Bobby Parker Passes
Regards,
Dave
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Regards,
Dave
Rip Billy Brown Of The Shades Of Brown
Era Northern Soul Cd - Kent
Era’s biggest hit by a black singer was Jewel Akens’ ‘The Birds And The Bees’, which was pure pop but came out of a notable session by accomplished soul group the Turn Arounds. Two great sides by the group feature here, along with the full story behind that hit. But Akens could sing soul as well as pop; a great late 60s stomper, ‘Your Good Lovin’’, written and produced by Eddie Daniels, debuts on this CD. We also found a little-known New Breed R&B gem from one of Jewel’s more obscure groups, the Composers.Herb Newman already had a future soul star on his roster in the young Brenda Holloway who recorded as half of the Soul-Mates earlier in 1963. A track by the Lovemates, another boy/girl duo featuring Brenda, is also included, along with her 1964 solo outing for Catch.
http://youtu.be/UmwMcOqdNns
Another future soul chart-maker was Jimmy Lewis who had just one Era release, arranged by Northern Soul hero James Carmichael. Jesse Davis’ ‘Gonna Hang On In There Girl’ was a rare soulful departure for the nightclub singer but the Sherlie Matthews composition sounds awesome when blasted out of the speakers at Northern gatherings. Wigan (and elsewhere) favourites are provided by Othello Robertson’s ‘So In Luv’ and Billy Watkins’ ‘The Ice-Man’ and there are alternate versions of ‘A Slice Of The Pie’ and ‘Meet Me At Midnight’, each arguably better than the Jewel Akens and Cindy Lynn originals.
Further unissued manna comes from the H.B. Barnum-arranged ‘Dance With Me’ by Billy Watkins and excellent alternate readings of ‘ Stand There Mountain ’ and ‘The Blue Shadow’ by ex-vocal group singer Vince Howard; Herb Newman had previously cut the songs on pop acts. There are Popcorn classics from the very colourful Bruce Cloud (check out the sleevenotes on him) and the glamorous and equally newsworthy Carol Connors. Both sides of Steve Flanagan’s Stafford monster ‘I’ve Arrived’ sound great alongside Melvin Boyd’s killer version of ‘Exit Loneliness, Enter Love’, produced by Miles Grayson. We throw light on Steve Flanagan’s identity but are still scouring the internet for Melvin Boyd.
Although Era started out a million miles away from black music, by the late 60s it had embraced it and utilised some of its most accomplished talents.
By Ady Croasdell
28 Oct 2013
Catalogue Id:CDKEND 405
Side 1
01 Preview
The Ice-Man - Billy Watkins
02 Preview
So In Luv - Othello Robertson
03 Preview
I've Arrived - Steve Flanagan
04 Preview
Meet Me At Midnight - Bruce Cloud
05 Preview
Ain't Nothin' Shakin' - The Turn Arounds
06 Preview
What Can I Do Now - Jimmy Lewis
07 Preview
Exit Loneliness, Enter Love - Melvin Boyd
08 Preview
My Book - Bruce Cloud
09 Preview
I Wanna Know - Carol Connors
10 Preview
Boomerang - The Lovemates
11 Preview
The Blue Shadow - Vince Howard
12 Preview
Echoes In The Night - Tommy Mosley
13 Preview
I Get A Feeling - The Soul-Mates
14 Preview
Run Away And Hide - The Turn Arounds
15 Preview
I Need To Be Loved So Bad - Steve Flanagan
16 Preview
Gonna Hang On In There Girl - Jesse Davis
17 Preview
Your Good Lovin' - Jewel Akens
18 Preview
Dance With Me - Billy Watkins
19 Preview
Sir Galahad - The Elites
20 Preview
A Slice Of The Pie - Bernie Byrd
21 Preview
You And Yours - The Composers
22 Preview
I Ain't Gonna Take You Back - Brenda Holloway & The Carrolls
23 Preview
Stand There Mountain - Vince Howard
24 Preview
Come On Home - Othello Robertson
- See full details and uk online puchase with free delivery :
http://acerecords.co.uk/era-northern-soul#sthash.EqaUaCbi.dpuf
Al Johnson - Singer - Songwriter And Record Producer
Al's longtime friend, Jean Carn, posted the following today:
I received a message and text earlier from Jeff Majors saying that my Friend and favorite Voice, Al Johnson passed away this morning.
A Fan since"The Beginning of My End", I've been recalling the many, many times I've had the pleasure and privilege to share the mic and the stage and commiserate in the studio with Al.
Our first recording was "I'm Back For More" which has been sampled many times and was covered, beautifully by Bobby Womack and Lulu.
His orchestral arrangements for Artists like The Whispers, were beyond Genius.
Thanks Al, for composing the title tune for my Motown album, "Trust Me" and "We've Got Some Catching Up To Do".
Thank you Jeff Majors for bringing Al and me together for what has become our last onstage performance.
My Love and Prayers are with Al's beautiful Wife and Family.
Right now, I simply can't imagine Music existing without the Voice that lovingly brought us "The 23rd Psalm".
Al Johnson, your incomparable Spirit will live on in the gigantic space that you occupy in my heart.
Rest in Peace, Beloved Musical Warrior..
While never long in the spotlight, Al Johnson quietly created some very memorable Soul music for himself and others over a more than forty year career, and developed a small but loyal following over that period as a top notch songwriter, singer and musician.
Johnson first scored as the lead singer of the Unifics, a group formed at Howard University in Washington, D.C. which had a big hit with "The Court of Love." After another minor hit, "The Beginning of My End," the group split and Johnson began a long string as a session musician, songwriter, arranger and producer.
full article can be read at
http://www.soultracks.com/al-johnson-dies
View attachment: image.jpg
from wikipedia
Born in Newport News, Virginia in 1948, Johnson attended Howard University in Washington, D.C. and while there, co-founded the soul group, The Unifics.The group, with Johnson as lead singer, scored three hits on the Billboard Hot 100 in 1968 and 1969 for the Kapp Records label. The first, "Court Of Love" climbed to #25, but reached #3 on the US Billboard R&B chart. The follow-up, "The Beginning Of The End" got to #36 on the Hot 100 and #9 R&B. Two further releases in 1969 reached the R&B chart.
Johnson returned to recording in 1978 with a solo album, Peaceful which he co-produced, as well as arranging and co-writing, for a small label, Marina, part-owned by former singer, Lloyd Price.
In 1980, Johnson collaborated with jazz/soul producer Norman Connors, for an album, Back for More, on Columbia Records. This came after he had sung on Norman Connors' album, Invitation for Arista Records in 1979, singing the lead track, "Your Love". Back For More peaked at #48 on the Billboard Black Albums chart.[2] The lead single from the album, "I'm Back for More", a duet with Jean Carn,[3] reached #26 on the R&B chart, whilst the follow-up, "I've Got My Second Wind", hit #58, both in 1980
Around this time, Johnson was writing, arranging and also playing keyboards on recording sessions, including for the Willie Lester-Rodney Brown production team that released several successful disco/soul albums on Prelude in the early 1980s, with acts such as Sharon Redd, Bobby Thurston and Gayle Adams.
In the 1990s, Johnson worked with The Whispers on several albums and, in 1999, released another solo album for an independent label, Clout. Johnson re-formed the Unifics with original group member Tom Fauntleroy, and also toured with a solo gospel show. The group issued a new album, Unifics Return in 2005.
