Margie Alexander R I P
An obit for her ..................
http://times-georgian.com/view/full_story/22115066/article-Margie-Babbs
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Soul Source music magazine feature.
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An obit for her ..................
http://times-georgian.com/view/full_story/22115066/article-Margie-Babbs
Prisoner Soul BBC Radio 4 - Sat 13 April 2013
http://www.bbc.co.uk/programmes/b01rtzdx
hope this is of interest.
Steve
added by site
Over on the East Coast, in New Jersey's Rahway prison, Reginald Haynes was another inmate with a similar initiative. Reginald was spotted at a convict talent show by established music producer George Kerr and a group now known as The Legendary Escorts was formed. Reginald tells the extraordinary story of how the group's first album was produced, and of the changes the scheme would bring to his later life on the outside.
Duration: 30 minutes
First broadcast: Saturday 13 April 2013
repeated and up again for 30 days
15th Nov 2018
Manchester European Weekender - Look Forward - 26-27 May 2013
The people of the city, and those who have engaged with it know it is a city of innovation — forward thinking, responsive, inclusive and open-minded.
Architecturally speaking, one commentator wrote, “Manchester ... is the capital… the people know their geography is without equal. Their history is their response to it"
Musically, the Manchester European Soul Weekender (MESW) is also a response to the space of the city, the innovation that the city space allows and the musical history that it prides itself upon.
Started 4 years ago, at a Manchester street festival called Eurocultured. The ethos of the street festival spurned an novel idea to blend classic and contemporary European cultures for a one off day event within the festival called Manchester vs Belgium Popcorn. I was charged with sourcing Manchester’s finest, my colleague; Marc Rowlands sourced the best in British and Belgium Popcorn DJ’s.
The coming together of people from different cultures, playing mod and blues, rare soul, popcorn, oldies and mid-tempo in a minimal city-centre bar was a joy. Alongside the open-minded European festivalgoers, eager to experience new cultures, dedicated soulies turned a place into a space, filling it with passion and possibility.
One of the DJ’s asked to play that day was Liam Quinn. In the weeks to come conversations were had and the following words were mentioned, “why don’t we do this as a weekender, bring over the BEST European Soul DJ’s to Manchester — bring them to the people, all together, for one weekend?” Ideas turned into plans and before we knew it was happening. Emails were sent, phone calls made and everyone just said YES! From thereon in, it’s been noting but an experience and experiment ever since.
The festival prides itself a number of factors — bring fresh sounds to the city, mixing genres and DJ in a progressive fashion and using spaces and venues that break from the traditional, site specific norm. Equally, it’s about representations and mixing old with new. First on the list in 2011 was Malayka, specifically because there isn’t enough female representation on the scene. In fact, each year, the first DJ’s shortlisted are female
- MESW 2 — Jo Wallace & Leona Murphy
- MEWS 3 — Helena Stromdhal & Cristina Alsonso from Sweden and Spain respectively)
The first weekender in 2011 was held at the Palace hotel in Manchester — in the Grand Ballroom, and in the spirit of the city it included old and new, having the lads from the Twisted Wheel play along Europe’s finest, on the biggest stage I’d ever seen.
Along the way, of course there are hiccups. As we cut our teeth on the weekender planning front, we booked a room that didn’t have a dance floor and had to pay thousands at the last minute to get one in, then we were held to ransom on delivery (2 hours before the event opened, to a cash payment or they’d not finish putting it down) but its all added to the charm of the event for all involved. And this appropriation of space is essential to the weekender — to make spaces function in another capacity, and to let people see and experience different aspects of the city — I’ve never been in that room since, and I doubt I’ll ever again get the chance, but that’s what its about!!
Marc Forrest got lost and locked into a corridor that didn’t lead anywhere, I set the fire alarm off, and big Christian from Sweden went into the basement under the stage and into the bowels of the city, missing his DJ spot! But he came back, covered in cobwebs and blew the roof off the palce, drank all the beer and then flew home, 24hr turn around because he had work the next day and his Soulastatic allnighter party in Sweden the night before
The second year was just as interesting. Opening the event was the Greatstone lads — a massive part of the soul scene and so important to the city in a bar in the Northern Qtr. We tried our hand at an allnighter, to mixed reviews on the Saturday and on the Sunday, found our spiritual home at Jabez Clegg. An old converted church, at the opposite end of the city, the space and floor was amazing (it had its own wodden floor, fancy that!). All rounded off by the now infamous “chillout Monday session” on Wakefield Street, which each year gets better and better — the highlight of the weekend.
