 degrees. We arrived in Edinburgh to dull overcast skies and by 5pm rain !

It didn't dampen our spirits though, Derek collected us from the airport and we went on a magical mystery tour to collect some speakers and cables. After a fish supper and a couple of beers John and I left Derek to finish setting up, and we jumped a lift to the Spiders Web where John was doing a spot.

Great little underground cellar Soul Club. I know it's been running years but this was my first visit. To my surprise I probably knew 80% of the people in there, including the Italians and Germans ! Didn't recognise George Wallace at first though, because he's shaved his beard off !!

Back to the MacRobert Pavillion for the niter. When we arrived in the afternoon I thought it was a huge room and would need a lot of bodies to fill it, so I was pleasantly surprised to see the room well over what I was expecting at 11pm, Virtually all the seats were taken and the dancefloor was warming up nicely. A few more beers and then it was time to DJ.

Derek came to me and said a few people had been saying there was too much midtempo being played. No problem, straight into it with a few banging Oldies. Floor full ! Job done. I left Johnny Weston with a full floor and went straight through to the R & B room for my second set.

Now whilst I'm known for playing R & B in my normal set, I don't consider myself an R & B DJ, especially when I'm up against the best of the Scottish & Irish R & B DJs. So I was outside my comfort zone with this one. But that gave me the nervous edge you need to put a good set in, and I was quite pleased that not only did people not throw things at me, they danced right though my set. Quite a few people came and looked at what I was plying as well, so that gave me some quiet satisfaction. In fact I was really pleased with the way the set went, and it gave me a real buzz doing it.

Back into the main room for some more beers, until the end of the night, to find Johnny Weston DJing in the Modern room, virtually to himself. Not that it bothered John, he just played what he wanted.

A lift back to the airport, to try and get a last beer with Andy Dennison, but strangely the bar wasn't open until midday on the land side, but opened at 6am on the airside, so we said our goodbyes to Andy and went through to have a liquid breakfast.

Overall, a great night. Derek Robertson did a fantastic job pulling it all to gether, and I think everyone who attended it really enjoyed it. So thanks to Derek for inviting us, thanks to all the people who had a chat and a beer, and thanks for the Scottish hospitality.

See you all again soon.

Dave

can read more views amd post comments via the events own thread in the soul source event guide

event-reviews

By Dave Rimmer in Articles · October 6, 201113 yr

Manchester details below, see further down for all euro dates inc london and berlin

Charles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska - singing and performing in his spare time - before re-settling in his hometown of Brooklyn and eventually finding a musical home at Dunham. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience - each note and gruff inflection a reflection of his extended, sometimes rocky, personal path.

Sun Nov 13 Manchester, UK - Band On The Wall

Information

Band on the Wall welcomes the 'Screaming Eagle of Soul' - the one and only Charles Bradley to Manchester for what's guaranteed to be one of the most electrifying concerts of the season.

Charles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska - singing and performing in his spare time - before re-settling in his hometown of Brooklyn and eventually finding a musical home at Dunham. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience - each note and gruff inflection a reflection of his extended, sometimes rocky, personal path.

His performances exude both raw power and poignant beauty and hark back to the great golden age of funk and soul in the 60s and 70s. Indeed a turning point for Bradley was in 1962 when, still living on the streets, his older sister took him to see James Brown and his singing has been compared to non other than Otis Redding's. Signed by Daptone, and on the back of his new album No Time For Dreaming, Charles Bradley visits Band on the Wall with full backing band, The Extraordinaires, for a night you're going to remember for a long, long time.

This event will begin at 8pm but our Picturehouse Cafe Bar is open from 5.30pm for delicious food and drinks.

Special Offer! Book your meal in advance and get free 'lucky dip' tickets for a future concert - click

http://bandonthewall.org/events/3265/

Charles Bradley

Sun Oct 16 Antwerp, Belgium - Trix Club TICKETS
Thu Oct 13 Caen, France - Le Cargo Club TICKETS
Fri Oct 14 Nancy, France - Nancy Jazz Pulsation Festival
Sat Oct 15 Rouen, France - Le 106 club TICKETS
Wed Oct 19 Rennes, France - L'Etage TICKETS
Thu Oct 20 Brest, France - Salle Vauban TICKETS
Fri Oct 21 Paris, France - Mama Festival
Sat Oct 22 GiÃ¨res, France - Salle du Laussy
Sun Oct 23 Lyon, France - Ninkasi Kao TICKETS
Wed Oct 26 Clermont-Ferrand, France - Coopérative de Mai Club TICKETS
Thu Oct 27 Toulouse, France - Dynamo Club TICKETS
Fri Oct 28 Arles, France -Cargo TICKETS
Sat Oct 29 Zurich, Switzerland - Zurich jazznojazz Festival TICKETS

Wed Nov 2 Bordeaux, France - Theatre Barbey TICKETS
Thu Nov 3 Tours, France - Le Time Machine TICKETS
Fri Nov 4 Ris-Orangis, France - Le Plan TICKETS
Sat Nov 5 Ludwigshafen, Germany -Kulturzentrum dasHaus TICKETS
Sun Nov 6 Berlin, Germany - Lido TICKETS
Tue Nov 8 Erlangen, Germany - E-Werk TICKETS
Wed Nov 9 Cologne, Germany - Luxor TICKETS
Thu Nov 10 Basel, Switzerland - Kaserne Basel Rossstall TICKETS
Fri Nov 11 Mantes-La-Jolie, France - Blues Sur Seine Festival
Sun Nov 13 Manchester, UK - Band On The Wall TICKETS
Mon Nov 14 London, UK - XOYO TICKETS
Wed Nov 16 Katowice, Poland - Festival Ars Cameralis TICKETS
Thu Nov 17 Amsterdam, Holland - Bitterzoet TICKETS
Fri Nov 18 Rotterdam, Netherlands - Buma Rotterdam Beats TICKETS
Sat Nov 19 Nijmegen, Holland - Doornroosje TICKETS
Sun Nov 20 Utrecht, Holland - Tivoli De Helling TICKETS

By Mike in Event News · October 6, 201113 yr

Yet more sad news of the passing on of an artist whose work and influence can be rightly said to have touched a vast amount of people in many shapes and forms

Vanity fair has still online a informative 7 page feature/profile on her from Nov 2005

http://www.vanityfai...11/hiphop200511

By the mid-1950s, Sylvia Vanderpool, then in her early 20s, thought she was bringing her music career to a close. Having made a few insignificant novelty records as a teenager under the name Little Sylvia, the Harlem-born singer decided to prepare for a more secure career in nursing. Then, on a Hudson River evening cruise, she met Joe Robinson, a forceful and charismatic navy veteran who persuaded her that music was where the money was at. The couple married shortly thereafter...

mainstream press

Ms. Robinson had a successful career as a rhythm and blues singer long before she and her husband, Joe Robinson, formed Sugar Hill Records in the 1970s and went on to serve as the midwives for a musical genre that came to dominate pop music.

She sang with Mickey Baker as part of the duo Mickey & Sylvia in the 1950s and had several hits, including “Love Is Strange,” a No. 1 R&B song in 1957. She also had a solo hit, under the name Sylvia, in the spring of 1973 with her sultry and sexually charged song “Pillow Talk.”

In the late 1960s, Ms. Robinson became one of the few women to produce records in any genre when she and her husband founded All Platinum Records. She played an important role in the career of The Moments, producing their 1970 hit single “Love on a Two-Way Street.”

But she achieved her greatest renown for her decision in 1979 to record the nascent art form known as rapping, which had developed at clubs and dance parties in New York City in the 1970s. She was the mastermind behind the Sugarhill Gang’s “Rapper’s Delight,” the first hip-hop single to become a commercial hit. Some called her “the mother of hip-hop.”

http://www.nytimes.c...at-75.html?_r=1

By Mike in News Archives · October 3, 201113 yr

Last month Soul Source had a look at the mainstream media coverage of the upcoming film titled "Northern Soul".
As you may remember, in amongst the words we gave you a look forward to an exclusive interview with the award winning director Elaine Constantine.
Well come October and ! am happy to pass on to you that not only do we have the interview below, but we also have an exclusive first look at a video teaser of this film, that should give you a idea of just what the film is all about...
Northern Soul - The Film Teaser
Site Note - Please be aware that the original film 'teaser video' where a tv personality was head butted by omr of the leading characters is no longer available

An Interview with Elaine Constantine, director of forthcoming film Northern Soul

Intro
The previous article published here on Soul Source last month here covered the recent mainstream media take of Elaine and her current endeavour ( if you haven't read this yet, then it may be worth a visit via the links below before delving into the below)

"Award-winning director Elaine Constantine will begin shooting her first feature-length film Northern Soul in January 2012 under Stubborn Heart Productions and in association with Baby Cow Films"
Elaine, thanks for agreeing to do this. Most of the links in the article above contains details and highlights of your career and also your "northern soul" background.
I would guess that many now know of your previous work both via photography and short films, with obviously the video of Moloko - Familar Feeling springing to mind.
Your background and involvement with northern soul is documented as well, so how about jumping straight in with a to the bone question..

Q The title of the film "Northern Soul" is direct and takes no prisoners, can you state in a similar sort of manner just why you are making this film?
Most things that have represented Northern Soul in the media, whether documentary or fiction, have been an embarrassment for us. I want to try and get people to understand how brilliant the music is and how amazing it was to be part of that world.
Also, I really like northern soul music and all my friends have been or still are on the scene. I'm fortunate enough to make it my day job creating something about what I love.
I'm not going to change the title now, but I think it would have been really funny to call the film 'Mellow Souls', especially since I have never met anyone on the NS scene I could describe in any way as mellow.

Q Soulboy: I could say loads, but tongue biting has become one of my firm vices nowadays. I doubt if it would be really fair to either those involved or yourself to ask you any specific questions on the uk film industries recent treatment of northern soul
So will just ask how yours will differ?
It is a different genre of film to Soul Boy. From what I can tell, the makers decided at some point to market and produce Soul Boy as a comedy drama with a romantic theme. I think that was a bad decision, as it seemed to trivialize the very essence of what draws people to northern soul.
I hope that my film will feel more real in that it will have moments of tragedy and it will highlight, in a deeper way, the passion that people felt towards the music.