Johnson, aged 65, died on October 26, 2013
The Ivy Jo Hunter Story by Rob Moss
Motown’s phenomenal success in the 1960s was due, in large part, to the abundance of talented songwriters the company nourished and nurtured from within. From his own experience in the 1950s with Jackie Wilson, Berry Gordy Jnr. knew that good songs were the lifeblood of commercial musical success for a record company. It didn’t matter how talented the performers, musicians or producers might be — without great songs, it would all be for nought. In the early days, the bulk of compositions came from himself, Barrett Strong, Smokey Robinson, Robert Bateman and Janie Bradford, but as the carnival expanded, additional local talents were welcomed aboard and a surge of melodious ingenuity erupted. Eddie Holland and Lamont Dozier had begun their careers as vocalists at Motown, but decided to join forces with Eddie’s brother Brian to concentrate on song writing and production at the company, whilst a new recruit, fresh out of Army service, entered the fray with little fanfare and hardly any influence.
George Ivy Hunter was enlisted by Motown A & R director William ‘Mickey’ Stevenson in 1963 on a referral from in house tenor sax player Henry ‘Hank’ Cosby, who had worked with him at another local studio and sensed his potential. Stevenson’s power and prestige within the Motown hierarchy allowed him to dictate, and receive, a 50% share of all Hunter’s songs during their initial ‘negotiations’, even though, in the bulk of cases, he would contribute very little or nothing at all. Interestingly, Hunter signed four separate contracts at his induction — songwriter, artist, producer and artist manager, and amended his name slightly to become known as ‘Ivy Jo Hunter’. Over the next eight years, he would contribute some of Motown’s most beautiful and important songs and become one of the most successful song writers in the world, composing material for the Temptations, Marvin Gaye, Gladys Knight & the Pips, Four Tops, Isley Brothers, Spinners, Supremes, Marvelettes and many more. His songs have been ‘covered’ by such diverse talents as Mick Jagger, David Bowie, Augustus Pablo, Bryan Ferry, Eric Clapton, Bonnie Rait, Phil Collins, Aretha Franklin and scores of others.
Ivy Hunter graduated from the prestigious Cass Tech. in Detroit around the same time as arranger extraordinaire Paul Riser, famed producer/arranger Dale Warren and baritone sax man Andrew ‘Mike’ Terry, who all ended up working for Motown. After a brief stint in the US Army, as an electrical engineer, he tendered songs to the fledgling Correctone set up on Grand River Avenue and, in late 1962, was contracted as a songwriter and session musician for the label. His memories of those times are lucid and incisive. ‘My mother didn’t want me to go into the music business. She thought it was no good, so I studied commercial art at Cass but still played trumpet and baritone sax in the Detroit All City Orchestra. When I came out of the army the music scene in Detroit was buzzing.
I got into Correctone as a player then started to write. I met people like Joe Hunter and Hank Cosby, who were great players but could arrange too. I hung with Don Juan Mancha who helped me with my song writing. When the owner, Wilbur Golden, sold everything to Ed Wingate the only contract Wilbur would not sell to him was mine! He gave me a release and I went to Motown.’ Despite Hank Cosby’s recommendation, he still had to wait for Mickey Stevenson. ‘I would go to the lobby of the building on Grand Boulevard and wait to see him. It seemed like a couple of weeks before he finally saw me but he liked what he’d heard and seen, so I signed.’ Hunter bears no ill will against the song writing deal Stevenson forced on him. ‘Without Mickey I would never have got into Motown at all. When I was there he would be in my corner and there were songs that he gave me credit on that I didn’t contribute anything to. Songs like ‘A thrill a moment’, ‘ I’m still loving you’, ‘My baby loves me’ on Martha Reeves and most of the other songs he did on Kim Weston. When Mickey left in ’66 they gave me the choice to remove his name from my songs but I left it on. He did a lot for me. I always felt indebted to him.’
Mickey S and Ivy on Teen Tv Motown Special
Ivy Hunter’s time at Motown did not begin very auspiciously. ‘I always felt like an outsider, probably because I hadn’t been there since the inception, and I didn’t get involved in all the petty politics that was going on. When I came in my style was so different from the accepted Motown sound — Smokey was Smokey, HDH did the same thing over and over, but my songs were different every time. I brought a lot of different instruments in too, which gave them different sounds. At the start, they tended to give me artists that hadn’t had a hit or who needed maybe an album track. That’s how I got with the Tops — they were ‘new’ artists. I had four songs on their first album and then as soon as they hit HDH did everything on them and I never really worked with them for a long time. That’s the way it was. There was a hierarchy within the building. Smokey only ‘lost’ the Tempts when Norman Whitfield came in ‘cause he (Whitfield) got into the upper circle and got hits right off the bat. Whoever had the most influence with Berry Gordy and his lieutenants got to work with the most successful artists.’ Hunter’s style was certainly multifarious and the four songs he cites on the Four Tops first album go a long way to explain his genius. The magnificent ‘Ask the lonely’ became a classic song almost immediately, garnering cover versions aplenty, and becoming, along with ‘What becomes of the broken hearted’, the anthem of heartbreak; sorrow, lost love and anguish. ‘Teahouse in Chinatown’ with it’s lilting oriental motif, ‘Don’t turn away’ and ‘Sad souvenirs’ are, indeed, as dissimilar to each other, whilst maintaining their uniqueness and originality. Hunter’s memory of ‘Ask the lonely’ casts new light on its provenance. ‘I originally conceived it as a fast dance tune ‘cause that was what they liked us to do at the time. I guess they were aiming at the teenage market. Mickey was lining Kim Weston up to sing it but then I suddenly saw it as a ballad. It was like I’d had an epiphany or something. I recorded it myself to make it easier for the artist singing it to learn it. I did that a lot.’
Levi, Ivy, Stevie and Marvin singing at his 23rd birthday party
Conversely, a song that was originally written as a ballad, morphed into a fast song that would become Hunter’s most successful song ever...
In its earliest form ‘Dancing in the street’ had different lyrics and was conceived as a melancholy song. ‘I’d got the melody in my head but I hated it. We were in Mickey’s apartment with Marvin when I first tried it out on them. Marvin said that it should be faster and would cause ‘dancing in the street’, so that gave us the title. Mickey added all those place names and the following day we recorded it on Martha and the Vandellas. Mickey did actually offer it to Kim Weston (his wife), but she turned it down. She said it was too childish.’
Hunter’s ability to create commercially appealing songs never waned. ‘The first song I did when I came in was ‘Sweet thing’ for the Spinners and that made some noise. My first big hit was ‘Can you jerk like me’ for the Contours but I provided songs for quite a range of other artists too. I would write on my own but once I became more successful they would put other people with me so that I could show them the ropes. Once they’d developed, they would leave me and work on their own. I would produce my own stuff too, so I could make it sound how I wanted. The only place I had no control was on the board in the control room. They never let me in there and never taught me how the mastering and mixing was done. I remember writing a song with Stevie (Wonder) called ‘Loving you is sweeter than ever’ on the Tops but I always thought that they messed up the mastering on that song and didn’t make it sound like I wanted. They always interpreted my songs without my input.’
Some relatively unfamiliar names appear along side Hunter’s on some of his creations, particularly Bertrice Verdi. ‘She was an aspiring songwriter who didn’t really contribute anything of note at all. She was really cute though! Seriously, I would work with pianists who would provide good, melodic tunes that I could put my lyrics on. Vernon Bullock, Jack Goga and Steve Bowden all worked with me like that. We were always collaborating with each other back then. I wrote with Sylvia Moy, Stevie, Smokey, Clarence Paul, Eddie Holland, Shorty Long on occasion. I remember one tune I wrote with Stevie, ‘My love is your love (forever)’ That one had a Beatles influence. I’d just heard the Sergeant Pepper’ album and thought I’d try and write a song in the same style. It was good but I don’t think we succeeded!’