After the big Sunday events, the Bank Holiday Monday is double decking, mixing Europeans with UK DJs for 8 hours of musical bliss, playing to soulies, progressive thinkers and B-boys. Watching soulies dancing with B-boys is amazing, and the appreciation for both camps typifies what its all about — togetherness!
This year looks set to be the best yet — a whole host of fresh new European DJ with some of the UK’s finest including Andy Dyson, Keith Money premiering alongside some long time supporters and favourites, Dave Ripolles and Dave Thorley.
Furthermore, we’re pushing it boundaries a bit with Brett Franklin and Chris Morgan playing left-centre obscurities coupled a the usual acknowledgement for local quality. This year, we're giving the new young lads at The Black Bee Soul Club a platform to do their thing, plus, Derek and Carms from Con.soul and Yorkshire's star man Azza who is one of the finest young soul DJ/Collectors around.
links
soul source event guide entry for maps, comments, street views and more
Wholly Holy and Epilogue
Bricks and Mortar: Wheel, Torch, maybe Mecca, Catacombs, Cleethorpes but predominantly Wigan. Stafford may be coming through and 100 Club if it ever closes, but if they do, I’ll be making a case for Dunelm House and the Three Tuns.
Tied in to the all-nighter thing is the issue of substances, and while anyone who knows me will confirm I’m no prude when it comes to these matters, it’s unfortunate it’s become part of the mythology of the scene in the seventies, like it was obligatory; while many of us preferred late nights and all-dayers to early mornings.By far the most divisive and destructive ritual on the scene is the worship of vinyl and I can’t believe I’m still writing about this. Admittedly, Music is my religion, but my mission is to hear as much as possible, not to worship artefacts.
Not only is vinyl not the life blood of Soul Music but it’s choking the life out of Soul Music. If Messrs Womack, Green or Dozier want to tell me it’s OK to listen to Jazz, Reggae, Blues etc. on CD, but I have to switch to vinyl to play Soul, I’ll tell them to stop being so stupid.Vinylism is another incidence of discursive practice, whereby those ‘ in the know ‘ are elevated above the rest of us, although none of them can ever tell you why it matters, except to say it’s obvious, normal, natural, inevitable, universal or common sense. I’ve even heard people bemoaning the proliferation of politics in Soul Music and then protest about CDs, which is staggering.
There’s a very famous essay from the sixties called the Medium is the Message by Marshall McLuhan. It was recently discussed on a TV programme where it was claimed they didn’t know what it means and didn’t think the author knew either. I think the author did know and, as an active Soul Fan, I know what it means and the issue of vinyl on the Soul Scene is one of the best examples. For some on the Soul Scene, and not as many as they would have you believe, the act of playing vinyl is more important than the music it generates.
Computers are another case in point where the act of using a computer may be more important than anything you might do with it. Often on the music forums, you come across people who are clearly about as interested in Music as I am in football. It has been commented that nobody ever changes their mind about vinyl, but Colin Curtis has and I have and lots of others too. Some people seem to think that in the seventies we selected vinyl from a range of alternatives, but there weren’t any alternatives and in my experience, the majority of people who were doing it then don’t care. One I can think of, but I doubt if anybody would take him too seriously.
It’s important that those of us who aren’t simply going along with it, shout from the rooftops so vinyl apparatchiks can’t turn it into our problem — it’s their problem - and this includes not humouring people by sticking a slice of vinyl on the turntable while playing a CD, or telling them they’re entitled to their opinion. Like the Emperors New Clothes, it just takes one.
Opinion is nowadays used as an excuse for all sorts of things, but how seriously can we take an opinion whereby music is judged by the format it’s played on. Of course people are entitled to the opinion that the sound quality is better with vinyl, and they can choose not to reconcile their own vinyl collection with their ‘ interest ‘ in Music, but it has nothing to do with them how others choose to play Music; that would be fascism.
I’ve had people who know absolutely nothing about Soul with no interest in it whatsoever telling me it’s an integral part of the culture; but who says?
Chatting with someone recently who did ns in the mid-seventies but now listens to allsorts on vinyl, CD, computer and live, and he thinks it’s ok for ns people to insist on vinyl if that’s what they think. However, who are the people who think this and who gets to decide who the arbiters of ns culture are?
As Super Hans says in Peep Show, you can’t trust people; people voted for the nazi party, people like Coldplay. Taken to an extreme, you could say it was OK for the Nazis to kill Jews or for paedophiles to have sex with toddlers. OK so I’m using hyperbole to illustrate a point, but why should people who essentially missed it, who have nothing more than a second hand myth about NS which has emerged since, get to decide what ns culture is and threaten the legacy and the future by turning it into a joke amongst the wider Music community.