Q. The storyline from what I can gather is quite a different approach compared to previous treatments .Two northern lads trying or dreaming of to getting to the usa in their pursuit of major dj status' Take it this storyline is going to be the main thrust of the film, could you expand any more or do we have to wait to see ?
I don't want to give too much away, only to say that the quest for vinyl is ultimate in the story, and I think in a way that is the truth of the northern scene itself, it won't die as long as that quest survives through the next generation.

Q. There have been a few comments on aspects such as "warts and all", "documentary or story" What would you say in reply to those points ?
Well it's certainly not a documentary but I do intend the story to feel like it could be a fly on the wall in some ways. I don't want to sugar it up to make it appeal to young kids, or the faint hearted.
I sent the script to three script readers a couple of years ago in order to get advice on whether it was a good story. Two of them came back with glowing reports, the third came back with the statement' "I am too middle class and prudish to make any comment on this project." So I suppose 'warts and all ' is a good way of describing it.

Q. I always feel that everyone has their own individual "view" on what the term "northern soul" actually means which to me is one of the beauties of it all. How are you dealing with this aspect?
There are six main characters that take us through the journey of the story and they all represent for me, some of the best people I've met over the years who make the scene so wonderful. I suppose you might say that each one of those characters see the world of northern soul in a different way; and that impacts on how they understand it and the choices they make.

Q On the actual period setting of the film, I'd say soulboy got it wrong going for a certain time frame, as it seems that you are losing one of the advantages of telling a fictional story, as in a certain amount of flexibility. Are you going for a date perfect real world setting eg the summer of 197x at a certain venue or something different ?
Yes and no. There will be one or two of the bigger clubs in there but
It's not all about Wigan, or Blackpool, or any historical promoter or about what actually happened in the year 197x It's going represent a two or three year period and feature lot's of clubs scattered all over the North and Midlands.

Q. I imagine sorting out a soundtrack would be a most enjoyable task, matching the emotions and such on the display with the emotions and feelings from the music.
However could see that maybe after countless weeks of trying to secure licensing deals it may not be quite as enjoyable as it first sounds
How are things going on this front?
This was a very exciting thing to do, to match scenes with tracks. I remember when I had trouble concentrating, trying to get down and write, I would put on something like Lester Tipton's 'This Won't Change' and bang, I was in the world, chomping at the keyboard, so to speak. I had Butch collaborating with me at this stage. He would read the various drafts of the script and say, 'have you thought about such a track for that scene?' I had a big list of what I thought should be used but he always came up with great ideas that I never thought of.
Now things are starting to get complicated however as we start to nail down the rights to the wish list. I've been pursuing Gene Chandler's 'There Was a Time' for over six months only to find that it's not possible to use it. Long story but that has been pretty disappointing, and I'm sure there's more issues like that around the corner. The thing with this film is that we need to secure most of these tracks before we shoot as the characters talk about them, they sing along to them and a lot of the key scenes turn on new vinyl discoveries.

Q. From what have read and seen the "dance club" aspect has worked really well. Is it still going strong and can you see this developing as a stand alone affair?
To give you a bit of background info on the group, it's set up for 16-25 year olds who want to dance in the film. It takes the shape of a soul do, as in, we don't really teach - the people who have been coming a while get on the floor and the new ones when they feel confident. Some of the kids who come along are already in to it and can dance really well. You could say that that makes up about 30 percent of them and the other 70 percent had never heard of it.
I'm not encouraging over 25's to come along and learn, as I don't want to feature anyone in the film who's too old, as it would feel like a cop-out given the film is set in the 70's.
Having said that I will be doing a call out to the general scene, when timings and locations get nailed down, to anyone who doesn't mind being purely a background dancer.
I'd like the dance club to carry on as stand-alone affair, but I'm not certain that all those kids would still come together if it wasn't for the fact they are not in the minority.
If it was just a thing in itself and I opened it up to any age beyond 25, which I would have to do if it's not about the film anymore, the balance would not be the same and it would probably become, for those younger people, something that a lot of other soul venues already offer.
We have put on a couple of big events for them and they were brilliant, we opened up the doors for all ages too and got in a few DJ's. People were astounded by the atmosphere and pretty shocked how all these kids filled the floor and were really going for it. A lot of people came up and said it was the best thing they'd been to in years. It is a real buzz. Maybe it will develop on its own and some of the young'uns will become promoters.
I personally never intended to be a promoter and I'm not really going to be able to keep up this drive that has taken hold of me to get this film out there - but if someone wanted to take it on to a new level after the film I'd be happy to hand it over if that were to work.

Q. No doubt you have attracted many offers of advice, who's currently involved?
Loads of people on the scene have given me advice/research on music: Butch, Ady Croasdell, John Anderson, Neil Rushton, Guy Hennigan, Dave Withers. Too many to mention here, but they will all have a credit in the film.
I recorded a lot of interviews with DJ's and heard some great anecdotes. There was a pretty tragic story about a young lad from Stoke who Butch knew who died in the late 70's. He talked about this kid and what happened to him over the course of three or four years, and the story moved me to tears. I based one of the characters loosely on him. After all, we all have friends that we've lost on the scene.
There are several stories about lads running to the local phone box as soon the Soul Bowl record list came through the post and standing there for hours as the phone was constantly engaged. You can imagine tones of lads all over the country doing the same thing all at the same time.
I've also had a lot of help with dancing. We will be profiling all our older folks who come along and help at dance club on the film website in the coming weeks. Apart from Fran and Paul who run the sessions - you may have seen them on the videos - I try and get a few people in here and there to just come along and dance in the mix so the kids can watch them and get ideas - after all, we don't want a load of clones copying just one dancer.

Q The video clip to me lays down for all to see where this film is coming from. Was this intentional?
It was intentional. About seven years ago I was aware of around five feature films in development that were going to be based on the NS scene but you hear about these things in the film industry and they don't always come to fruition. I was really gutted when I learned that Soul Boy was actually going to be made. In some ways it spurred me on but in other ways it was crushing.
When I was planning to make the teaser (video clip) I wanted it to show everyone that this film was coming from the inside, and show that the characters were people who took their passion very seriously, so much so that they were not prepared to sell out for a bit of self promotion.
The video clip was made over two years ago and we wanted to wait until Soul Boy went away before releasing it. Which is why it's just going out there now. It's a taste of the kind of attitude to expect and an example for the way it will be filmed.
We are hoping it will get lots of hits on you-tube as the statistics will get us a wider distribution deal.

Q. Its been said that the plans are to start shooting in early 2012, is everything finalised for this, such as screenplays locked down, locations, all the necessary backing in place and so on
Filming should start in February if all goes to plan. The screenplay is pretty much the shooting script, and most of the financial backing is in place, but we still have to secure a bit more. Our EIS (Enterprise Investment Scheme) opens at the end of October and we have a fair number of people lined up who are serious investors. I will have a further announcement to make about financing and investment opportunities in a few weeks, so watch this space!
Locations are still to be confirmed, as we have had equity opportunities in different regions. Ideally I would like to film this in Lancashire, as that's my old stomping ground.

Q. All things being well, when would you see this being released ?
Possibly the end of 2012, but it could come together a little sooner.

Q. Fast forward to a year after the films opening, how would you like joe uk public to ultimately remember this film?
As the most authentic, and magical fictional film about youth culture ever made. Though if a lot of people simply came away thinking it was a good film, I'd be very happy.

Q A weary old soul source closing choose a 45 type questions to finish off.
If you had to choose just one track that would be a fair representation of all that this film is about, what would you choose...?
I'm not giving away the sound-track at present but I'll just say that a lot of them will be things discovered in the early to mid seventies. But if your asking me what records I personally Iike, that will NOT be in the film, these are some of my favorites.
Monique's double-sider on Maurci
Johnny McCall's I need you on Alteen
Oscar Wright on Fairmount/Hemisphere
TSU Tornadoes' Only Inside, Cecil Washington, Johnny Rogers, Darrow Fletcher's What Good Am I, Carl Carlton's I Can Feel It; Love, Warmth & Affection on Week End; Dee Edwards' Why Can't There Be Love, Milton James - My Lonely Feeling; Mellow Souls, Paul Smith's Once In A Life Time

Many thanks Elaine am sure many will appreciate yourself taking the time and the effort to take part in the above.
To view read more information, background, images etc featuring the whole "Northern Soul" film project you can visit ..
http://www.northernsoulthefilm.com
or e-mail
claire@northernsoulthefilm.com

By Mike in Articles · October 2, 201113 yr

Guitarist Marvin has passed away R.I.P.

site info

From The Detroit News:
http://detnews.com/a...0#ixzz1ZUD4XYjT

Susan Whitall/ Detroit News Music Writer
Motown's Marv Tarplin, who as a guitarist and songwriter was a vital part of Smokey Robinson & The Miracles' sound, has died.
The Atlanta, Ga. native was 70 and living in Las Vegas at the time of his death. Details of when and how are still sketchy, but Jeanne Sorensen, who books engagements for the Miracles today out of Metro Detroit, said that Tarplin's daughter Talese Tarplin confirmed that her father died in Las Vegas. Marv Tarplin left Michigan, and the Miracles, in 1973.
Billy Wilson of the Motown Alumni Association sent out an email alert late Friday afternoon that Tarplin had died, lauding him as the Miracles' "secret weapon."

