Magazine

Soul Source music magazine feature.

From Ila:

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

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

I hope you enjoy my story!'

added by site

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

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

Published 09 January 2015

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

By Guest in News Archives · January 9, 201510 yr

Morning all,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Artist - Title - Label

In that order please.

That's it.

You know the drill!

Cheers!

Sean

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

Soul Discovery Top 25 of 2014

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

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

Soul Discovery Top 25 of 2014

By Guest in News Archives · January 4, 201510 yr

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

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

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

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

The band play the following European dates ....

March
6th - Newcastle, The Cluny 2

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

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

Thanks,

Stuart Hatfield

By Mike in Event News · January 4, 201510 yr

Hi All

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

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

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

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

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

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

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

added by site

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listen to Sample clips

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

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

By Chalky in News Archives · December 31, 201410 yr

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

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

Happy New Year 2015!

By Mike in News Archives · December 31, 201410 yr

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I will go with these from the shelves:

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

Web Links:
http://anoraksCorner.com

Yann Vatiste — Hey! Mr DJ

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For futher information, please check our Facebook page.

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

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

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

Current Top 5 Tracks:

In no particular order

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

Web Links:

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

Arthur Fenn

Reference: DJ Collector

Headquarters: Selby Yorkshire

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

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

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

2. Where was your first DJ slot?

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

3. What was your most memorable DJ spot?

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

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

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

5. Your favourite scene DJ’s and why?

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

6. What has shaped your DJ sound and why?

The Highland room 74/75

7. What was your best ever find/discovery?

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

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

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

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

10. Where can folks currently catch your DJ set?

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

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

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

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

all time 10 mind blowers?

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

Current Top 5 Spins:

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

Cheers Arthur!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

event-reviews

By Yann V in Articles · December 30, 201410 yr

RIP Jo Jo

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

added by site

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

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

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

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

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

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

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

Hope its a good one!

The Soul Source Team

two to get the thread going....

By Mike in News Archives · December 19, 201410 yr

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

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

RIP

Flip to Bar-B-Que

By Guest in News Archives · December 18, 201410 yr

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

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

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

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

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

By Rob Moss in Articles · December 17, 201410 yr

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

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

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

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

Old photos of the Unity

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

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

By Harry Crosby in Articles · December 17, 201410 yr

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

By Mike in News Archives · December 9, 201410 yr

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

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

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

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

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

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

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

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

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

And for the lovely Anna…………………

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

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

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

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

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

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

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

motown music

By Guest in Articles · December 2, 201410 yr

Induction Date: 01 November 2014 Category : Female Vocal Group

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lorraine Chandler & Dave Moore :16 November 2014

Notes and References:

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

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

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

hall of fame

By Dave Moore in Articles · December 1, 201410 yr

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

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

Here's the competition link

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

We Got A Sweet Thing Going On - Various Artists

Catalogue # SJCD5009

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

Press Release

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

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

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

By Mike in News Archives · December 1, 201410 yr

just heard she has past away another star gone

Added by site

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

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

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

Full article can be read via the biography on

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

http://youtu.be/cjxvT7VSrOQ

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

By Mickjay33 in News Archives · November 29, 201410 yr

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Mike in News Archives · November 24, 201410 yr

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

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

Mansion 45

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

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

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

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

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

New World 45

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

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

Words By: David Welding

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

Label scans courtesy of Mark (Butch) Dobson.

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

artists

By Chalky in Articles · November 22, 201410 yr

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

By Mike in Event News · November 21, 201410 yr

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

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

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

http://youtu.be/PgHI_kZsxZk

Forum Thread

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

Wikipedia

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

BBC Interview from Soul Source 1999

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

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

By Mike in News Archives · November 20, 201410 yr

Another recent release from Kent that pushes the right buttons.

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

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

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

Video trailer

http://youtu.be/y3zzMn4oFDo

Track Listing and clips via the Ace website

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Mike in News Archives · November 19, 201410 yr

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