I know someone who went to Wigan in its final years, bought a few records, the ones Soft Cell covered being favourites, but hasn’t been to a Soul Night or bought a Soul Record since, but still knows it’s not the real deal if you don’t hear the needle hit the plastic.Somebody else got into Soul in the late sixties, played a significant role in transforming it from whatever it was into what those of us of a certain vintage recognise as NS; is widely recognised as number 2 from that Golden Age, and has been an enormously important and influential DJ ever since.
Who are any of us to tell Colin Curtis how he should play Music? There are very few certainties in Art and Music but Curtis has 3: Mayfield is the greatest lyricist ever, Superfly is the finest soundtrack ever, and it makes no difference to you that Curtis plays CDs; not a matter of taste or opinion, not a topic for discussion, it just doesn’t matter. Other important players who at least touch base with CDs are the late Dave Godin, Searling, Levine, Chris Hill, Ralph Tee, Russ Winstanley, Tim Brown, Ady Croasdale, Terry Jones, Paul Mooney and Keb Darge and my guess is that some of them, either openly or secretly, are as bewildered as the rest of us by the prejudice.
I have always said, 3 years of NS in the mid-seventies is worth 36 years since, and I won’t be taking lessons in Soul from anybody who started in the nowties or nineties or eighties or late seventies, or anyone who’s always been in the wrong place at the wrong time, or took a 30 year hiatus, or have never seen a live band, or buys the occasional record(ing), irrespective of what they pay for it. Come to think of it, I won’t be taking lessons on any music from anybody.
If we were to line up the most important names on the Soul Scene in the NE, even before the weekenders, Alex gets bronze, silver and gold. . Accept no substitutes, I was the youngest person on that scene by a couple of years for a couple of years. In fact, the demographic of ns nights hasn’t changed for me except that the grownups are no longer 15 and 16 but 50 and 60. . There is hardly anybody else left who has been around more or less continuously ever since. . I’m on video shaking hands with Frankie Beverly. . I was instrumental in the emergence of the weekenders, probably second only to Alex. . When Sam Dees first arrived at Fleetwood he asked for me by name ( which went down well with Alex ). One of the Dramatics told me I have a good ear for Music. . I’ve seen more live acts than anyone I know ( even if you include endless one hit wonders at countless weekenders ). . I’m fluent in all areas of Black Music except Gospel, perhaps because of my atheism, and hip hop which I consider the punkrock of Black Music. . I am almost as prolific in Jazz, Rock, Blues and Reggae and listen to almost every genre of Music you can name. . I have nurtured 2 multi-instrumentalist sons, one an exceptional guitarist. . I am educated to degree level in Cultural Studies.
Anybody in the NE with more impressive credentials without getting paid? So if I don’t have anything to prove to the rest of the NE and Curtis doesn’t have anything to prove to the rest of the world, how come we don’t decide.
It seems to me, for the majority of vinyl worshippers, the reason for their disdain of CDs is that they are just not sufficiently interested in Music to either replace or maintain multiple formats, while I know many people who buy CDs but maintain their vinyl collection too.
It’s only the real obsessives who just can’t help ourselves and buy everything. For years I wouldn’t buy 12” singles because I feared they would contaminate my albums, but eventually had to put the Music ahead of some misplaced ideology.
Updating formats is a good opportunity to clear out the rubbish which inevitably accumulates. There are many recordings I have had on multiple formats: Live in New Orleans I have had on cassette, vinyl, VHS, CD and DVD ( and LA on all but cassette ). People might say I have a special relationship with Maze, having given me the best 5 concerts I’ve ever seen ( I’ve seen them 8 times ), but there are many artists I’m complete in and lots of things I’ve had on multiple formats.
Having an open mind to alternative formats is extraordinarily liberating, alleviating the inclination to always play big, in-demand, rare, valuable records. I always hated it when people wanted me to play Curtis Anderson, not because it’s particularly extraordinary, but because it was one of only a handful of copies in the country. This doesn’t mean you don’t play lesser known Music but it levels the playing field so the ideology, sport, economics, religion and politics dissipate and you play the best Music you can.
Anybody with a passion and thirst for Music will tell you it’s always a work in progress. When I discovered Amazon ( ssss ) I could suddenly buy about 80 albums I’d been unable to find on vinyl or from the usual outlets, which was fantastic(ally expensive ).
My shift at work begins with at least an hour checking the nearly 600 items in my basket to see what I need to buy because it looks like it may go up in price or disappear altogether.
During a recent hot spell, I bought an album on vinyl by mistake and didn’t know what to do with it, half expecting it to warp in the heat or break. It cost me £10 but is £300 plus on CD which is increasingly becoming the norm.