Ivy Jo Hunter and Chuck Jackson
Although Hunter worked with some of the first string artists like the Temptations (‘Born to love you’, ‘Sorry is a sorry word’ ‘Just another lonely night’) or Marvin Gaye (‘Lucky lucky me’, ‘You’, ‘Sweet thing’, ‘It’s a desperate situation’), this was rare, due once again to the stranglehold certain writers and producers would had on these artists. ‘ I never got to work with the Supremes until Diana Ross had left. And when I did get with the Tempts or Marvin it was only on a few songs, and even then they might not actually get released …or promoted. As time went on the company concentrated on only a few of the most successful artists and left many people out of the loop. If they did put things out there wasn’t the same promotion and push as the bigger artists got. These were the artists assigned to me. People like the Marvelettes, the Isley Brothers, Chuck Jackson, the Spinners and several others.’ A list of just a small selection of the songs he wrote for these artists only proves what a truly remarkable writer he is.
Isley Brothers - ‘Behind a painted smile’, ‘Why when love is gone’ ‘Seek and you shall find’, ‘One too many heartaches’ ‘Got to get you back’ ‘My love is your love (forever)’
Spinners — ‘I’ll always love you’ ‘Truly yours’ ‘Too late I learned’ ‘Sweet thing’
Marvelettes ‘Danger heartbreak dead ahead’ ‘ I’ll keep holding on’
Brenda Holloway ‘Keep steppin’ (and never look back)’ ‘Lonely boy’
Andantes ‘That’s a funny way’
Gladys Knight & the Pips ‘The stranger’
Chuck Jackson ‘To see the sun again’ ‘What am I going to do without your love’
Four tops ‘Yesterdays dreams’ ‘Just a little love (before my life is gone)‘ ‘Fantasy’
Edwin Starr ‘I can’t escape your memory’
Monitors ‘Share a little love with me (somebody)’
Another of his frustrations related to his contract as a singer. ‘Even though I’d signed a contract as an artist, back in ’63, they hadn’t put anything out on me in seven years. So I asked for my song writers contract back and that seemed to work. They put a couple of tunes out on me but they didn’t promote them. In Detroit, my tune ‘I remember when (dedicated to Beverley)’ hit the number one spot on at least two of the radio stations but they didn’t stock the local stores with the record, so it just fizzled out.’
Outside Hitsville at Tommy Good 'demonstration' (Ivy is next to Berry Gordy)
The sheer range of Hunter’s lyrics, and the depth of emotion he drew from, often confounded artists he worked with. ‘Not everyone could understand or interpret my songs the way I wanted. Some would take a long time to understand the concept and how I wanted it be delivered. Others could pick it up quickly — Bobby Taylor was great that way. I’d show him a song and he’d be right on it. He’d add his own vocal gymnastics. Marvin was good too. He’d take your song and make it better. He really was great to work with. He was humble and had no show at all.’ Mutual respect was a currency in high demand on Ivy Hunter’s sessions. ‘Yes I always treated anyone I worked with the utmost respect and tried to be as patient as I could. Most of the time it worked. I do remember one time. I was working with the Tempts on ‘Sorry is a sorry word’ when David Ruffin complained that the song was too high for his vocal range. I quietly told him to take a break and called Paul Williams over in his earshot. I never saw a guy move back to his place and want to get started again so quick! It was a privilege to work with the talent they had at Motown.’
Ivy and the Funk bros at the same birthday party
The importance of the musicians at Motown is not lost on Ivy Hunter. ‘Getting a good (backing) track was crucial ‘cause that set up the whole feel for the song. We were really fortunate to have such a tight band. A group of guys who could set up a groove and hold it together. They were a very tight unit. I always started with drums and bass. Nobody could play drums like Benny Benjamin and no one had to teach him anything ‘cause he would be right there. Jamerson was real quick too. Paul Riser would transcribe the bass line for Jamerson from what I’d play on the piano and then he’d come up with something. Then Benny would slide right in. We would usually use three guitars — Robert White would play that ‘chink, chink’ stuff, Eddie Willis played rhythm and Joe Messina would put fills in, even if you hadn’t given him a part to play. He would always come up with something to make your song better. Once we’d got the rhythm part done we’d start adding other instruments where I thought they should be. It’s funny but on some sessions you just started things off and the band ran it themselves. If they felt it and got into the groove, you knew it was gonna be great. A tune we did ‘Share a little love with me (somebody)’ was like that. That was what I felt was my job as a producer. I don’t play the instruments but I do play the players!’
Ivy Hunter’s last days at Motown still smoulder with acrimony and regret. ‘Once Mickey was fired I was on my own. He had always helped me with my affairs when it came to royalties and related business matters like that, but without him there I felt like I was against everyone, and I had no business experience at all. Then, like a thunderbolt, they suddenly upped and moved to LA. I went to California not long after they’d moved and tried to find out whether they wanted me to move down or stay where I was. The answer I got was ‘Go back to Detroit and ask them.’ The only people still in Detroit representing the company were an administrator and the head accountant! I guess I got my answer. They reneged on an advance I was supposed to get on a new contract and simply just walked away from me. I was of no value to them. I really had to fight to get royalties too and I’m sure I didn’t get my proper monies due. It ended badly for me.’
The flames of creativity were re kindled not long afterward however, when he set up Probe Productions and began working with local Detroit talent. A string of 45 releases and ‘outside’ productions for groups like Funkadelic and the Dells during the 1970s, culminated in a hit song that reverberates to this day. ‘ I wrote ‘Hold on (to your dream)’ with Vernon Bullock around 1978 and we recorded it on Wee Gee. He was a guy I knew from his time with the Dramatics. He did a great job on the song and it shot to the top. Do you know that it has been used at more Graduation ceremonies than any other song! It was even re worked by a guy called Trick Daddy in 2012 and hit again. God sure gave me one with that song.’
Ivy Hunter continues to write and produce great music. The hope for Motown fans is that his unreleased material and the planned album, that was shelved at the time, will finally see the light of day.
Rob Moss
Oct 2013
Edwin Starr News Article (BBC Nottingham)
Remember a mate of mine seeing him regularly in Long Eaton Asda doing his Saturday shop - funny old world
http://www.bbc.co.uk/news/uk-england-nottinghamshire-23944922
added by site
But the Nashville-born singer spent the final years of his life thousands of miles from the Motown heartland of Detroit.
He died in Chilwell - on the outskirts of Nottingham - in 2003.
A decade later, Starr's younger brother Angelo Starr and manager Lilian Kyle look back on his life and chart his unusual journey to the English suburbs.
The 4 min slideshow being the main focus of this article
Slideshow production by Caroline Lowbridge. Publication date 24 October 2013.
The Hacienda: How Not to Run a Club Kindle
This time its a freebasing based look at a recent one
The Hacienda: How Not to Run a Club
Release Date: 14 Oct 2013
Peter Hook, as co-founder of Joy Division and New Order, has been shaping the course of popular music for thirty years. He provided the propulsive bass guitar melodies of 'Love Will Tear Us Apart' and the bestselling 12-inch single ever, 'Blue Monday' among many other songs. As co-owner of Manchester's Hacienda club, Hook propelled the rise of acid house in the late 1980s, then suffered through its violent fall in the 1990s as gangs, drugs, greed and a hostile police force destroyed everything he and his friends had created. This is his memory of that era and 'it's far sadder, funnier, scarier and stranger' than anyone has imagined. As young and naive musicians, the members of New Order were thrilled when their record label Factory opened a club. Yet as their career escalated, they toured the world and had top ten hits, their royalties were being ploughed into the Hacienda and they were only being paid GBP20 per week. Peter Hook looked back at that exciting and hilarious time to write HACIENDA. All the main characters appear - Tony Wilson, Barney, Shaun Ryder - and Hook tells it like it was - a rollercoaster of success, money, confusion and true faith.