http://en.wikipedia....ki/Marv_Tarplin

Referred to as The Miracles' "secret weapon",[1] ,Tarplin began his career accompanying a teenage Detroit, Michigan girl group known as The Primettes (later The Supremes). The Primettes sought an audition with Motown Records, and Tarplin played guitar as they performed for Miracles lead singer Smokey Robinson. Robinson was impressed by Tarplin's guitar playing, and lured him away from the Primettes to join The Miracles. Tarplin joined The Miracles in 1958. In the 2006 Motown DVD release, Smokey Robinson & the Miracles: The Definitive Performances 1963-1987, Robinson and fellow Miracles Pete Moore and Bobby Rogers commented that Tarplin's unique guitar- playing style was reminiscent of the late Curtis Mayfield,and was actually the inspiration behind many of their greatest hits.
Whilst Tarplin remained with the Miracles for as long as Robinson was their lead singer, he is only present on the cover of three classic Miracles albums: Cookin' with The Miracles (1962), I'll Try Something New (1962), and The Fabulous Miracles (1963). He is mentioned, though not pictured, on the back cover of the group's very first album, Hi... We're The Miracles (1961), and listed as an original group member. As a songwriter, Tarplin helped co-compose many of the Miracles' hit singles, amongst them the million-selling Grammy Hall of Fame winner "The Tracks of My Tears" for which he received the ASCAP Award Of Merit (1965), "My Girl Has Gone" (1965), "I Like It Like That", (1964), "Going to a Go-Go" (1965), "The Love I Saw in You Was Just a Mirage" (1967), and Point It Out (1968).
In addition, Tarplin co-wrote several Robinson produced hits by Marvin Gaye, including the Top 10 million selling hits, "Ain't That Peculiar" and "I'll Be Doggone". His guitar work is featured prominently on Gaye's Top 40 hit, "One More Heartache", which he also co-wrote,and another of Gaye's chart hits, 1965's "Take This Heart of Mine". He also played on The Four Tops 1970 Top 20 hit, Still Water (Love),co-written by fellow Miracle Smokey Robinson. He also appeared with the group on The Ed Sullivan Show, the 1964 motion picture The T.A.M.I. Show, THE 1965 CBS television special, Murray The K - It's What's Happening, Baby, and virtually all of the group's personal appearance concerts worldwide, including the legendary Motortown Revue shows in the early 1960s.[citation needed]
Tarplin left the Miracles in 1973, shortly after Smokey Robinson and his wife Claudette left the group. His replacement in The Miracles was Donald Griffin, brother of Billy Griffin, Robinson's replacement in the group.[citation needed]He died 29th sept 2011

Robinson and Tarplin continued to collaborate as writers on Robinson's solo recordings, including the Top 10 hits "Cruisin'" (1978) and "Being with You" (1981). Tarplin also continued to play guitar on record and in concert for Robinson, and, until 2008, continued to tour with Robinson. In 2007, Milwaukee, Wisconsin musician, Paul Cebar, paid homage to Tarplin with his song "Marv's Fluttering Guitar (For Marv Tarplin)" from the album Tomorrow Sound Now For Yes Music People.[citation needed]
Tarplin's phenomenal skills as a guitarist and songwriter were demonstrated on many hits of The Miracles, as well as many studio recordings and concert appearances. He served in The Miracles for well over a decade until joining Smokey Robinson after Smokey departed from The Miracles to pursue a solo career. Tarplin is also pictured on the cover of the 2009 Motown CD release, The Miracles-Depend On Me:The Early Albums (2009) .His guitar riffs at the intro of The Miracles' million-seller "The Tracks of My Tears" , are among the most famous in Pop music history.
Tarplin retired from touring in 2008

By stomper45 in News Archives · October 1, 201113 yr

It was a pilgrimage ! Down to worship our religion at the 32nd Anniversary of the 100 Club allnighters. On board we had Gospel Bob, Dave the Bishop Of Banbury, the Reverend Rimmer, Sister Sharon the dancing Nun, and Verger John.
Despite a late start we made good time down to London, with no hold ups for traffic. This was of course expected, we were on a Mission from God ! As we pulled up at the back of the 100 Club, Ady 'the Godfather' Croasdell was just arriving as well. We paid our respects, (although I told John that trying to kiss the hem of his robe was a little over the top), and I gave Ady a lift down the stairs with all the Anniversary singles. I did actually try to run off with one box, but he caught me.
I helped Trickster put the tables out, all fourteen of them, and then sat down with a beer to wait for the music to start. As with all the Anniversaries it was mostly Oldies, but less this year than others I felt. To be honest, Butch and Keith played pretty much their normal type of spots, Roger Stewart provided the link back to the early days of 6Ts by contributing a couple of good spots. Ady debuted the new Pied Piper recordings that he has recently unearthed (And there were such a lot of good, no, great tracks, that I can't wait for the CD), and that left Mick Smith.
For me, Mick Smith made the night. Three spots through the night, and he showed that if you want quality, rare Oldies, delivered with enthusiasm, this was the way to do a spot.
A new record was set as well. Where I sit selling records you can always tell how many of the women haven't been to the 100 Club before because they come towards the Gents toilet whilst looking for the Ladies. We count how many do it each Anniversary. Last year it was ten, this year there was a 33% increase, as the number rocketed up to thirteen. I often wonder how do these people hear about the Anniversary, and where do they get their tickets from ?
Talking of which, who the hell let the 6'5" East European in. Not only was he huge, he was completely hammered and kept asking if I had any Rolling Stones or Pink Floyd records for sale. Oh yeah, and kylee made a new friend who's extremely good at projectile vomiting !
The last laugh of the night came in McDonalds though. I introduced Charlie Mac from Banbury to Jessica from New York. He asked where she was from, and Jess replied Wales, where she has been living for several years now. You could see the cogs turning and the strong smell of burning as Charlie tried to associate Jess' strong New York accent with Wales. Eventually the look of confusion on Charlie's face was only cleared when he actually said "That's not a Welsh accent is it ?"
As always I thoroughly enjoyed the music, the company, and the Anniversary single. Well done to all the DJs, and everyone else who made the night such a success.
Dave
site info
the top photo is from Spirits soul source photo album
can view all pics and also John Westons pics from the nite via links below
and can read all the event discussion via soul source event guide entry

100 club

By Dave Rimmer in News Archives · September 28, 201113 yr

Julie Dexter & More At UKSoulJam / NeoSoulWW Show Special At Jazz Cafe London: Sun Oct 2nd 2011

On Oct 2nd Julie Dexter returns to Jazz Cafe with her first album in 6 years.
The former Soul II Soul frontlady has become a main artist on the USA Nu Soul scene since relocating to Atlanta some years ago.
Hear Julie's great new album live on this only London show. + Strong support from our favourite poet Greeds, Soul-Jazz from Louise Golbey, Explosive R&B & NuSoul from Sharon Rose & bringing NeoSoul in their UKSJ debut: Sturdy & more acts TBA + the midnight jam open to the public later in the show + surprise guests & KTF residents DJs Paul Aaaron & DJ Kay(K15), House band: The Neutronics .....
£10 advance, Jazz Cafe, 5 Parkway, Camden, London, NW1, 7pm-1am.

FULL EVENT INFO:

A "UK SOUL JAM" & "NEOSOULWW" Joint Special Show @ JAZZ CAFE

** Featuring JULIE DEXTER & More **

On SUNDAY 2nd October 2011

Venue Address:
JAZZ CAFE
5 Parkway,
Camden Town,
London
NW1

Nearest Tube: Camden Town

Running times: 7pm - 1am

PRICES: £10 Advance, £12 Door, Upstairs Balcony Restaurant Table Seats with £16.50 Set Menu

PURCHASE YOUR TICKET ONLINE FROM TICKETMASTER AT: http://www.ticketmas...brand=jazz_cafe

ORDER ON PHONE from TICKETMASTER on: Tel: 0844 844 0444

Alternative Online Ticket Agents: https://www.hmvticke...AMA_JAZZCAFEWEB

BOX OFFICE, IN PERSON & CASH PAYMENTS: To order in person or for Cash payment at JAZZCAFE( front door) box office 5 Parkway Camden, NW1 (Mon - Sat 10.30am-5.30pm).

Table Seats On Balcony with £16.50 Set Menu - Call Jazzcafe Restaurant Line For Tables On: 020 7688 8899 (Lines Open 10.30am-5.30pm Mon-Sat)

Live Performances From:
JULIE DEXTER
+ GREEDS
+ LOUISE GOLBEY
+ SHARON ROSE
+ STURDY
+ More Surprise Acts TBA
+ Open Mic Jam Open To The Public Surprise Guests TBA
Resident DJs:
PAUL AAARON (Keep The Faith / Groove Lineage)
DJ KAY (K15 / Keep The Faith)
House Band: THE NEUTRONICS

On This Show:
Keep The Faith are delighted to host a UKSoulJam / NeoSoulWW show special featuring Julie Dexter, former Soul II Soul front lady & now a stable part of the USA's Nu Soul scene. Julie will be performing her critically acclaimed new album "New Again" for the first time in Europe. Also on the night our taste maker new acts to watch, the freshest the UKSoul scene has to offer live. At the end of the night the stage is opened up to the public for an Open Mic Jam - previous guests include Amy Winehouse, Marsha Ambrosius, Jeffrey Daniel of Shalamar - so keep your eyes peeled for those infamous surprise guests & email keepthefaithful@gmail.com if you want to perform. This show is a must for UKSoul & NeoSoul fans.
With strong support from our favourite poet Greeds, acoustic Soul-Jazz from Louise Golbey an every popular UKSoulJam artist seen most recently this year with George Benson, Jazz FM & Ronnie Scotts, & another popular UKSoulJam performer - the explosive Nu Soul & R&B of Sharon Rose & making their debut on UKSJ - the NeoSoul of Sturdy. + Our midnight Jam session open to the public at the end of the show.

ABOUT JULIE DEXTER:
Julie Dexter is a world renowned, award winning, British vocalist considered by many to be one of the most influential female vocalists of our generation. Having shared the spotlight with a host of cutting-edge artists, including Mint Condition, Jill Scott, Bilal, Omar, Loose Ends, Rachelle Ferrell, Ledisi, Eric Roberson and Raheem DeVaughn to name a few, Julie not only holds up her own with them but has been praised and respected by them too.