When I saw Charles Walker at Hoochie Coochie, somebody told me they had his latest album on vinyl while I had 3 on CD. When I bought the latest on the night his wife asked me why I didn’t pay an extra £3 for vinyl and, without thinking, I said cos it’s an antique, prefixing it with an expletive. I realised at that moment I was no longer prepared to encourage, indulge, humour or patronise anyone whose interest in Soul Music is not unconditional, including nights with a vinyl only policy.
I would have had to carry it around a busy night club and a lively city centre when I could slip a CD in my pocket and play it on the way home. Not only is it easier to access far more music, but it’s more practical.
I have dozens of acts I’m working through their back catalogues chronologically, while back in the days of vinyl, you would end up with key albums or a best of. For instance, I never bought Leroy Hutson albums because they weren’t considered very good, but it turns out each had one or two sublime tracks.
Generally, ahead of a live concert, I just buy the entire back catalogue, which you could never do with vinyl from a single source.
One day the post man said to me — only one today — and I realised I had a problem. Imagine trying to do that with vinyl. There’s nothing clever about making it even more difficult by erecting an artificial barrier for purely ideological reasons.
Anybody remember 78s? Anybody remember 54s? Anybody know anyone who still plays 78s? Things change get over it.
Does anybody seriously think manufacturers will continue to produce record players for a few ns dinosaurs? Does anybody seriously think if CDs had happened first, vinyl would have ever got invented.
Ironically, while vinyl is becoming antique, CDs are already obsolete. Yes the pop nerds like to harp on about vinyl but that’s because they too are not sufficiently interested to replace them and are perfectly happy to play new music on CD or computer. And the Soul Scene in the Sixties and Seventies was built on a desire for separation from pop nerds, if often a touch naively.
I recently discovered that vinyl was developed specifically to sound good on the radio which might explain why the sound quality at ns nights seems so poor now, which we wouldn’t have realised at the time
When Alex and I saw Genesis in 73 ( complete with exploding Peter Gabriel ), it remained the best gig I saw until Teddy Pendergrass almost a decade later, and it’s only when you see footage of that tour now that you realise how poor the sound quality was back then.
I note jukeboxes are making yet another comeback and this is another example of people who like the idea of Music more than Music so they need something additional to cling to.
In the eighties, more discerning listeners noted that MTV and music videos reduced the significance of the music in favour of the visual.
Recently I found some vinyl and the shop where I sell CDs were really enthusiastic. While I was there, they told me they sell more vinyl than CDs but only bought 4 vinyl albums ( Yes, Wishbone Ash, Chic and Richard Pryor ), didn’t even look at the singles and bought all the CDs apart from Steps and Michael Buble.
While looking through the vinyl, he said the Swamp Dogg album was too late in his career but bought the exact same album on CD without flinching. People like the idea of vinyl; they like the idea of all-nighters, of substances, of the sixties, of Swamp Dogg, and of white musicians at Muscle Shoals.
People who collect stamps don’t stick them on envelopes, people who like steam trains still use locomotives, and people with vintage cars generally also have a modern vehicle. As Soul Fans, is that all we aspire to, trainspotting and stamp collecting? By all means have a hobby, but don’t confuse it with Music and don’t let it encroach on others love of Music.
If Soul Music manages to survive, future generations will be bewildered that otherwise intelligent people preferred to listen to rubbish on vinyl than the finest Soul Music known to man on alternative formats.
Ironically, when I first moved to West Yorkshire I was down to cassettes and the locals, armed with their new high tech CD players, would mock me and I would point out that they were listening to Meatloaf, Madness and Mercury ( Freddie ) while I was listening to Malaco, Miles and Mahavishnu.
I bumped in to my rocker friend at the Haddaway gig. He hadn’t contacted me since the Steve Howe Jazz Trio five years ago when I told him I hadn’t seen Steve Howe for 35 years, ostensibly cos he thought I was fibbing but actually because he knew I wasn’t.
He understands I’m way ahead of him on Soul, likes to think we’re matched on Jazz, Reggae and Blues ( in his dreams ), consoles himself he’s much better at pop, but can’t handle that I’m ahead of him on Rock. When I told him I’d seen Haddaway before, been to a Blues Festival in Switzerland, seen Sabbath and Metallica at Donnington, Pentangle, Santana twice, two Yes tribute bands, four ( Gabriel Era ) Genesis tribute bands and supergroup Transatlantic ( featuring members of Dream Theater, Spocks Beard, Flower Kings and Marillion ), he sent me a Duke Ellington 26 CD box set and a Weather Report concert, all on computer discs he knew I wouldn’t have the wherewithal to access.