Funk Brothers Tribute / Eddie Willis Fundraiser live in Detroit 16 Nov 2013
For Your Information - Copied from Soulful Detroit, Motown Forum
Original Funk Brothers guitarist Eddie Willis will be coming to Detroit for a very rare intimate appearance at the Northern Lights Lounge on Saturday, November 16th at 7:00pm. The event will have a question and answer session with Eddie, plus a concert of deep cuts and big hits with Eddie, Dennis Coffey, The Drew Schultz Funk Machine, and longtime members of the Funk Brothers touring band including Delbert Nelson, Treaty Womack, Spider Webb, Robert Jones, Ralphe Armstrong, Donna Curtain, and many more. We'll also have stories and memories of The Funk Brothers recounted by some Detroit Legends.
Eddie has been suffering from the effects of Polio for some time now, and 100% of the profits from the show will be donated to Eddie and his wife. There will be a $15 cover with a suggested donation, as well as several cool signed pieces of Funk Brothers memorabilia auctioned off!
If you'd like to get a ticket in advance, we've set up an unconventional sale through ebay - this works around the "convenience" fees that other companies charge for simply printing tickets or holding at will call. That page is here:
http://www.ebay.com/itm/Tribute-to-The-Funk-Brothers-Eddie-Willis-Fundraiser-11-16-13-/190925570989?pt=US_Tickets_all_in_one&hash=item2c740d03ad
Hope to see you there!
http://soulfuldetroit.com/showthread.php?10279-Funk-Brothers-Tribute-Eddie-Willis-Fundraiser-live-in-Detroit-11-16-13
I might get in trouble for this, but Eddie is worth it! For more info, go to the Soulful Detroit site (maybe you can participate in the auction).
Lorraine
Soul Up North Issue 80.. Rare Soul Fanzine For Sale Now..
COVER PHOTO
DEBBIE TAYLOR
GOOD TOONS & GREAT GROOVES
Dave Halsall FUNK IN YO’ FACE — THE RISING OF ATLANTA
Howard Priestley THE MYSTERIOUS WORLD OF COVER-UPS (pt4)
Martin Scragg
A DAB OF EARLY SOUL & RnB WITH A HINT OF OBSCURITY
Craig Butler
SOUL IN A DIGITAL AGE
John Farrar
MR B (BEARSOUL’S B-SIDES)
Chris ‘Bearsoul’ Morgan
DEBBIE TAYLOR — LOST AND FOUND
Paul Moony / David Box
HITTING THE DECKS
Wayne Hudson
THE TAMS IN DANVILLE — BE YOUNG, BE FOOLISH, BE HAPPY
Jack Garrett
THOSE LITLE SILVER DISCS
Howard E
COLLECTING BRITISH
Lord Snooty & His Gang
STEVE’S SOULFUL SEVENTIES SPINS aka PLUMBS PEACHES
Steve Plumb
SOUL UP STATES Pt 5
Soulmanjan
HOT OFF THE VINYL PRESS
Howard E
TWOFER TIME — MORE VINYL REVIEWED
Martyn Bird
AND THEN ALL OF A SUDDEN — ANOTHER TRUE STORY
Tony Warot
KEEP ON BURNING — DVD REVIEW
Howard E
FEET TO THE BEAT-ALL WEEK (END) LONG! Andy Bellwood
GLOBAL- SWAN/CREAM & PEACHTREE
Rick Cooper
DEEP SOUL CORNER
Mike Finbo
Issue 80 out now...
Drop us a line if you would like a copy...
Email stevecato64@yahoo.co.uk..
ALSO back copies of No 79... £3 plus £1.20 postage uk...
Ron Littlejohn & The Funk Embassy - Shining On
http://funkembassy.bandcamp.com/album/shining-on
https://www.cdbaby.com/cd/ronlittlejohnfunkembassy
Cheers,
Mark R
added by site
http://youtu.be/YtbLBqnZ7Uw
This EP, available on cdbaby and itunes by the end of October, 2013, has been written by Soul & Funk lovers, who missed the Golden Age of 70s music, when so many timeless songs were written by wonderful artists.
Our inspiration came from Stevie Wonder, Curtis Mayfield, Al Green, Isaac Hayes, Rolling Stones, Herbie Hancock, James Brown, John Lennon, Sly & The Family Stone, Little Richard, Muddy Waters, Marvin Gaye and so many others.
Funk lovers will enjoy the booty shakin' groove of Cream#9, James Brown's fans will probably enjoy Alana Bridgewater and Ron Littlejohn's performance on 'Light me up', and.... we'll let you discover the rest by yourselves.
Feel free to visit us on Facebook and our website for the latest news
on.fb.me/funkembassy
www.funkembassy.com
Enjoy ;-)
credits
released 19 October 2013
Levi Stubbs - 5 Years On
I was due to meet him shortly before he pased away, but on the day he was really poorly so with respect things never materialised. Whatever the mood may be, put on a Four Tops record and that mood will certainly go up to another level.
I will be playing a special tribute to Levi Stubbs/Four Tops at Broughton Wings in Chester on October 19th and just remembering what great songs that he gave us. I would love to know some of your favourites.
Here are my Top Six
Ask The Lonely
Don't Tell Me That It's Over
Baby I Need Your Loving
Still Water
Right On Brother
I Believe In You And Me
Kev Jones
Dance Offensive needs some help
We, as a company, have just set up Local Giving to allow individuals to support us to continue the work we have been developing in communities for the past seven years. This is multi-faceted work and engages young people through many diverse strands, from local communities and youth mentorship schemes to working with children in the Nairobi slums.
As you are all probably aware (in the UK anyway) government and local authority funding has all but disappeared since the financial collapse enveloped the country. Now, companies such as ours have been put into a situation that requires a 'by any means possible' approach.
So, I am asking if you can please take a moment to visit the page:
http://localgiving.com/charity/danceoffensive
If you yourself are not in a position to donate, you can support us by passing this email on to friends or colleagues who you think may want to. You could also help by posting it on your Twitter account, Facebook or other social media sites.
If you would like to see more of what we do just follow the link on the page to take you to our website.
Any help on this is much appreciated.
Best,
Paul
Paul SadotArtistic Director,Dance Offensive,Cambridge,United Kingdom.
Tel: 07802440557
http://vimeo.com/63259494
BBC2 Culture Show - Northern Soul Tonite Wed 25th Sept 2013
Brief details follow below
Northern Soul marked the birth of late-night dance culture in Britain. Paul Mason, economics journalist and once a regular at the famous 'all-nighters' at Wigan Casino, discovers the origin of this underground music scene and why it continues to inspire such devotion.
Tonight Wed 25 Sep 2013 22:00
BBC Two The Culture Show
Northern Soul - Keep the Faith
The Culture Show 2013/2014
Northern Soul marked the birth of late-night dance culture in Britain. Paul Mason, economics journalist and once a regular at the famous 'all-nighters' at Wigan Casino, discovers the origin of this underground music scene and why it continues to inspire such devotion.
Many of the songs that eventually became Northern Soul classics were once rejected or unreleased. Recorded in the 1960s by African-American artists attempting to replicate the successful Motown sound, these discarded tracks would later be rediscovered and revered by white working-class dancers and music fans in the north of England.
Paul Mason tells the extraordinary story of Northern Soul and the dance culture that sprang up around it, influencing musicians, choreographers and filmmakers and growing into a global phenomenon.
http://www.bbc.co.uk/programmes/b03bs488
Wonder how this will turn out......
Updated - can now view the complete BBC show via our Soul Source Video feature
Vice Mag - Poor-Man's Speed: Coming Of Age In Wigan's Anarchic Northern Soul Scene
https://www.soul-source.co.uk/soul-articles/bbc-newsnights-paul-mason-talks-northern-r2331
here's a longer more featured piece on Vice Mag site
POOR-MAN'S SPEED: COMING OF AGE IN WIGAN'S ANARCHIC NORTHERN SOUL SCENE
http://www.vice.com/en_uk/read/northern-soul-revival-wigan-casino-paul-mason
Bobby Martin Dies
added by site
From The Philly Post
The Philadelphia Sound is weeping today at the passing of classic R&B producer and composer Bobby Martin, who passed away Friday at a San Diego, Calif. hospital. He was 83.