Born and raised in Birmingham, England, this classically trained artist composes and arranges her own music. Influenced by legends such as Nancy Wilson, Abbey Lincoln, and Bob Marley, as well as popular icons Omar and Sade, Julie takes classic soul to the heart of Artistry. Fans and critics across the globe have followed her journey through the circles of Jazz, Broken-Beat, Bossa-Nova, Reggae, Afro-Beat and Soul. Her dynamic voice was first heard in 1994 on "The Jamaican Beat" Vol 1 with Jazz Jamaica then later in 1997 on Dune Records' release of J-Life, a European Jazz quintet formed by Gary Crosby and led by Jason Yarde. She later toured several continents with Jazz legend Courtney Pine as the lead vocalist for his ensemble. It was in 1999 that Julie took a leap of faith and moved to Atlanta, Georgia where she now resides. She launched her own label, Ketch A Vibe Records and in 2000 released the critically acclaimed EP Peace of Mind, followed by Dexterity (2002) , and Conscious (2005). Moon Bossa, a collaboration with Khari Simmons was released in 2007 and her single "Ketch A Vibe" was featured in national radio ads for Democratic Presidential Candidate Senator Barrack Obama.

From Jazz to World Music, Soul and beyond, Julie Dexter is one of an elite few whose talent can transcend genres. She makes it all work on her own terms, as an audaciously independent artist with an undeniable connection to her audience. Julie's new album 'New Again" was released in April 2011 to great critical acclaim - available from all good music stores now.

JULIE DEXTER YOUTUBE CLIPS:
Snippets from the new album “New Again”:

“Come On Home”:

"Love 2 Love":

“Ketch A Vibe”:

http://www.youtube.com/watch?v=Txyz3wYVUd4

“Introducing Julie Dexter”:

SUPPORT ACTS YOUTUBE CLIPS:
Greeds “There She Goes”:

Louise Golbey “Mr Potential”:

Sharon Rose “Live At The Pigalle”:

Sturdy “Chillin” http://www.youtube.com/watch?v=Eb7ziPEv3Qw

The Neutronics (House Band): “The Station Sessions” http://www.youtube.com/watch?v=i20HTNpEgYg

Event Summary:

"UK SOUL JAM": A celebration of UK SOUL in an Open Mic - Jam Session, Showcase & DJ Session featuring the best of London's Soul talent at Jazz Cafe. As seen on Sky TV. UK Soul Jam captures the energy and musical talent from London's Contemporary Soul Scene. Bringing together singers, players, & connoisseurs of Neo Soul, Nu Jazz, Credible Hip Hop and RnB, Brokenbeat, Reggae, Gospel and Soulful House scenes in London. A platform for new & established artists. Open Mic / Jam is open to the public. "NEOSOULWW" - bringing USA & International Nu Soul acts live to Jazz Cafe, London.

Music Style: SOUL, NEO SOUL, UK SOUL, GOSPEL, RAREGROOVE, NU JAZZ, R&B, BROKENBEAT, HIP HOP, REGGAE, DANCEHALL, OPEN MIC JAM & LIVE MUSIC

FURTHER INFO:
http://www.cdbaby.co... ¹st/JulieDexter
http://www.keepthefaithful ¹.com/
http://www.keepthefaitheve ¹nts.com/
http://www.twitter.c...ee ¹pthefaithful

For all show enquiries & if you would like to perform please email:
keepthefaithful@gmail.com
.

By Guest in Event News · September 27, 201113 yr

This caught my eye while strolling through the weekender page, news of a upcoming far east rare soul weekender.
Brief clip below...
Your chance to visit the New York of Asia! A 5-night trip of a lifetime with top Northern Soul dj's with an all-nighter on Saturday featuring LIVE Motown legend Bobby Taylor and his 5-piece band.
The weekend will kick off on Thursday night with a welcome party on board an open top tram (just like Blackpool!) through the streets of Hong Kong Island.
Friday will be a warm-up at The Wheel! Yes a real life sports bar "named" after the Twisted Wheel in Manchester. Saturday is the nighter at the fabulous Skylark Lounge with wooden dance floor, top dj's and Bobby Taylor performing classic 60's northern. All-dayer on Sunday.
The event page can be found here
a reminder to the switched on promoters out there, if have any valid major national event news, you can submit it via the members event/article news.

By Mike in Event News · September 26, 201113 yr

A great response to this, over 100+ entries
Thanks go to kent for supplying the prizes

5 winners have been randomly chosen
and the lucky lucky people are listed below

Stick - winner of Stars of Mirwood" ep
wicked -2nd choice
Godzilla -3nd choice
Dean -3rd
bluesoul -4th

All info and clips etc can be found on the original comp page

http://www.soul-sour...t-45s-one-r2246

The Stars Of Mirwood - Mirwood LTDEP 011 Limited edition EP

Candi Staton - One More Hurt b/w Do Right Woman - City 020

The Paramount Four - Sorry Ain't The Word b/w James Carpenter - (Marriage Is Only) A State Of Mind - City 021

J T Rhythm - My Sweet Baby b/w O.C. Tolbert - All I Want Is You - City 022

Jackie Lee - Anything You Want aka Any Way You Want b/w Jackie Lee - Trust Me - City 023

can first and second winners get in touch with me via pm

will then get in touch with 3 and then 4,5 reference which 45s are left to choose from

thanks

mike

By Mike in News Archives · September 25, 201113 yr

Legendary Chicago soul producer Clarence Johnson died yesterday. He was responsible for a ton of records that helped define the Chicago Sound, especially in the early 70s. The biggest hit he ever had was Love Jones by the Brighter Side of Darkness but he produced a ton of great records by artists such as the Lovelites, Heaven and Earth, Coffee, Denice Chandler, the Ledgends, etc.

added by site

further reading links

google books - Chicago Soul By Robert Pruter

http://books.google....epage&q&f=false

a Jan 2000 article

http://reynaldo82.co...s-01-28-00.html

By boba in News Archives · September 24, 201113 yr

Back in 2003 I was contacted by the drummer of the Soul Set of 'Will You Ever Learn' fame...and within a few months another guy contacted me saying that he was the drummer! As it turns out one of them played on the record and the other in the live band. This info has been on my site since those days.

Now leap forward to this year and within the last month I was contacted by the founder, leader, sax-blower and song-writer from the Soul Set...Charlie Greenway. Many emails were swapped and he supplied some stunning background info on putting the band together, writing the songs, their original set lists etc!

He also supplied pictures of the original publisher's certificate for, 'Will You Ever Learn' and the Soul Set business card...WOW!

I've put it all together and uploaded the pictures up onto my site... link below

best
David

"...As if by magic, a couple of hours later we were playing, "Will You Ever Learn" and "Please Don't Make Me Cry" exactly how I had heard them in my mind a few hours previous whilst in the back of our automobile! Believe it or not, we then gave the tunes their debut during our concert with The Drifters the next night.
Over the following months we played them on stage many times in clubs and frat houses, and then recorded them at Arthur Smith Studios in Charlotte, NC. Our manager, David Fisher, gave us a couple boxes of records to pass on to anyone we knew in radio, who would play it for us, and to autograph and sell on to pick up... ”

http://www.anorakscorner.com/SoulSet.html

artists

By Anoraks Corner in News Archives · September 23, 201113 yr

Hi folks, Pete Smith here, I'm back with another selection of interesting/rare/unsual/awful 45's from the 60's. As with the previous episode, this is all done live on a hand held camera and is not intended to be a candidate for an Oscar nomination, it's just a look at some vinyl records and an opportunity to hear something that you may never have got around to otherwise.

http://vimeo.com/29280211

This episode actually ran to 70 minutes so I've split it into two equal parts, the next one will be posted up this coming monday as I'm only allowed 500MB uploads per week.
I've left the mistakes and cursing in!

Oh and thanks for the really encouraging response to the previous episode, all the comments were much appreciated.

Records reviewed in this episode include...

THE ASTORS – CANDY – ATLANTIC DEMO

THE ANGLOS – INCENSE – BRIT

THE KNIGHT BROS – TEMPTATION ‘BOUT TO GET ME – CHESS DEMO

JOHNNY PEARSON – THE RAT CTACHERS – COLUMBIA

CAROL DEENE – HE JUST DON’T KNOW – COLUMBIA DEMO

NANCY AMES – FRIENDS AND LOVERS FOREVER – COLUMBIA DEMO

HELEN SHAPIRO – HE KNOWS HOW TO LOVE ME – COLUMBIA

HELEN SHAPIRO – STOP AND YOU WILL BECOME AWARE – COLUMBIA

ELENA – EVENING TIME – COLUMBIA

THE JULIAN KIRSCH – CLEVER LITTLE MAN – COLUMBIA DEMO

THE THIRD RAIL – RUN, RUN, RUN – COLUMBIA DEMO

ADAM WADE – RAIN FROM THE SKIES – COLUMBIA

KAROL KEYES – ONE IN A MILLION – COLUMBIA DEMO

GENE LATTER – WAYS – CBS

GENE LATTER – FUNNY FACE GIRL – CBS

THE BUCKINGHAMS – DON’T YOU CARE – CBS DEMO

BIG BOY PETE – COLD TURKEY – CAMP

JERRY JACKSON – IT’S ROUGH OUT THERE – CAMEO PARKWAY DEMO

? & THE MYSTERIANS – 8 TEEN – CAMEO PARKWAY

MICKY MOONSHINE – NAME IT YOU GOT IT – DECCA DEMO

TRULY SMITH – MY SMILE IS JUST A FROWN – DECCA DEMO

MIA LEWIS – WISH I DIDN’T LOVE HIM – DECCA DEMO

THE CLOCKWORK ORANGES – READY STEADY – EMBER DEMO

THE CALIFORNIA IN CROWD – HAPPINESS IN MY HEART – FONTANA

SLADE – THE SHAPE OF THINGS TO COME – FONTANA

THE GOLDEN APPLES OF THE SUN – THE MONKEY TIME – IMMEDIATE

THE GOLDEN APPLES OF THE SUN – CHOCOLATE ROLLS, TEA AND MONOPOLY – IMMEDIATE

site note - see comments for part 2

By Pete S in News Archives · September 23, 201113 yr

Now in stock and available to ship :
HR 1511 Sam & Bob and The Soulmen featuring Doris Badie
Why Is Leaving You So Hard To Do / Since You've Been Gone
Previously available only on the ultra-rare private press Sabo LP from 1972, this is the original and superior version of this great crossover dancer (later recut on Polydor) - c/w a great Southern deep flip.
HR 1512 Frank Johnson
Love Slave / Hurt All Over
Cut at Widget Studios in Muscle Shoals in 1972, 2 strong midpaced dancers - recently discovered amongst archive masters and unreleased anywhere in the world.
Check out the website at - for soundclips and 'buy' facility.