Everybody’s at it whatever the format, and this was his way of articulating power over me; but I faced the beast almost 2 decades ago and the Weather Report DVD has been in my basket since its release.
The Jazz community ( and I don’t mean Soul people who dabble ) are notoriously prickly regarding change, but this has always been to do with the Music. They too were iffy about CDs but only because of availability, and once that played in their favour, it was more or less universally accepted.
At one time they didn’t like bebop but once behind them, they turned against Louis Armstrong because of all that grinning for whitey. Bird and Satchmo are now both rated among the top 4 Jazz Artists ever.
For a long time, they didn’t like electric instruments but the guitar needed electricity to get heard in live performance, and then in the seventies John McLaughlin tore it up beyond anything Charlie Christian could have ever imagined. Nowadays, guitar, electric piano and bass and syncopated horns are accepted by all except the extreme dinosaurs.
I recall fondly some indie boy explaining to me that Sex is used to sell hip hop and R+B, like when the punkrock/ indie / Britpop bands scowl and swear and snarl and smoke and swagger, it’s all real. I know what I’d rather watch.
People listen to Franz Ferdinand because they wear their guitars around their chests and Foals because they’re called Foals and not the Foals, while I prefer bands who wear their guitars around their wastes and bands who have ‘ the ‘ before their names.
Then there’s Elvis and SinAtra who were brilliant until others began writing ‘ their own ‘ songs when they became passé.
The Monkies were brilliant until it came out they didn’t play ‘ their own ‘ instruments when they became rubbish, even though the Beatles, using their veto, didn’t play ‘ their own ‘ trombones on All you need is love.
The Beatles were teeny, then passé, then cult after Lemon got assassinated which ultimately led to them being all things to all people.
Zappa and Beefheart were visionary til it turned out they didn’t use drugs after all when they became novelty.
Punkrock was ‘ just garbage man ‘ til years later when the fans voices had broken it became revolutionary.
All meaningless twaddle of course which, like vinyl, has nothing to do with Music and, collectively, constitutes a serious enditement on music in this country.
The only other comparable issue I deal with is tribute bands, although there is clearly more justification for objection. The economic base infiltrates all culture and the issue of vinyl is related to the capitalist preoccupation with ownership — my eldest son is sentimental about CDs in the same way we were about vinyl but my youngest is quite happy to download.
The issue of tribute bands is related to another capitalist preoccupation - genius. The key text is Death of the Author by Roland Barthes — nationalty? ( Millie, she’s making me mad Millie ).
I’m sure some vinyl bigots relate it to Fine Art and the need for it to be the original which was touched by the artist/ genius; but vinyl is no closer to the artist than CDs or computer downloads, and live music is much closer than all of them.
In terms of jouissance, one of the most powerful experiences I ever had was a live performance of Rites of Spring, perhaps the most important piece of music of C20th ( though I have always preferred Petrushka and the Finale to Firebird ); hugely influential, not just in Modern Classical Music, but Jazz, Rock and grown-up pop — an oxymoron in my view.
Nobody expected Stravinsky to arrive and start shaking his stick around, not least because he died in the seventies at a grand old age. So why is Blues based music less ‘ worthy ‘ ? The answer of course is that people like the idea of music but aren’t really that interested so are looking for excuses.
Incidentally, I don’t own a kindle ( though missus Silk does ) but this is as much because I already have hundreds of books, as my lack of confidence in something out there in the ether.
In defence of vinyl, and maintaining the Marvin Gaye theme, I’ve just played I want You on CD for the first time, ahead of Leon Ware, and it sounds disjointed with the short burst of I Wanna be where you are that ends side 1 vinyl followed immediately by the short intro to the title track that kicks off side 2. However, the album always sounded murky to these ears before the CD edition.
Similarly, on some albums a particular track makes a great closer and there are many examples of tracks which close side 1 vinyl but seem adrift in the middle of a CD.
Furthermore, CD’s have a tendency to be too long. When I Touched a Dream came out, their best album in a number of years, my brother was a massive Teddy Pendergrass fan and arguments inevitably raged about whether Teddy or Marvin Junior were the greater singer. My brother resorted to criticising the album on the basis that it was too short, but artists nowadays try to make their albums 50 to 60 minutes long and seldom maintain the quality and interest throughout.
When CDs first arrived I was big on Anita Baker and I remember saying I would get a CD player when Songstress, Rapture and, would you believe, What’s Going On came out. Ironic that Sam Dees has just arrived at last, which we probably thought would never happen. How things have changed.
Inner City Blues — MAKES ME WANNA HOLLER.