Best known for his arrangement of Billy Paul’s “Me and Mrs. Jones” and his work on the Soul Train theme song, Martin started his long-running career right here in Philly in 1959. Through Leon Huff and Kenny Gamble’s Philadelphia International Records, Martin helped to establish the soulful Philadelphia Sound, earning him his moniker, “Grandaddy of R&B and soul music.”...
Full news article can be read at
http://blogs.phillymag.com/the_philly_post/2013/09/10/rip-billy-martin-purveyor-fine-philadelphia-soul/
(The Maestro) Producer Bobby Martin in Action, Composing at Capitol Records in Hollywood California by Bobby Martin (Bobby Martin Productions), on Flickr
http://www.flickr.com/photos/52168274@N05/
August Heat - New Soul Junction 45 Out Now!
August Heat You And Me/Hooked On You SJ 524
This month sees a great double sider Soul Junction 45 released from the group August Heat
"You and Me" is the leading track but for my monday morning ears "Hooked on You" is the necessary side
You can listen to both sides here....
https://www.soul-source.co.uk/uploads/junction/august-heat.mp3
Available via your usual suspects or via Soul Junctions own online shop
http://www.souljunctionrecords.co.uk/buydirect.html
Hats off to Soul Junction for yet another stand up release
Here's the official blurb....
Press Release: August Heat You And Me/Hooked On You SJ 524
Release Date: Monday September 9th 2013
The August Heat Band, hail from the small town of Bristol near Opelousas, in the state of Louisiana. The main core of the August Heat band consist of the gospel trained lead soprano vocalist Eltonez Salton otherwise affectionately known as “Cookie”.
Veteran lead guitarist, background vocalist, and the August Heat album project producer, John Kent Pierre-Auguste. Who more frequently uses the abbreviated name of Kent August.
Along with bass guitarist Ronny Sonnier, drummer Michael “Joe Monk” Caesar and keyboardist Tony Lea. On the “Closer” album project additional keyboard parts were provided by local musician and studio engineer Michael Lockett. Who also recorded and mixed the entire album at his Lockdown studio in Lafayette, La.
The “Closer” album project began in 2010 and was a further two years in the making.
It is from this excellent album that we at Soul Junction have taken the delightful mid-tempo offering “You And Me” backed with the more up-tempo dancer “Hooked On You” for our next 45 release. In doing so, we hope to introduce the great sound of the August Heat Band to the appreciation of a greater worldwide audience.
Here’s to a successful future, August Heat.
For further information please contact Soul Junction At:
Tel: +44 (0)121 602 8115. E-mail sales@souljunctionrecords.co.uk
16 Years of Fun - Soul Source 1997-2013
August 1997 being the official start up date of the site
That makes it 16 years of fun and games... dunno if another 16 be just as much fun
Did mean to mention it last month as it was a sort of "what... are you sure" type thing, but it slipped by.
Mentioning now as just like to make sure I pass on big thanks to all those who have made it what it is
Cheers
mike
soul source team
Feeling Nice Volume 2 - Tramp Records Release 7th Oct. 2013
after 2 years of hard work we are very proud to announce the 2nd release of The "Feeling Nice" compilation series. Part 2 contains some really hot stuff!! Have a look and listen...
http://www.kudosrecords.co.uk/release/TRCD9026/Various_Artists_Feeling_Nice_Vol_2.html
This is still a non profit project, all tracky are fully licenced by the artist or rights owner, so we would very appreciate your support sharing the link all over the place (facebook, etc.) and bringing this fantastic music to the clubs and the people!!
For any questions feel free to contact me directly!
All the best from good ol' Germany,
Dan
Northern Soul - An Illustrated History - Out Now Competition
First is that today see's the official release of Northern Soul: An Illustrated History
This has been mentioned on here a fair few times over the last year or so and today see's the official release day arrive.
A more detailed site article will follow in a day or two, but for now here's a few images and some release text from the publishers
The story of Northern Soul is one of practically total immersion, dedication and devotion, where the plain concept of the 'night out' was elevated to sacramental dimensions. Where devotees pushed their bodies, their finances and sometimes their minds to brutal and unforgiving extremes. For those who went through that involvement every test of faith or endurance was worth bearing.
- From Northern Soul: An Illustrated History.
'It was a drugs scene, it was a clothes scene. It was about dancing. It came out of this thing. It was about pills that made you go fast. To go fast to make the scene happen.' - Chris Brick
In the late 1960s, a form of dance music took a feverish hold on the UK, finding its heart in the north of England. The music of 1960s-70s black American soul singers combined with distinctive dance styles and plenty of amphetamines to create what became known as Northern Soul - a scene based around all night, alcohol-free club nights, arranged by the fans themselves - setting the blueprint for future club culture. Northern Soul tapped into a yearning for individual expression in northern teenagers, and exploded into a cultural phenomenon that influenced a generation of DJs, songwriters and designers for decades to come.
Acclaimed photographer and director Elaine Constantine has brought the movement to life in her film Northern Soul - and that film was the starting point for this book, Northern Soul: An Illustrated History.
However, what started out as a project largely comprising of Constantine's stunning on-set photography, featuring her young, talented cast and highly authentic production, has turned into a unique illustrated history of Northern Soul. In its final form, the beautiful new photography holds the book together thematically, but its real depth lies in the material from the 1960s, 1970s and 1980s that Elaine and Gareth have researched and pulled together.
Available now at ...
http://www.amazon.co.uk/Northern-Soul-An-Illustrated-History/dp/0753541912
The Second bit of news is that thanks to the publishers Soul Source can offer to all members a chance to win 1 of 3 fresh copies of this new release.
3 Copies of Northern Soul: An Illustrated History to be won!
Here's how...
Each day for the next 3 days the site will be holding a daily draw open to all members of Soul Source
All you have to do is to like the daily post (link below) and after midnight each day a winner will be drawn from all those who have liked the comp daily post that day
The normal Soul Source competition rules apply, all you have to do is "like" the actual competition post using the onsite "like" feature - and you be in
This will open shortly with a link to todays competition being placed right here very shortly (which you then need to like)
Here's the day one link
day two now so here's the current link
day three is now so here's the link...
as said, to enter just go here and then just "like" the post!
all over - see later post for complete list of winners!
Good luck now
mike
soul source team
The Debbie Taylor Story
LOST AND FOUND
DEBBIE TAYLOR is a highly acclaimed but relatively obscure soul singer who released nine singles and an album during an eight-year period from 1967 to 1975, during the ‘golden days’ of soul music. Three of her 45s reached the R&B charts but, despite her obvious talent, she failed to make a significant impact in commercial terms and her name was soon forgotten by most.
THE MARKET WAS CROWDED in the golden days and dozens of new releases competed for precious exposure each week. Many fine records were overshadowed or completely overlooked and many gifted singers were restricted to regional success or even total obscurity.
Only one of Debbie’s 45s was released internationally and although it was championed by soul fans it was doomed to fail at a time when the focus of most people was on the emerging disco sounds which were beginning to dominate the airwaves.
Despite the odds, her records were cherished by loyal and passionate soul fans in many parts of the world, particularly in the UK, Europe and Japan where she acquired a cult ‘underground’ status with a level of admiration usually reserved for more prolific and successful artists such as Aretha Franklin or Gladys Knight. And the notion that Debbie Taylor was ‘lost’ just added to the mystique.