By Dewsburyborn in News Archives · September 21, 201113 yr

A pass on of details of a gallery of photos from the Once Upon A Time In Wigan play from the Dance Offensive website by Paul Sadot
Link (defunkt) and a word below
Just editing a film of the play that will go up soon.
Subscribe to mailing list on site to receive news on this.

Will try to post up an short edit soon...
Thanks For Looking
Paul

By Paul-s in News Archives · September 15, 201113 yr

Broadcasting on dublab.com @ 2pm US PST, 10pm UK time

http://dublab.com/

We're proud to present the 4th installment of our radio show that specializes in rare and previously uncovered vintage gospel soul and funk tunes.

This month we'll be featuring some fantastic cuts, including the much sought after rarity (particularly on 45) by The Sacred Four 'Somebody watching you', as well as the hotly tipped dancer by Martha Bass 'Since I've been born again'.

Plus we'll be uncovering some new discoveries as those familiar with the show will already appreciate.

Records from all over the US, going coast to coast, including LA, Ohio, Chicago, Tennessee, the Carolina's.....the list goes on.

And to give you a flavour, here's last months show, uploaded onto my mixcloud page;

http://www.mixcloud....spel-show-pt-3/

And for those listening in Europe, please check in at 10pm UK time.

Thanks for lending your ears!

By Greg Belson in News Archives · September 14, 201113 yr

The link below is to a site dedicated to The Silhouettes which has been put together with a great deal of effort and care.

There is much, in fact a great deal to read, learn and enjoy. Great thanks must go to Elaine Lewis the widow of Rick Lewis for what has been made available. It's a credit to the men who wrote and sang together; Bill, Earl, Raymond, Richard, John and Cornelius.

She has recently produced a double CD (unique in many ways) of all their recorded songs including rehearsal out-takes, snippets of interviews and other moments caught on tape. This unique piece of production can only be sourced directly from Elaine at lewra@aol.com. I received a copy this way using Paypal recently. This really is a fantastic record of men at work doing what they love.

This is not a mass produced CD, but a very personal and close up record of a great male harmony group who gave so much, but, as is often the case, they received little in return. Doo-wop / transitional / soul / northern...........it's all there to be enjoyed. Give it a try.

http://www.thesilhouettes.org/jukebox/
Please note that the CD's contains much more than the jukebox and the clarity is far superior.

View attachment: Silhouettes CD Cover.jpg

By Guest in News Archives · September 14, 201113 yr

CHANGE OF VENUE

FOR THE “RYAN HALL”

2011 TORCH REUNION

We have received notification today 12th September 2011 that the venue for the 2011 Torch Reunion THE RYAN HALL, TUNSTALL has decided to close its doors on 30th Sept 2011. The manager sadly informed us, that the club has to cease trading after 55 years as a catholic club serving the people of Tunstall

Although we would have preferred to keep this years reunion in the Tunstall district, the fact the function is only 6 weeks away we decided meant we had to obtain another venue quickly that would compliment the yearly get together/charity fund raising day.

THE 2011 TORCH REUNION

SAT OCT 22 2011-09-12

4PM TO 1AM

NOW AT THE

THE QUEENS~BASFORD

485 Etruria Road – Basford

Stoke-on-trent
ST4 6JJ

t: 01782 616180

Photo of the NEW venue

http://www.rbiassets...ssed.jpg/medium

This is an ‘established venue and has a lot of local history as a ‘club night’ stretching back to the days of the Torch and before. It still retains a 70’s ‘feel’ to it just as the Ryan Hall did

DIRECTIONS

M6 At exit 15, take slip road left for A500 toward Stoke on Trent / Newcastle

At roundabout, take 2nd exit onto A500 / Queensway
Heading northeast - 4.28 miles

Take slip road left
Heading northwest - 0.27 miles

At roundabout, take 1st exit onto A53 / Etruria Road
Heading west - 0.19 miles

Follow A53 until you find the Queens Hotel

On site Parking

With increased capacity you will now be able to pay on the day OR purchase tickets from Jez @ The Oct 1st Kings Hall All Nighter

ALL RYAN HALL TICKETS PURCHASED TO DATE WILL REMAIN VALID.

Any concerns, issues or information required regarding the change of venue please do not hesitate to contact the undersigned.

Malc Burton
Jez Jones
Paul Donnelly

By Pauldonnelly in Event News · September 13, 201113 yr

Besides the members of the group, also the songwriter Barbara Morr and the producer/songwriter Leo Graham out of Chicago are interviewed.

Please read the 4th part of the Manhattans Story, covering the 80s, at
http://www.soulexpre...ttans_part4.htm

Best regards
Heikki

“It was a song that we were working on at home, at the basement studio, and we were just doing some creation on some things, Paul Richmond and myself, and it just kind of came about. Sometimes things just happen.” According to Leo Graham’s reminiscence above, the Grammy-winning Shining Star came into existence almost by accident. Leo was the producer and co-writer of this beautiful and haunting gem of a ballad, one of the most memorable love serenades in our music...

By Heikki in News Archives · September 12, 201113 yr

6TS 100 Club 32nd Anniversary Incorporating Kent / Pied Piper Productions world debuts

Ace / Kent records are proud to announce that they have signed a deal with Pied Piper Productions for licensing their legendary mid 60s Detroit soul recordings. The vast majority of the master tapes have turned up along with unreleased gems from September Jones (4 stunning tracks including the original versions of both Mikki Farrow’s Karate sides with different lyrics), The Cavaliers, Willie Kendrick and our very own Lorraine Chandler. Lorraine’s tracks include a stunning ballad called ‘Lost Without You’ and the ethereal beauty of ‘I Hear Music’.

The tapes are being copied in the USA and hopefully more gems will emerge for Northern Soul spins and eventual Kent releases. If you have already secured your tickets for this sold-out night of bliss, get down early for the first listening spins or wait until the peak hours to debut them on the floor.

Ady

Pictured is an original acetate of September’s ‘Stuttering Sam’-written by Lorraine along with Jack Ashford, Shelley Haims and Joe Hunter and a master tape box of that plus her ‘Voo Doo Madamoiselle’

By Ady Croasdell in Event News · September 9, 201113 yr

Just a quick note to say that the advance copies of the Al Abrams book "Hype & Soul - Behind The Scenes At Motown" turned up last night. They have been approved and we will have the bulk stock delivered early next weeek, and will be mailing out on Tuesday or Wednesday to everyone who has ordered an advance copy.

The book looks amazing and we are thrilled with it. If you are into Motown and Soul it's a must read.
It's strange how things work out. The approval copies turned up yesterday around the same time as Al sadly,attended the funeral of his former boss and long time friend Esther Edwards. There are some great pieces about Esther in the book and she was looking forward to seeing it.

The book is 288 pages long, hardback with dust cover, and is full colour. The combination of searing "I was there" essays written by Al for the book and stunning graphics made up of press releases, newspaper and magazine clippings, rare photographs and Motown documents from Al's extensive West Grand Boulevard archives is stunning.It's a combination of great editorial and chic coffee table book.

It's been a real honour, and daunting too, to have had the task of working on the book by Berry Gordy's first employee. Hopefully we have done it justice.I had to pinch myself this morning when I looked at the introductions from Lamont Dozier, Mickey Stevenson and Mary Wilson!.

The first 500 copies of the book come with a bonus single, a red vinyl replica of the 1964 Hitsville Tamla Motown Appreciation Society disc. The records have been sent out in adance of the book and have gone down particulary well overseas as I guess not that many copies of the original escaped from the UK.
The book/record is £34.99 plus £5 postage & packing, total £39.99. To order online go to - www.soulvation.biz

By Neil Rushton in News Archives · September 8, 201113 yr

The all time Northern/Detroit classic double-header "If It's All The Same To You Babe"/"Exus Trek" by Luther Ingram/Luther Ingram Orchestra has been re-issued in the UK by arrangement with legendary producer Robert Bateman.

The release, via Inferno, is on a lookalike of Robert's H.I.B label and is available now.

A regular black vinyl issue with no centre is joined by a limited edition multi-coloured vinyl Audition Copy solid centre release with just 150 pressed, all individually numbered from 1 to 150.

"I met Robert in the USA and was really pleased to be able to release the single as it's such a masterpiece. It's one those records you would play to aliens if you had to explain
what Northern Soul sounds like.. I cannot think of many records where the A side vocal and the B side instrumental both stand up in their own righs as classics. It's perfect Northern Soul but when I asked Robert who on earth in the 60's he was aiming such an uptempo record at he just said he wanted to out out something that sounded like The Four Tops!", said Inferno's Neil Rushton.

Robert remembers the making and selling of the record very well.

"We recorded it at Golden World. The musicans were the Funk Brothers moonlighting from Motown. My friend Popcorn Wylie worked on that session with me, and we cut the vocals and the backing tracks there, I then took the tapes by myself to New York and pulled a favour to get use of the Mercury Studio in New York. That is where I added the so called Orchestra. Actually it was just two violinists who I overdubbed until I got the sound I wanted. I had learnt how to overdub from my time at Motown.
I then pressed the records up on H.I.B which is my label. I stands for Ingram, B for Bateman and H for my girlfiend at the time. Luther was very popular in St. Louis and we got radio plays there right away.I sold maybe 5,000 copies and the distributor in St. Louis wanted more and I gor wary about the cost. He said don't worry, I will get someone to help. A few days later I picked up the phone and it was Jerry Wexler from Atlantic and he said the distributor had told him all about the record and could we cut a deal so Atlantic could distribute it? I was real happy as I had made money from selling my copies, and Atlantic gave me a nice advance which by itself more than paid for the recording costs".