While writing this, Mrs Silk asked whether it is part of the book or just a rant. I want the book to be about all the Music I’ve listened to in my life and not just Soul, although Soul is inevitably prevalent.
While I am largely in control of what I listen to, Music does have some autonomy and for the last 2 ½ years, Soul has been dominant, after about 20 years of flitting about between genres.
This article is therefore a bit of a diversion while the book is temporarily on hold until I can bring more balance to it. I therefore allowed this part, with licence from Marvins subtitle, to turn into a bit more of a rant.
Once over I couldn’t get me on to Soul Source but then, with a little help from my youngest, I couldn’t go on without seeing myself in triplicate. People keep asking who I am and who I think I am and unusually for the Soul Scene, they’re remarkably similar, so by way of setting the record straight.
If there is a more complete Soul Fan in the NE I haven’t come across them yet, and I would have. There are some who scratch the surface and others who dig a little deeper. Some know the obvious stuff, others explore lesser known stuff, and some only know the in-demand stuff. Others are more Jazz Funk and some listen to related and comparable Music like Blues, Jazz and Reggae. Others pick off the sixties, some the seventies and others like newer stuff. Some go to live gigs and others go to Soul Nights. Some people only buy singles and others only albums, some only vinyl and others only CDs while some buy DVDs as well and others don’t buy anything. Some people stay local, others travel and some do it all from home. Some read about it, others may read some Black American Literature, and some might even watch the odd Blaxploitation Film. Nobody else has the lot to anything like the same degree.
In the seventies and eighties, John Powney and Paul Mooney were the Big Beasts, but I don’t think John’s been anywhere since the eighties and Paul since the seventies; and I don’t know if either have ever seen a live act, and there’s only so far even someone of their stature can go from the luxury of a computer console, or in Johns case a typewriter.
I reiterate again how vital live performance is in Music appreciation. Like a grounding in Cultural Studies, live performance can invoke heightened jouissance which will circumvent existing ideology and preconceptions. And there’s nothing quite like it ( except Sex natch ).
In Folk Music, I only really like half a dozen Folk Rock Bands and a couple of local chicks but I can still really enjoy it live. While I was a ‘ serious soul boy ‘ everybody got into Kid Creole and I had to be persuaded to go and see him live but he turned out to be a great performer who I’ve seen twice more since. Conversely, sometimes people like the idea of a particular act but only realise how rubbish they are when they see them live.
Don’t get me wrong, I loved my NS years - but one resentment - I didn’t see a single live act between George McCrae in 74 and the Commodores in early 78, and imagine who I might have seen in that period. I recall going to an all-dayer at the Mecca to see Eddie Kendricks which I think would have been 77, but he didn’t show. And before you knock George, he was Big Stuff in 74 and Dave Godin no less had Rock your Baby in his Top Ten albums ever at that time.
However, the only sure fire way of attaining the next level is a thorough understanding of how culture works. A course in Philosophy is great but perhaps the most difficult to apply to Music. Cultural Studies is ideal and will likely feature Music but even a good Media Studies course, which would definitely include Music, would suffice. Politicians and journalists love to rubbish Media Studies but this is because the Media is the most potent Ideological State Apparatus they have, and the last thing they want are people who, as Captain Beefheart says, have too much to think. I’ve done all three.
One of the benefits of an education which teaches you how to think and not just what to think, is that it enables you to grasp constants so you can see into the future, while most people only have a distorted view of the past and the present.
In the eighties I was always keen to associate with John and Paul ( though not George and Ringo ) because I knew I would always learn something and hear something I didn’t know.
Incidentally, Paul Mooney was the first person I ever corresponded with via Email and when I told my wife he was like me only more so, she said OH MY GOD! But this was before I realised how exponentially my obsession had grown.
Nowadays nobody seems to want to learn because everybody knows everything and has heard everything no matter how little they know and how little they’ve heard.
I don’t object to people who know nowt — in fact I’m a little envious of their wealth and contentment - but the Soul Scene is loaded with people who know nowt but act as if they know everything.
I don’t know whether to blame Blair or Cowell. Anybody who knows stuff is a know all or a big head but people who know nowt can be whatever they want to be, and act as if other people are whatever they want them to be, and claim it all in the name of ‘ opinion. ‘
Film Whatever Year stopped being relevant when they replaced a Film Critic with a succession of TV personalities, neither of whom I imagine had seen as many films as me, prior to their appointment and this is where Culture is now.
I remember George Martin saying that, between them, Stevie Wonder and Paul McCartney can play just about every instrument you can think of. My sons are 13 and 15 and, with the exception of drums ( which Macca and Steveland both play well ), they can play virtually any instrument you can name between them.