But Debbie wasn’t lost at all. She hadn’t slipped into obscurity in 1976, she had intentionally put her ‘Debbie Taylor’ identity on the shelf and had returned to ‘real’ life as Maydie Myles. No wonder so many music journalists and fans had been unable to find her.
GOSPEL ROOTS
MAYDIE MYLES was born Maddie Bell Galvin on 23 June, 1947, in Norfolk, Virginia. Maddie is pronounced as Maydie so that’s how she spells her name today. She was the youngest of four children born to Janie Galvin and the Reverend James Galvin, a pastor in the Pentecostal church. Her upbringing was typical of many who went on to be soul singers: she played piano at home from the age of five and with her older sister was singing in church ahead of her father’s sermons by the time she was a teenager. They travelled from church to church in one state after another, singing gospel music. That was Maydie’s introduction to performing in public.
Reginald Walker, her high school choir teacher, had a jazz trio and he invited Maydie to sing with the trio when she was age 11. She worked with Walker’s group for two years, gaining more musical knowledge and valuable experience of performing in front of an audience. As a teenager she also toured with several gospel groups, one of which also featured Barbara Stant, and even performed at the 1965 World Fair.
Because her parents were so religious, Maydie adopted the name ‘Debbie Taylor’ for secular music and hung out at sessions on Church Street which was Norfolk’s centre of activity for R&B and home to a record store owned by Noah Biggs who also operated an independent label called Shiptown.
Maydie’s friend Barbara Stant would later record for Shiptown Records but Maydie got a bigger break when in 1967 she was spotted performing at Bob’s Lounge by Joe Medlin, a regional promoter and talent scout for MCA’s Decca Records subsidiary.
TEENAGE SUCCESS
Maydie was still a teenager so her mother co-signed the contract which enabled her to record for Decca using her ‘Debbie Taylor’ pseudonym. She had crossed from gospel and jazz into soul music; she had become Debbie Taylor.
The first Debbie Taylor sessions were held at Willie Mitchell’s Royal studio in Memphis and yielded four masters which were essentially produced by Stax hitmakers Isaac Hayes and David Porter, although credited to Joe Medlin, and featured members of Mitchell’s in-house rhythm section with The Memphis Horns.
Her first single, ‘The Last Laugh Is On The Blues’, was penned by Buddy Scott and Jimmy Radcliffe and was issued on Decca 32090 in 1967 (not 1968 as is often reported). Coupled with the Don Bryant song ‘I Get The Blues’, it was an impressive debut which showed the world that Debbie had a natural soul ability and it hinted at a promising future.
The follow-up was even stronger. Written by Willie Dean Parker and Henderson Thigpen, ‘Wait Until I’m Gone’ (Decca 32259) is a moody slow-beat song with a tearful lyric and a soulful delivery. It got enough airplay to reach the top 40 R&B chart in early 1968 and was a well-deserved success.
Anyone who bought that 45 would have been delighted to find that the slower flip, ‘Check Yourself’, offered an even more deep and soulful demonstration of Debbie Taylor at her most intense.
‘Check Yourself’ is a haunting blues-flavoured ballad written by Isaac Hayes and David Porter who also recorded the song as ‘I’d Better Check On Myself’ with Stax/Volt artist Ruby Johnson during the same period but her version was unreleased at the time. ‘Check Yourself’ showed that the teenage Debbie Taylor could convincing play the role of a woman hurt by a lover who had eyes for someone else. An emotive performance any soul singer would be proud of.
If she had never made another record, Debbie would have been eternally admired for her four Decca sides. Little would she have thought that her youthful performances would have such a profound and lasting impression on so many strangers in distant places. I was just a 9-year-old kid when those singles were released but thankfully I stumbled on them a few years later when I developed a heavy thirst for soul music as a teenager. And ever since then I kept a sharp eye out for Debbie Taylor or whoever she really was.
NEW YORK CITY
In March 1969 Debbie launched Gerard Purcell’s GWP label and the dreamy midtempo ‘Never Gonna Let Him Know’ (GWP 501) gave her a second R&B chart entry, this time reaching the top 20.
Once again she sounded even more in control on the dramatic B side, ‘Let’s Prove Them Wrong’, written by Eddie Jones with George Kerr who also produced these sessions with Paul Robinson who was GWP’s vice president.
Later that year came the brassy uptempo ‘Don’t Let It End’ (GWP 510) which was paired with the ballad ‘How Long Can This Last’, another song co-written by Eddie Jones and another opportunity for Debbie to really express herself as a soul singer with strong conviction.
Less commercial was her third GWP single, issued in late 1969 and featuring Debbie on only one side. Credited to Debbie Taylor & The Hesitations, ‘Momma, Look Sharp’ (512) was a Sherman Edwards song from a Broadway musical called ‘1776’. Produced by Paul Robinson, it was a piano-led duet between Debbie and an uncredited member of The Hesitations. Curiously, the flip side was a Hesitations track called ‘No Brag, Just Fact’.
Debbie’s next single was released in early 1970 on the Grapevine label, a short-lived GWP subsidiary, and both sides were penned and produced by Ray Dahrouge and Billy Terrell, the team who had written ‘Never Gonna Let Him Know’. ‘Don’t Nobody Mess With My Baby’ (202) was an obvious attempt to replicate the classic Motown sound, as was the even more uptempo ‘Stop’ on the other side. Debbie sounded comfortable and in control but these sides sounded a little more dated and less distinct than her earlier GWP sides.
As with all of her GWP tracks, these sessions were arranged by Ed Bland.
Whilst at GWP Paul Robinson also cut Debbie on a Larry Saunders song called ‘All That I Have’, recorded circa 1969 and supported by The Hesitations, but it remained on the shelf until 2005 when it was featured by Ace Records on a Kent compilation album of material from the GWP archives.
ALBUM DEAL
In 1972 Gerard Purcell hooked Debbie up with Terry Phillips and Boo Frazier at Perception Records and she recorded an album at New York’s Blue Rock studio which was released on Perception’s Today label subsidiary. Comin’ Down On You (Today 1007) is a nine-track LP produced by David Jordan with Patrick Adams who also served as arranger.
The highlight of the album was the sparse and dreamy ballad ‘Leaving Him Tomorrow’, which had previously been recorded for Today Records by The Exciters on their 1971 album Black Beauty, but the song was perfect for Debbie and its theme was sorrow; once again, her man was running around with other women. She said she was gonna leave him tomorrow and I hope she did.
Only one 45 was lifted from the album, the infectious and uplifting ‘No Deposit, No Return’ (Today 1510) which was written by Jordan and Adams and is similar in style and spirit to some of Freda Payne’s Invictus hits.
The single deserved more success and should have been issued in the UK where its commercial potential would have been quite strong at the time. On the flip was ‘Too Sad To Tell’ which was also taken from the LP.
Other high points from the album include the ballads ‘Second To None’ and ‘Touchin’ You’ (which Jordan and Adams also cut with JJ Barnes for his Perception LP Born Again in 1973) and the uptempo tracks ‘Romance Without Finance’ and ‘No Ifs, Ands Or Buts’ which was also recorded for Today Records by Black Ivory in 1972.
THE PHILADELPHIA SESSIONS
David Jordan took Debbie to Sigma Sound Studios in Philadelphia for a session with MFSB and arranger Richard Rome which sadly only resulted in one single.
The excellent ‘I Have Learned To Do Without You’ / ‘Cheaper In The Long Run’ was issued on Polydor 14219 in late 1973. Jordan had penned ‘I Have Learned To Do Without You’ with JJ Barnes and Don Davis, producer of the original Mavis Staples version which had been issued on Volt in the summer of 1970.
Few singers can compete with Mavis Staples but Debbie’s version is equally worthy and it deserved more support than it received.