Regular black vinyl copies are £10, and the multi-coloured vinyl limited edition £20.
For info on how to order e-mail - neilrushton2@btinterner.com

By Neil Rushton in News Archives · September 8, 201113 yr

Check out link for a great video on the possible making of a new film about Latin Boogaloo.....

http://www.kickstart...-latin-boogaloo

Help out if you can, but if you love this music you will love the video clip alone....

site note

there was a news item a while back on this project
see rest of freebasing news/articles section to read

By Mace in News Archives · September 8, 201113 yr

The Dore' Story: Postcards From Los Angeles 1958-1964

Ace's September Newsletter just landed in my inbox and this release (available September 6th) charts the rise of the legendary LA Dore' label. This is the first release charting the story of the label and with subsequent releases should give a fascinating and comprehensive guide to the releases on the label. No Black Music (R&B/Soul/Northern etc) to speak of in the first release but I guess they have to start somewhere when telling the story of a record label.
As usual the comprehensive liner notes, some 18,000 words, for you to read whilst listening to the CD a couple of times.

Ace newsletter notes....

A one-man operation run at street level for more than two decades, Hollywood's Dore label launched the careers of Phil Spector and Jan & Dean in the late 1950s and built upon these early triumphs with an extensive catalogue of pop, rock and soul 45s during the 60s before branching successfully into comedy in the early 1970s. ¨ ¨The story of DorÃÆ’© records is inextricably linked with that of its owner, Lew Bedell, who entered the music business in 1955 having worked as a minor professional entertainer in the preceding years. Pop music was different back then and never more so than in California, where Hollywood's dominance of the entertainment scene meant that Los Angeles was scarcely aware of its music industry until hotshot producers such as Phil Spector, Brian Wilson, Snuff Garrett and Lou Adler finally put the town on the recording map in the mid-1960s. ¨ ¨Individualists such as Bedell were usually referred to as "characters" or as being "larger than life", suggesting they were caricatures of some sort, but Bedell, for all his eccentricities, was somehow too pragmatic a man to fit that description. ¨ ¨DorÃÆ’© began as a subsidiary of Era, a Hollywood label best known for mainstream pop hits such as 'Chanson D'Amour' and 'The Wayward Wind'. Bedell had founded Era with his cousin Herb Newman before breaking away to run DorÃÆ’© alone. In 1958, it got off to a flying start with 'To Know Him Is To Love Him' by the Teddy Bears, a worldwide hit, followed a few months later by Jan & Dean's 'Baby Talk'.

By Rob Finnis

courtesy Roger Armstrong

The major labels had lost touch with the street and it was largely left to LA's scattering of independents to set teenagers' turntables spinning on the West Coast. ¨ ¨It was the age of the walk-in deal on LA's so-called record row, an area of Hollywood populated by small labels wheeling and dealing from storefronts or backrooms. Some went in the blink of an eye but Dore stayed, moving seamlessly from rock and pop into soul music in the mid-60s. In this climate of spontaneous deal-making and low recording costs, Bedell was regularly approached by would-be's and wanna-be's, some of whom may have had something on the ball. Herb Alpert, Shel Talmy and Mike Curb were just a few who brought their first productions to DorÃÆ’© and there are some interesting connections: aside from Spector and Jan & Dean, the Walker Brothers and Vince Taylor all come into the story. ¨ ¨

25 of the 28 tunes on this first volume of "The Dore Story" appear on legitimate CD for the first time, all taken from the original masters, including previously unissued rockabilly from cult figure Joel Scott Hill, two ultra-rare rock instrumentals by Bobby Fry, the guitarist Vince Taylor brought over with him from America in 1958.
There's exquisite doo wop, some featuring that cherished East LA "Barrio" sound, early teen rock from John Maus of the Walker Brothers and a rare instro featuring Scott Walker himself. Dore is becoming a collected label. Many of the original Dore 45s are now beginning to fetch quite big money, helped by the aura of mystique that surrounds the label and its distinctive logo.
The generously proportioned, specially designed package includes a 18,000-word newly researched profile of Dore and Lew Bedell, artist biographies and many never-before seen photographs and illustrations. "The Dore Story" is an engaging snapshot of that moment in time before lawyers and accounts took over the music biz and things were simpler and probably more fun.
01 LET'S SPLIT - Bobby Fry
02 MARATHON ROCK - Joel Hill & the Rebels
03 BABY TALK - Jan & Dean
04 LOOK FOR A STAR - Deane Hawley
05 RING-A-DING-DING - The Tides
06 TRUE DEEP LOVE - The Premiers
07 STOMPIN' SH-BOOM - The Dories
08 EVERY ONCE IN A WHILE - The Debonaires
09 X-2 - Bobby Fry
10 DOIN' TIME - Ronnie Cook & the Diamonds
11 SOMEDAY - Cam Morris with Don Coats' Crusaders
12 MY BABY DONE ME WRONG - Kid Guitar Thompson & the Scooters
13 BABY, BABY, ALL THE TIME - The Superbs
14 TOO FAR TO TURN AROUND - The Creators
15 LOVIN' DADDY - Chuck Miles & the Styles
16 SHAKE IT, SHAKE IT - Larry Harmon
17 HEY LADY - The Entertainers IV
18 HIDEOUT - John & Judy
19 RUMBLE AT NEWPORT BEACH - Mike Gordon & the Agates
20 BABY DOLL - Billy Saint
21 PERCOLATOR - Billy Joe & the Checkmates
22 A CASUAL LOOK - Chris Darlin
23 AFTER SCHOOL ROCK - The Baritones
24 LAST YEAR ABOUT THIS TIME - The Symbols
25 TO KNOW HIM IS TO LOVE HIM - The Darlings
26 THERE'S SOMETHING ON YOUR MIND - Little Ray
27 SHOWDOWN - Tony Casanova
28 I LOVE YOU, I DO - Freddie Willis

By Chalky in News Archives · September 7, 201113 yr

Sad to hear that Wardell Quezergue has died, age 81.

He was a huge talent and a gentleman.

Rest in peace.

Paul

added by site

news item and biography Nola.com

...Wardell started working with other artists in the studio, producing and arranging their records and specializing in horn charts. By the early-60's, he had a new group, Wardell & the Sultans, who recorded for Imperial Records with Bartholomew producing, but his greatest success came in the studio where he produced and arranged the Dixie Cups hits Iko Iko and Chapel of Love and Robert Parker's Barefootin'.

In 1964, he started Nola Records and, in the early-70's, began working with the then struggling Malaco Records. At Malaco, Quezergue brought in artists that had been rejected by other labels and turned them into hitmakers. At one point, he brought in five such artists and, in a single session, turned out big sellers for Jean Knight (Mr. Big Stuff) and King Floyd (Groove Me)...

full article can be read
http://www.nola.com/...gendary_ne.html

Feature

...Hitting immediately with Robert Parker’s “Barefootin,’” under Quezergue’s watchful stewardship Nola amassed a staggering catalog of soul and R&B—from the obscure Charles “Soul” Brown to the famed Willie Tee—before its untimely demise in 1968. Along with subsidiaries like Bonatemp, Whurley-Burley and Hot Line, Quezergue kept himself busy with productions for smaller labels like A.B.S., Shagg and Mode, always using the same modus operandi: the song itself came first.

full article can be read...
http://www.ponderosa...rdell+Quezergue

2007 video

By Guest in News Archives · September 6, 201113 yr

A while back here on Soul Source, you may have noticed amongst all the usual online arguments, daily dramas and such the odd reference concerning a planned film that was said to have a northern soul influence. As the months passed more comments and snippets have followed becoming more frequent and that bit more interesting.
Words of a website, a dance club/school setup surfaced, a few videos on youtube mentioned, a facebook group and other such 'social' affairs showed up. Of course I can't speak for anyone else but to me all these various events started to come together and gave me a sort of sense of something going on here that could be, just this once, something that might just... get things right.

Last week saw this story break cover, firstly an article on the Screen Daily website http://www.screendaily.com showed up and then a few days later a fully fledged mainstream showing in the Guardian Music section titled Britain's got talcum: Northern Soul, the film

As the articles and websites say not just more but as always in a better style than your usual expectations from myself, I will clip them below

About the film - from the films website

This is a story of a youth culture that changed a generation and influenced songwriters, producers, DJs and designers for decades to come.

This is the story of Northern Soul.

Award-winning director Elaine Constantine will begin shooting her first feature-length film Northern Soul in January 2012 under Stubborn Heart Productions and in association with Baby Cow Films.

The film will tell the tale of two Northern boys whose worlds are changed forever when they discover black American soul music.

Rejecting their small town existence working the production line, they dream of going to America in search of the super-rare records that will help them to become the best DJ's on the British soul scene.

Website: Northern Soul The Film
http://www.northernsoulthefilm.com/

Guardian Feature - Britain's got talcum: Northern Soul, the film

On a Thursday afternoon at the Old Queens Head pub in north London, it's pretty quiet. There are just three or four customers at the bar downstairs, but coming through the ceiling is an insistent, Motown-like bassline. Climb the stairs and you're in another world. Skating across the parquet floor are some 200 kids spinning, dropping, sweating to a five-decades-old tune called Suspicion by the Originals.

Photographer Elaine Constantine has been obsessed with Northern Soul since 1976, when she went to a youth club in her home town of Bury, Lancashire.

"I saw some older kids from my school dancing in a style I'd never seen ...
...it was slightly melancholy but at the same time euphoric...
.. told me it was Northern Soul. It changed my life. I knew I wanted something different ..."

This is her first feature-length movie. Simply called Northern Soul, it recreates the atmosphere of soul clubs where rare records were spun, and dancers scattered talc to make moves easier. A huge underground scene, with strongholds in unfashionable northern towns like Stoke, Stafford, Blackpool and (most famously) Wigan, it developed its own codes, its own mythology.