My eldest has seen dozens of world class acts from every genre there is and played with a Major Blues Artist when he was 13, but his friends, well versed in their parents Abba and Queen records, or Bob Marley and Stevie Wonder if they’re black, still insist they know more about music than him.
He is suspect OCD, evident primarily in his guitar playing, and it became apparent that I’ve been OCD about Music all my life. Once over everybody knew who the Music People were and the rest did it as much for the crack, but nowadays everyone wants to act like they’re big on music, no matter how minimal their interest. I am astounded by some of the people who’ve tried to talk down to me recently, never a great idea but distinctly absurd nowadays..
The most prolific active soul boy in the NE over almost 40 years has been Frankie Lucas. However, he would have increased his stature even further had he listened to more Deep Soul and some Real Jazz ( and even some Blues and Reggae ), but wasn’t so inclined and seems to have retired though he’ll be back. Big Ron falls somewhere between Frankie and the Armchair Apostles but has regressed back to ns and its limitations.
The most impressive people I know of now have moved here from outside the region. Tasty Dave Baker is passionate about little known Soul and tries to reflect this in his playlist, but he’s a younger chap and I’m unsure about his hinterland. There will come a time when people from the eighties will come into prominence, but we’re not there yet.
Deano, like me, is Jack of all Trades, but he isn’t Master of All. In fairness, he doesn’t claim to be a purist and, indeed, is quite vociferous to the idea. His insistence on only featuring guests at Seasons of Soul who aren’t as good as him is a real shame which will likely finish it, at least as far as credibility goes.
Most impressive is Gary Smith who, coming from Blackburn, was lucky enough to spend his life following Searling around. He’s strictly rare Soul Scene but knows everything. Strangely enough, never one for buying Music, he’s recently discovered the joys of vinyl and buys anything he likes the look of, from Pat Boone to Englebert to the Bay City Rollers; which is refreshingly honest.
When I discovered just how poor the Soul Scene was in the North East, it wasn’t lost on me that I worked in a hotel with a superb room. I’ve never been a DJ, nor a collector, neither being conducive to playing the best Music, but when people started asking if I could put on a Soul Night, I doubted whether anybody else could do it as well. I thought there were probably 4 people in the NE who can play everything but it gradually dwindled to one and I should have had an open invitation to play any night in the NE. In some cases I’m so in a different league I’m not even on their radar, others know so little they’re oblivious to how little they know and how much others know, but mostly people just don’t want someone who can play more/ better Music than them.
Having been around the NE and talked to lots of people, it never occurred to me that others would be ego-tripping out — there I go again, got to give it up, it’s trouble man.
One person even told me I needed to go to a ns night s/he was involved in, which I’d been to several times, while s/he never came to the Manor House; which must be like Alex telling Searling he should go to Nevilles X Youth Club to hear Footsie.
Nobody who experienced ns in the mid-seventies need ever go to another ns night again and I wonder how those who do can stomach it once the initial nostalgia has passed. I reiterate that time has not been kind to most of these records.
I have more than enough music going on in my life, with 4 gigs in March, 5 in April, 2 each in May, June and July, 1 in Oct and 3 in Nov already. I never need to go to any Soul Night ever again; at least not without a disguise or bodyguard.
Don’t get me wrong, I’m not at all phased by being public enemy number 1 on the Soul Scene, particularly when it’s so desperately in need of HELP. My place in Music is such that I no longer care if people don’t like me. Music is important and worth falling out with people over. I’ve locked flugelhorn with French Horns many times through the night on the Classical Sites in defence of Post-War Music. On the contemporary sites I attract respect, fear and loathing in equal measures but only get fear and loathing from the NE soul scene.
Nobody liked Levine; half the country didn’t like Searling and the other half didn’t like Sam; and nobody ever liked Alex, until he became stinking rich when the rich kids decided they’d liked him all along
At what turned out to be the last ever Manor House, I thought I would blast the finest Modern Soul records on the planet, something you can only really do if you’re Richard Searling or not limiting yourself to vinyl. It clashed with Bridlington and I assured one person s/he would hear better Modern Soul at the Manor but I think s/he thought I was joking — I wasn’t. I always intended the Manor to be a sort of Mecca type engine room for the North East to improve the other nights.
Deano and the late Rob Bogey made a point of saying Seasons of Soul was to entertain rather than educate, whereas I believe a GOOD education is the best form of entertainment and this was always my intention at the Manor House, with my target audience the North East top Soul Fans, including those who are normally cynical about the Soul Scene and wouldn’t be seen dead at a Soul Night. If this all seems arrogant, I at least know where my ego comes from.