A follow-up single was scheduled for release on Polydor 14252 in 1974 but for some reason it never surfaced. ‘Superstar’, a version of the oft-recorded Leon Russell and Bonnie Bramlett song, was to have been backed with ‘A Good Woman Don’t Grow On Trees’ which Jordan had previously cut on JJ Barnes as ‘Good Men Don’t Grow On Trees’.
More than a year would pass before the release of her next single and, sadly, it would turn out to be her last record as Debbie Taylor. It’s also considered by many to be her very best...
I DON’T WANNA LEAVE YOU
The tearful ballad ‘I Don’t Wanna Leave You’ was produced by David Jordan at an ambitious live session at Broadway Sound in New York in 1975. With a full band and orchestra, featuring Motown veteran Earl Van Dyke on keyboards, the result was a stunning slow-build arrangement of an anguished love song co-written by Jordan with drummer and arranger Andrew Smith.
The dramatic musical setting was perfect for Debbie’s intensely soulful performance. Yet again she played the convincing role of an emotionally tortured woman who loved her man but could no longer trust him.
Jordan hired Tom Moulton for the final mixdown at Sigma Sound’s New York studio and leased the master to Arista Records who had the confidence to release ‘I Don’t Wanna Leave You’ (Arista 0144) in its entirety — with a duration of 5:30 — but radio DJs were also serviced with an edited version. It was playlisted on many stations and rode the R&B charts for three months which was impressive for such a slow and soulful ballad at a time when the black music scene was dominated by disco and funk sounds.
Much of its success may have been due to independent promotions man ‘Rocky G’ who was hired by Arista to work the record on east coast stations. His methods may have involved payola because in August 1975 Rocky G (Ellsworth Groce) admitted to a grand jury in Newark, New Jersey, that he’d paid more than $10,000 in cash to influential radio DJs such as Frankie Crocker who ruled the airwaves at WBLS, the most popular New York station for black music.
‘I Don’t Wanna Leave You’ was the first Debbie Taylor single to gain international release but when Arista’s UK office issued the single via EMI in early 1976 they disappointed soul fans by using a short edit which was also sonically inferior. The uptempo flip side ‘Just Don't Pay’ was also edited, losing over a minute, and lacked the vibrancy of the original Tom Moulton mix. The single was also released by Arista licensees in Japan and Brazil.
‘Just Don’t Pay’ eventually found popularity in underground UK soul clubs and in 1989 it was briefly reissued on a 12” single.
THE LOST YEARS
Nothing more was heard from Debbie Taylor after 1975 and it was a mystery that such a talent could have just disappeared into obscurity without any explanation. It later transpired that she had declined an opportunity to sign a direct deal with Arista because it would have meant cutting David Jordan and Andrew Smith out of the picture. Loyalty is quite rare in the music business and few artists would have refused such an offer.
Disillusioned with the business, she put her ‘Debbie Taylor’ persona in the closet and became Maydie Myles once again. She left Virginia in the early 1980s and moved north to Stamford, Connecticut, before relocating to the nearby city of Norwalk in 2003.
Maydie didn’t leave the music business but kept a lower profile. She was featured vocalist on six 12” singles issued by indie dance label K4B Records between 1994 and 1998 and continued to perform with her band in soul and jazz clubs. More recently she has done many vocal sessions for TV and radio adverts and jingles.
REDISCOVERY
Early in 2011 Maydie Myles self-released a jazz-flavoured CD album titled The Ones I Love and casually revealed that she had previously recorded under the name of ‘Debbie Taylor’, not really expecting anyone to be very interested. And that’s when her phone started going crazy...
The word was out: ‘Debbie Taylor’ had been found at last, even though she had never been lost. Understandably, Maydie was completely overwhelmed.
In November 2011 Selrec issued an extended mix of ‘Just Don’t Pay’ on their Shotgun label in the UK, intended to coincide with a scheduled live performance of ‘Debbie Taylor’ at a weekend soul festival.
Sadly she was unable to appear at that event but it has now been confirmed that she will visit the UK in November 2013 to perform on stage with a full band for her most loyal fans, some of whom have waited more than thirty years for the opportunity.
PAUL MOONEY
NOTES: Numerous attempts have been made to locate David Jordan over the past thirty years. He seems to have ‘disappeared’ in the 1980s and is now assumed to be deceased. Sadly, Andrew Smith passed away in East Brunswick, New Jersey, in 2000
Copyright © 2013
DISCOGRAPHY
Debbie Taylor
Decca 32090 - The Last Laugh Is On The Blues / I Get The Blues - 1967
Decca 32259 - Check Yourself / Wait Until I'm Gone - 1968
GWP 501- Never Gonna Let Him Know / Let's Prove Them Wrong - 1969
GWP 510 - Don't Let It End / How Long Can This Last - 1969
Debbie Taylor & The Hesitations
GWP - Momma, Look Sharp - 1969 (unissued at the time. Alternate lead group vocalist to version released on GWP 512. This version was released in the UK on a 2009 Kent CD GWP : NYC : TLC Volume 2 CDKEND 326)
GWP 512 - No Brag Just Fact / Momma, Look Sharp - 1969
GWP - All That I Have - 1969 (Unissued at the time. This track was released in the UK on a 2005 Kent CD "GWP NYC . TCB" CDKEND 249)
Debbie Taylor
GWP's Grapevine 202 - Don't Nobody Mess With My Baby / Stop - 1970
Today T-1510 - No Deposit, No Return / Too Sad To Tell - 1972
Polydor PD14219 - I Have Learned To Do Without You / Cheaper In The Long Run - 1973
Polydor 14252 - Superstar / A Good Woman Don't Grow On Trees - 1973 (Unreleased)
Arista 0144 - I Don't Wanna Leave You (3:58) / I Don't Wanna Leave You (5:30) - 1975 (Promo release only -label miss-press on (5:30) version)
Arista 0144 - I Don't Wanna Leave You (3:58) / I Don't Wanna Leave You (5:30) - 1975 (Promo release only)
Arista 0144 - Just Don't Pay / I Don't Wanna Leave You (5.30) - 1975
Arista 50 - I Don’t Wanna Leave You (3:58) / Just Don't Pay - 1976
Old Gold OG 4509 — Just Don’t Pay — 1989 (12” single with B side by Jeff Perry)
Shotgun 110 - Just Don’t Pay (Long version 4.40) / Just Don’t Pay - 2011 (UK)
LPs
Today TLP 1007 - Comin' Down On You - 1972. Track listing: No If's, And's Or But's / (I Can't Believe I'm) Touchin' You / Too Sad To Tell / Second To None / Romance Without Finance / Leaving Him Tomorrow / No Deposit, No Return / Eye Doctor / Jeremiah.
CDs
UK Releases:
Debbie Taylor
Sequel 50232240941 - Still Comin' Down On Ya! - 1997. Track listing: No If's, And's Or But's / (I Can't Believe I'm) Touchin' You / Too Sad To Tell / Second To None / Romance Without Finance / Leaving Him Tomorrow / No Deposit, No Return / Eye Doctor / Jeremiah.
J J Barnes / Debbie Taylor
Sanctuary 5050749415011 - Soul Twins - Volume 1 - 2007. Track listing: J J Barnes - Can't See Me Leaving You / Time Is Love / Good Men Don't Grow On Trees / You Are Just A Living Doll / Wishful Thinking / You Owe It To Yourself (Part 1) / You Owe It To Yourself (Part 2) / No If's And’s Or But's / I Just Make Believe (I'm Touching You). Debbie Taylor - No If's And’s Or But's / (I Just Can't Believe I'm) Touching You / Too Sad To Tell / Second To None / Romance Without Finance / Leaving Him Tomorrow / No Deposit, No Return / Eye Doctor / Jeremiah / Time Is Love / No If's And’s Or But's / Wishful Thinking.