Read the full article by Bob Stanley here
http://www.guardian....tine?intcmp=239

Guardian Gallery
Northern Soul: dance, camera, action - in pictures

view all photos here
http://www.guardian....ancing-pictures

Youtube
There's been a few videos doing the rounds based mainly around the dance aspect
here's the latest one

Look forward
In a week or two we will be featuring an interview with Elaine here on Soul Source, if anyone does have any questions they would like to ask, then just pm me them and will see what can do.

End word
Northern soul is a complex term, I'll always say that no one can or will ever come up with an explanation that captures every aspect of it in a way that satisfies each and every soul fans own view... never mind put it on film! However so far Elaine Constance and all involved seem to be making a very determined effort to come the closest yet to doing such.

Shooting for the film Northern Soul will begin in January 2012 under Stubborn Heart Productions and in association with Baby Cow Films

By Mike in News Archives · September 4, 201113 yr

Various landmarks are both flying by and sneaking up, the end of summer, a new month, soul source hits x years online, transfer deadline day passes, 100 Club heading for the 32 yes I said 32 year landmark, to name just a few. Here at the front end of Soul Source feel that with all these landmarks its quite an apt time to have a one off competition. We were going to try and name and tie in the comp along the lines of the landmarks but the one off, end of summer, soul source anniversary online, 100 club 32 year landmark, kids back to school competition title fell foul of the text box.

So instead will just say this one is a big one, 5 yes i said 5 fresh Kent 45s are sitting here right next to the towering things to do pile, waiting to be won by 5 lucky soul source members.

For those who need to always have the better things in life things right away all the fine 45s listed below are the latest from Kents busy release schedule, this time its the Select imprint and though are of limited issue are still available online from some of the regular stockists and also out in the real world either out and about via delaers at events or via the decent record shops.

The Competition details will follow straight after this listing of all the recent releases - complete with clips

The Stars Of Mirwood - Mirwood LTDEP 011 Limited edition EP
Jackie Lee - Oh,My Darlin'
The Olympics - I'll Do A Little Bit More
The Mirettes - He's Alright With Me
Bobby Garrett - Keep It Coming

http://www.acerecords.co.uk/songfiles/ltdep011_01_0.mp3
http://www.acerecords.co.uk/songfiles/ltdep011_02_0.mp3
http://www.acerecords.co.uk/songfiles/ltdep011_03_0.mp3
http://www.acerecords.co.uk/songfiles/ltdep011_04_0.mp3

This is the third in our “Stars Of” EP series, which kicked off with Goldwax and Fame-themed four-trackers. Los Angeles’ Mirwood label is as iconic as those two imprints, but with a largely different set of soul fans.

Bobby Garrett and Jackie Lee (aka Bob & Earl) contribute two great dance tracks. Bobby’s has never been on vinyl before and is an alternate lyric to the Olympics’ R&B hit ‘Mine Exclusively’. Jackie Lee’s ‘Oh, My Darlin’’ has been described as the emotional pinnacle of Northern Soul (admittedly by me, but I stand by that, and still thrill to it every time I get a chance to spin it).

All the tracks are classic uptempo mid-60s soul dance records that Mirwoodwas famous for, particularly on the UK’s original Northern Soul scene. Although considered rare in the UK at the start of the 70s, most of the releases were good sellers, particularly on the West Coast. The Olympics’ ‘I’ll Do A Little Bit More’ was sampled by Fatboy Slim on ‘Soul Surfing’ in the late 90s, so a new generation of dance fans grooved to the works of Fred Smith and James Carmichael (unknowingly, in the main). This groovily designed, limited press, picture cover EP is completed by the shimmering sexy soul of the Mirettes’ ‘He’s Alright With Me’ – yowsah!

Candi Staton - One More Hurt b/w Do Right Woman - City 020
We are proud to be releasing Candi Staton''s much acclaimed Fame recording ''One More Hurt'' on its first vinyl pressing. It comes from the recent box office success "Evidence: The Complete Fame Records Masters" CDKEN2 353 and had already picked up enough plays from DJs to make its limited 45 release a certainty for a rarity of tomorrow. We have put the slow burner ''Do Right Woman'' on the flip, another unissued Fame diamond that will look so good spinning round a deck.

http://www.acerecords.co.uk/songfiles/city020a_0.mp3
http://www.acerecords.co.uk/songfiles/city020b_0.mp3

The Paramount Four - Sorry Ain't The Word b/w James Carpenter - (Marriage Is Only) A State Of Mind - City 021
The Paramount Four is probably the biggest crossover record of the last ten years. Only available on a 100 Club Anniversary limited press complementary single last September, it has been hunted by collectors across the rare soul world ever since. Sublime soul. The B side feature’s James Carpenter’s rendition of Dave Hamilton’s ‘Marriage Is Only A State Of Mind’, which has yet to earn its full kudos. It was an unreleased master tape issued on the first “Detroit Dancers” CD of primarily 60s movers and has been largely missed by the Modern Soul crowd

http://www.6ts.info/music/Kolla2__02.mp3
http://www.acerecords.co.uk/songfiles/city021b_0.mp3

J T Rhythm - My Sweet Baby b/w O.C. Tolbert - All I Want Is You - City 022
J.T. Rhythm’s CD version of ‘My Sweet Baby’ is substantially different from the one issued on Palmer, which now fetches a four-figure price. Slightly faster, better produced and in vastly improved sound quality, you’d need this even if you were a proud owner of the original single. The reverse of that great 45 was the group’s version of ‘All I Want Is You’ and here for the first time on vinyl is O.C. Tolbert’s reading of that great song. I think even J.T. owners would consider this to be the ultimate version.

http://www.acerecords.co.uk/songfiles/city022a_0.mp3
http://www.acerecords.co.uk/songfiles/city022b_0.mp3

Jackie Lee - Anything You Want aka Any Way You Want b/w Jackie Lee - Trust Me - City 023
Jackie Lee’s Mirwood performances have been well documented but Ace’s acquisition of the masters has meant that the true original of the bootlegged ‘I’ll Do Anything’ is at last legally available. It’s backed by his stunning reading of close musical colleague Bobby Womack’s song ‘Trust Me’, another crossover gem.

http://www.acerecords.co.uk/songfiles/city023a_0.mp3
http://www.acerecords.co.uk/songfiles/city023b_0.mp3

that's the 5 up for grabs

here's how the competitions going to work

to enter all you have to do is go here and "like" the post
http://www.soul-sour...howtopic=209645

all those who are down as "likers" of that post on the closing date will be put in the soul source hat

5 "likers" names will be drawn -
the first name will get the "Stars of Mirwood" ep
next will get their choice of one of the 4 45s
next their choice of one of the 3 left and so on
5 x 45s and so 5 winners

easy enough ?
go here
http://www.soul-sour...howtopic=209645
like the post, and wait for the results

closing date will be the date of the 32nd 100 Club Anniversary Saturday 24th September

good luck!

By Mike in News Archives · September 3, 201113 yr

.... view, read, watch, talk, discuss all things offtopic eg non or loose soul topics that dont fit in with the rare and northern main thrust of site

Intro/background

After years of the freebasing section being a part of the setup on here, myself and karen ( mod of freebasing) both during discussion came to the conclusion that freebasing has to all purposes had reached the end of the line due to various reasonss.

Had two options either just sack all talk of a offtopic nature or press the reset button and bring in a new format, new style, new setup

important notes
privacy
it is a members only section and so there are privacy issues on all content posted
any member found posting any part of any members posts that were posted in this or any other members section without getting the original posting members permission else where will have action taken regarding their membership of this site.
terms of use
the normal site terms of use will apply, guidelines specfic to each forum will apply, these will be drawn up over the next week via the new forum mods and tailored to each forum
access
at moment access is members only - forums mods will be able to choose if more detailed access is required
past posts
Some post from the old section have been moved across, all other old posts are now stored in fb-archive which is mint members access only
thanks
Thanks go to Karen for all the time and efforts that she has put in over all these years as mod in freebasing, am sure many both appreciate them and aware of all the doing such can bring into play. Also thanks to all the past moderators who have been involved in looking after forums etc s well and thanks go to all members both present and past who over the years made it what it was
thanks to all

future
it is a new day, it is a new month and hopefully this new setup will be a new step forward here on soul source
it is not going to be freebasing part 2 it is and will be treated as a completly new feature
ask all members to take in the new day new feature concept and with new mods help make this new step a enjoyable and worthwhile one

line up
mag: general
mod: Idell
non/loose soul related discussion that isn't covered by others
all subjects inc travel, media, tv, films, questions, day to day life - wide remit so should be interesting and enjoyable place

mag: political
mod: dave moore
the place for serious current affairs/political discussion

mag: sporting life
mod: could be you if enjoy taking sport
all talk on sporting matters, news, video etc

mag: tech
mod:reg
all things technogy connected be it assistance, news, views and more

real world idea was dropped for now

mag: chat
mod: step forward?
chat/jokes/trivia/list type posts

they should be open now
as said ask all member to bear in mind new day new feature concept, and ask all member help the new mods as find their feet
thanks
mike

By Mike in News Archives · September 2, 201113 yr

The BROTHERS OF SOUL (Fred Bridges, Richard Knight, Ben Knight and Bobby Eaton) will be performing in Britain, for the first time ever, on October 22nd 2011 at the Caribbean Centre in Coventry with full orchestral accompaniment. This is their only UK concert.

The group will be performing many of their own recordings as well as songs they wrote for other artists. The evening will be a celebration of Detroit’s important contribution to the rare soul scene and will only feature music recorded in the Motor City.

In recognition of this essential event, we are proud to resurrect this 2008 article about the group, highlighting the early careers of group members, the vast catalogue of songs they wrote and the important contribution they made to the music scene.