THE DEBBIE TAYLOR UK CONCERT - Saturday 9th November 2013
Debbie Taylor will be making her debut performance in the UK at the New Wheatsheaf Conference & Banqueting, Altofts Lane, Whitwood, Castleford, WF10 5QB.
This venue has been the home of the legendary Wilton Allnighter for almost 20 years. Although the allnigher sadly closed last year, the promoters continue with their Soulful Sessions Nights which include occasional live acts from the US.
Last year Darrow Fletcher, direct from the Windy City, performed an amazing set that will be remembered for a very long time by the capacity crowd who attended.
Saturday 9th November 2013 features a very special debut performance in the UK from the fabulous Debbie Taylor (Maydie Myles) supported by PUSH, an incredible full eight piece band including background vocalist
Band leader and bass player Ernie McKone has secured a very special keyboard player for the night, no other than Mick Talbot.
Mick is the former keyboard player for the Style Council; he played with them for over 6 years until they split. Prior to joining them he was with Dexys Midnight Runners and then went on to work with Paul Weller.
The night will run from 9.00pm through till 3.00am.
Debbie’s performances will commence around 11.30pm.
Please note there will be no admission after 11.00pm.
Dj's on the night will be Arthur Fenn - Mike Charlton - Boxy - Mouse
A few of the songs Debbie will be performing at this special night at the Wilton:
" Just Don't Pay" / "I Don't Wanna Leave You" / "Don't Let It End" / " I Have Learned To Do Without You" / "Kiss Of Life" / "No Deposit, No Return" plus other classics she recorded in the 60/70’s
Get your tickets early to avoid missing this fantastic night.
Tickets now available at: http://www.wheatsheaf.com/allnighter by Paypal or Credit Card.
Admission: Advance Tickets £15 + Paypal and Postal charges or £18 OTD if not sold out.
NOTES. Michael 'Mick' Talbot (born 11 September 1958, Wimbledon, London) is a British keyboardist famous for playing with the 1980s outfit The Style Council. He attended Rutlish School in Merton, south London.
Talbot played with the late 1970s mod revivalists The Merton Parkas, Dexys Midnight Runners and The Bureau and can be seen in the latter's music video for their song "Only For Sheep". In 1982 he started working with Paul Weller to form The Style Council which released their first records early in 1983. Since the break-up of the Style Council in March 1990,Talbot has continued to play with Weller on his solo material. He is a member of the current lineup of Dexys (formerly Dexys Midnight Runners).
He has also released albums with fellow former Style Council member Steve White, under the name Talbot/White. He has since begun playing alongside White and former Ocean Colour Scene bass guitar player Damon Minchella, in the jazz/funk band, The Players. Talbot played keyboards in Galliano, on tour with Gene, and on the 1991 Young Disciples album, Road to Freedom. Talbot toured the UK in 2009 with Candi Staton
Soul Source Event Guide Entry Link
Debbie Taylor biography courtesy of Paul Mooney — Selrec
Discography/additional text by Dave Box. August 2013
Seven Days Of Loving You Author Article
Which concerns itself with words from past song writer Dominic Di Giamarino” who wrote the popular Johnny Vanelli track - 'Seven Days Of Loving You'
While the article does take a familiar well trodden path, it does feature some interesting info on how the song come about and the authors experiences.
A few preview clips follow and the full article which also features some words by Kents Ady C can be read via the link that follows the previews
No one is more surprised than its writer, retiree Dominic Di Giamarino of Upland. He says he’s never collected a dime from the song, which sank upon release in 1968.
Then in 2011, after he mentioned to a friend that he used to try his hand at writing songs, his friend Googled him – correctly typing “Dominic Di Giamarino” must have taken the better part of an afternoon – and reported to an astonished Di Giamarino that “Seven Days of Loving You” was online.
In the 1960s, toiling as a draftsman for North American Aviation in La Palma, he fooled around with music on the side along with other musically inclined co-workers. One, Johnny Vanelli, was a courier who in his off-hours was a lounge singer.
The link to the article... Northern Soul fans dig Southern California song
http://www.dailybulletin.com/arts-and-entertainment/20130829/northern-soul-fans-dig-southern-california-song
video clip
Cody Black On Gig - Auction To Pay Toward His Headstone
I knew Cody personally, (and even played with him on bass before) and was very saddened to hear of his passing. I had a copy of 'It's Our Time To Fall In Love' and upon hearing via Pat Lewis that there was an issue raising funds for his funeral costs, I decided to let this one go in order to pay for a proper headstone for this great artist that we love.
The auction is ending tomorrow, and this is possibly the cleanest copy of this rare single that's ever been offered on eBay. Thank you for reading this & have a good night.
Best,
Brad
CODY BLACK Detroit northern soul 45 It's Our Time To Fall In Love ~ GIG NM
http://bit.ly/15l6UiC
Are Re-Edits And Mash Ups Killing Soul Music?
I am not referring to House music, I'll leave that for another day, but songs like the George Benson Love X Love track that seems to have become the 'banker' for many DJ's. It always fills the dance floor, never fails, and always gets requested but my question to the knowledgable soul music fans on here is this..
Are they dancing simply because they know the original?
Lets face it, it has to be one of the laziest remixes ever, a bit of a bass beat and an extended intro is all that differs from the 1980 UK #10 chart hit. Now I dont know the person that took a few minutes to put this re hash together but I am sure that Quincy Jones who produced it, and knows a fair bit about making people dance, didn't say to Rod Temperton 'You know what, I messed up with this track, it needs a bit more bass'.
And it doesnt stop there, See you when I get there is another well know track that has suffered the same treatment. They know the original so they will dance. But it is preventing the better brand new music from coming through. Modern Soul is about moving on, taking the scene forwards, brand new Modern music with soul in it. Look at tracks like Something For The Weekend and Tribute. Born on the Modern Scene now played a Northern room. Both original and both in their original format.
There may be another side to this which again came to light during a conversation with the aforementioned people, and that is that everyone wants to be a DJ these days and these songs are easy to come by and easy to fill the dance floor to, once you have done that they think they can call themselves a DJ and put on their own events. This then dilutes our already over subscribed scene with another event.
One of musics legendary producers Tom Moulton, has now remixed just about every Philly track released. But it is so hard to tell them apart from the original I ask myself why he even bothered. They were great first time round leave them alone. If your going to re do something get a different singer and a different arrangement and really change it. Some songs sound brilliant if they get the right treatment, the recent version of MIchael Jacksons 'Can't Help It' done by Kenya is a fine example of that, bang on for the Modern Scene.
There are some brilliant Modern Soul tracks out there, tunes that will hold their own on a dance floor and please the ear of any soul music connoisseur. Songs that someone has taken care to write, produce and record. Lets hear them and stop promoting the lazy remixers who from their bedroom can destroy the work of those great singers/producers/arrangers that we hold in such high regard.
Jimmy James Interview on Record Collector
Been told its about Jimmy James talking about his career and upcoming Uk tour with his hero Ben E King
Clip below, the link follows (be aware that you need to sub it seems to read the full interview online)
Midway through interviewing Jimmy James at his home in north-west London, the phone rings. It’s his ex-Vagabonds mate Count Prince Miller, calling to chew the fat. Back in the mid-60s, when mod soul was at its sweaty but stylish height, The Vagabonds duelled with Geno Washington’s Ram Jam Band to deliver the most adrenaline-fuelled live show. The Prince handled the Geno-style antics. “He was the ultimate,” laughs James. “We developed this rapport. As soon as I’d finish a song he’d take control of the mic, talking away, while I’d be telling the band what we were doing next. I never had the patter...
http://recordcollectormag.com/articles/179553
Cody Black Rip
Just had a call from Melvin Davis to say he has heard that Cody Black has passed away
More details when I get them,
RIP Cody