Harmony singing has been an important aspect of black expression and communication since the primeval days in Africa prior to the introduction of the slave trade. Communal choral involvement accompanied the misery and suffering experienced by slaves throughout the entire despicable process of enforced labour and identity assassination. Yet, the practice of mass participation in vocalizing, as practiced in churches by choirs and congregations or through a cappella entertainment by smaller groups, in the 19th century, became a pre curser for many of the established art forms we recognize today. Barber shop quartets, impromptu so called ‘street corner’ singing, gospel groups and family gatherings are all examples of situations that contributed to the veritable explosion of group harmony singing that evolved during the 1950s. The phenomenon known as ‘Doo Wop’ began to dominate popular tastes throughout America, during most of the decade. It created a musical template of intricate four and five part harmonies, often with falsetto leads and bass voice histrionics, performed by slickly suited groups of males, who blended the charisma and raw power of rhythm and blues with the urbane sophistication of collective crooning. By the early 1960s the format had evolved into a less restrictive style as groups like The Impressions, The Temptations, The Dells (who had been a part of the ‘Doo Wop’ era) and The Drifters, and many others, delivered more melodic expressions of musical syncopation, retaining the harmonization of the past, but with a greater emphasis on lyrical and emotional content. In most cases, groups were dependent on songwriters providing material for them. They tended to concentrate on the delivery and performance of a repertoire of songs, whereas the songwriters focused on the lyrical and melodic components – and rarely did the twain ever meet. Until a talented vocalist named Fred Bridges met Robert Eaton and Richard Knight, and began songwriting collaboration in Detroit during the mid 1960s that ultimately resulted in the creation of a singing group of their own – The Brothers of Soul.

Fred Bridges completed a stint in the military in 1960. “I was part of a group called The Crystals. We won all the Air Force talent shows but when I left the service, the group folded. I’d always been into music – I could sing and play piano too. And I grew up with Marv Johnson and Lawrence Payton of the Four Tops so I had some connections.” His friendship with Johnson resulted in an introduction to producer Robert (Bob) Bateman in 1961, who took him to the local Speciality in Detroit to record the self-penned ‘Baby don’t you weep’ b/w ‘It must be love’ for Versatile Records. With little promotion, the record was unsuccessful. Bridges was undeterred however. “It was a good learning experience for me. I recorded again a couple of years later as Lavon Bridges on a tune called ‘With a smile on my face’ for Gloreco, which I wrote, but that didn’t do too well either. I was trying to get into the recording scene here in Detroit and I did a couple of things. I remember doing backbeats on Edwin Starr’s ‘Agent double O soul’ over at Golden World with this clapper device that we made by attaching a hinge between two pieces of wood. I was over at Motown too when they needed some voices on a Martin Luther King song they were doing.” But it was his songwriting that drew most attention - and some controversy. “ Johnny Terry used a song I had written with Richard Beasley called ‘She broke his heart’ on one of his artists (Just Brothers) but when it was released he had the writer as Freddie Pride. He never told me he was gonna do it or why!” The song was included by noted UK scribe Dave Godin on his album of the best 20 ‘Deep Soul’ sides ever written and recorded. By 1964 Bridges began working at the Chrysler assembly plant but continued his interest in the music business. He met Richard Knight at the plant and soon realized that they shared a passion for songwriting. Knight’s career path to this point couldn’t have been more different to Bridges’. He recalled his tempestuous late teenage years. “I guess you would have called me a street hoodlum at that time -17 or 18 years of age. I moved to New York City when I was 18 and got a job there. One of my co-workers’ uncles died and left him a nightclub and he invited me to help him run it. I didn’t know too much about organising things but he had heard me sing and hired me to sing with the band. I did that for four years.” The success of Motown Records, and the frenzy of related activity that accompanied it, back in Detroit, soon lured him back home though. “My buddies kept calling me and telling me what was going on and that if I wanted to get into the business, Detroit was the place to be. I came back around ’64 and got a job at Chrysler. I met Fred not long after that.” Bridges was to be the catalyst in the inclusion of Robert (Bobby) Eaton into the eventual writing triumvirate too, as Eaton himself remembered. “I’d been into music since I was a kid. I was in a group called The Tornadoes with Stanley Mitchell back in ’58. We recorded a couple of sides in Chicago for Chess Records but nothing came of it. I got a break in early ’64 when Tri Sound Records used a couple of my songs on a group called The Devotions (‘Same old sweet feelin’ b/w ‘Devil’s gotten into my baby’) It was around that time I met Fred and Richard and we started writing together.”

Fred Bridges and engineer Ed Wolfrum mixing 'Candy' at Tera Shirma

Bridges recalled how the creative process worked between them “Richard was really good with words. Bobby was an accomplished songwriter in his own right but was really great at arranging voices and doing the background parts. I would usually start things off on the piano with a hook or some kind of a groove and we would go from there.” Their first collaborations took place in a small studio not far from Motown’s Hitsville site. “It was around the same time that we got hooked up with Lou Beatty at La Beat Records. I was walking past their studio. It had these really big windows at the front and I could see right in. They were working on something, playing piano and such, so I went in and met the engineer. I played him and Lou Beatty some songs I’d got on the piano, and they liked them. Richard and I went back and they hired us as songwriters. Bobby came too. We did six songs on a guy called Al Williams, though only one single got released.” ‘I am nothing’ didn’t sell well when it was released on LaBeat but achieved legendary status and popularity on the British rare soul scene and is a prized possession among collectors, who will pay well into four figures to acquire a copy. Bridges acted as a talent scout for LaBeat on occasion too. “Yeah, I was going into LaBeat and heard this group of guys singing nearby. They called themselves The Masqueraders. They had come up from Dallas to audition for Motown but had been turned down. I took them in to Lou who really liked their style. He signed them and put them up in a motel he owned down the street too. We cut several sides on The Masqueraders including ‘I got the power’ and ‘One more chance’.” Bridges, Knight and Eaton also wrote songs for Mutt Records, which operated out of Inkster, a western suburb of Detroit, around the same time. “We wrote a couple of tunes for The Two Fellows and The Majjestees. There was a guy called Nate Dorr who owned the label. He was a bond bailsman. He put us in touch with Bill Craig who was well connected in the music business. He liked our material and took us to Sidra Records ‘cause they wanted some songs for The Precisions That would have been around 1967.” Erstwhile session drummer George McGregor had been hired as musical director at Sidra and wasted no time in bringing in Jo Armstead and arranger Mike Terry to work on various projects. “We met Mike and Joshie at that time and wrote some songs with them that were later recorded by Carl Carlton with Terry producing. ‘Drop by my place’ and ‘Two timer’ were two of our songs I recall. Mike had been a session sax player at Motown, Golden World and other studios around town for years, but he had moved into arranging and he was the best around. We used him on most of our sessions because he could transform and enhance our ideas so brilliantly.”

http://youtu.be/h-KG3eP8ik8

Yet it was a chance meeting with a visiting label owner that determined the immediate future of the trio. Bridges remembers it clearly. “ Ric Williams was visiting Detroit from Chicago. He had made his money in other areas but wanted to get into the record business. He had started several labels ( Boo, Zodiac, Shock and Aquarius ) and had his own artists, - people like Candace Love, Chuck Bernard and Ruby Andrews but he needed songs. He came into Sidra and heard a couple of the songs we had written for the Precisions. He was really impressed and asked us to write for his artists.” Their first assignment was with Ruby Andrews, who recorded numerous Bridges/Knight/Eaton compositions including the sublime ‘Just loving you’, a perennial favourite on Britain’s soul scene, and her first hit ‘You made a believer out of me’. Candace Love and Chuck Bernard were the beneficiaries of their songs too, but it was their working style that caught the attention of Ric Williams and led to a significant change in their fortunes. Fred Bridges, “Things started to move pretty fast at that point. Ric heard us rehearsing and teaching our songs to his artists and really liked our singing style. He convinced us to record as a trio, but we didn’t really have a name so he released us doing two of our own songs ‘Footsteps’ and ‘A dream’ as The Creations on the Zodiac label. Later on we named ourselves The Brothers of Soul and recorded for the Boo label.” The group was augmented, on occasion, by Ben Knight (no relation to Richard) who would replace any member indisposed or unavailable. In early 1968 ‘Hurry don’t linger’ was released by The Brothers of Soul, followed by their only national hit ‘I guess that don’t make me a loser.’ For the next two years the group wrote and produced themselves on a string of beautifully delivered songs, masterfully arranged by Mike Terry, yet also found the time to create for others, as Bridges explained. “Mike was recruited by Epic Records and came to us for songs when he worked with certain artists. We gave him ‘Wish I had known’ for Sandra Phillips, ‘Gone but not forgotten’ for Johnny Robinson and helped him with the Maxine Brown and Rhetta Hughes albums.” Two of their songs, ‘Plum outta sight’ and ‘Seems you’ve forsaken my love’ appeared on Maxine Brown’s solitary Epic album but created some friction at the time of their original introduction to the artist. Richard Knight recalled what happened. “Before an artist recorded any of our songs I always made sure that they would sing it the way we had written it. We didn’t mind some changes or improvements, as long as we approved them. Let’s just say that things were going in a direction on this session that I didn’t like so I made sure the songs were sung to our satisfaction.”

The Brothers of Soul created a body of work that has stood the passage of time and sounds as fresh, vibrant and original as the moment it was recorded. Ironically though, the smooth harmonies and heartfelt romanticism of their material was born in a turbulent time in Detroit, as Bridges recalled, “ Our first records were cut during the riots. There were looters and rioters around and shooting going on. We had to dodge and duck around the streets to get our tape recorders to the studio so that we could record. There was a curfew too, which it made it tough to get back home at night. We actually came up with our group name around that time. People would write ‘Soul brother’ on their windows of their houses and businesses to protect them from being burned down by rioters, and we just adapted it.” The group produced a variety of soulful recordings ranging from up-tempo tunes like ‘I’d be grateful’ and ‘Come on back’, which still pack dance floors at soul music gatherings around the world, along with poignant ballads like ‘Try it baby’, ‘You better believe it’, ‘Hurry don’t linger’, ‘One minute baby’ and ‘A dream’ which retain the emotional vulnerability and sensitivity of true musical communication.

The harmony found in their singing extended to the personal interaction that has now lasted, between group members, for over forty years. They truly are - The Brothers of Soul.

Rob Moss

By Rob Moss in Event News · August 28, 201113 yr

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