I originally thought about a complete education, including all eras and areas of Soul, as well as some Jazz, Reggae and Blues, a little African Music and maybe even bits of relevant Rock ( Zappa, Beefheart, Santana ). It never occurred to me that people assumed I was going to do Nevilles X Club 1976, Julies 1982, Fleetwood 1988 or in-demand crossover and R+B on vinyl. Anybody else with any bright ideas, please don’t waste my time.
Rather naively for someone so qualified in Cultural Studies, I assumed that everybody knew how limited and limiting the various nights are and the Manor House would be chocker from day one and we would have the best NE Soul Night since the Tuns, better than the Tuns, as good as any Soul Night anywhere.
I even gave flyers to Colin Curtis and Arthur Fenn cos I knew I’d be able to get away with better Music and thought I’d maybe give them a few ideas too. Next time I feel like offering my services to someone who’s struggling cos they don’t really know what they’re doing, I’ll tell them I haven’t been doing it long, don’t really know much, haven’t heard much, never really been anywhere or seen anyone and most of my music isn’t very good. But it’s on vinyl so I’ll see you there.
I wonder if Music will ever be front and centre again, like the mid-seventies or late eighties, instead of DJs and promoters scratching their ill-gotten ego’s and terrified to death to put on anyone who might play better Music than them; or was I too young in the seventies and drunk or worse in the late eighties to realise.
Let’s get it on — A new Hope.
Last year Deano had a birthday bash at the Cooperidge in Newcastle, a North East landmark even longer than John Powney, Pete Donnelly and Paul Mooney. Upstairs was playing housy type new releases and wasn’t bad but the real goods was downstairs.
Tasty Dave Baker was living up to his name when I got there. He was followed by Ewan Renton from Darlington who impressed me on his last set at Seasons playing the Whispers version of Make it with you and Razzy I Hate Hate. Here he slipped in Womacks version of Messing up a good thing which I’ve never heard played but was always the best track on probably his most consistent album.
The Soul was interspersed with non specific Latin type stuff which went down well. I have this theory which is totally unsubstantiated; that Elvis and the Beatles had less of an impact in Brazil and their pop music is still based largely on Jazz rather than rock and roll, with SinAtra still the main man; a far better result than the King or Fabs in my view.
Mickey Powney was hailed as the Rare Soul Man but was at his best playing safe: I want you, Why can’t we be lovers and Rising to the top on a 7” edit — no longer acceptable in this day and age IM(H)O. In fact he played so safe he had to pull out something special and, while The Love I Lost is certainly a perfect record, when you know, not only all the lyrics, but the grunts and groans too, it’s probably not the best choice for a relatively educated and expectant crowd.
Bobby Patterson I get my groove and Willie Hutch I’m gonna stay were too little too late and Josie Jo Armstaed I got the vibes, another record strangely missing from the Classic Northern nights, closed his hour.
Mickey is one of the people in denial about NS, claiming he was never really into it. The first time I ever met him, he and Alex were dancing around my parents living room while I played tracks off Ric Tic Relics, which puts it in 74 or 75. Oh Pretty Lady was his favourite, and mine too at the time. It’s not our fault what NS has become and it was exactly the correct place to be at that time.
Carlo ( from Darlo ) had promised some New York Disco but, when he opened with We the People, it was time for me to go for my nightshift.
The night offered an open goal for someone to put together a string of little known gems, but nobody found the back of the net. However, it did confirm for me what Tim Carr and others had told me, which I think I already knew; that for a proper Soul Night in the North East you have to get Darlington and the North Easts Top Modern Soul people. Regrettably, it’s hard to think who in the NE is going to do it, since I have belatedly come to think that maybe the Web is mightier than the Song.
Epilogue — In our Lifetime?
Reinstating the question mark the record company left off Marvins title for his most under-rated album.
Alex has apparently been talking about turning the Soul Room at Minehead back in to a — well — Soul Room. Ironic since he was never really bothered about a Soul Room in the first place. For a moment I thought about what would happen if I were to get involved again. I could scour the weekenders, nighters, dayers, nights, radio shows to assemble the greatest possible team all over again.
I would want some young enthusiasm in there, but predominantly, people who were there in the mid-seventies so they have experience of the scene at its most vibrant and frenetic time, but crucially, moved on when it all went terribly wrong circa 77. I would have to question why somebody would stay with it or start with it after it stopped being relevant.
I always say that going from ns to Disco/ Jazz/ Funk was like going from black and white to colour, but bearing in mind that Casablanca was in black and white while Hangover 2 is in colour. Clearly, disco became a bit of a joke in the wake of John Travolta and Donna Summer, but it’s aged remarkably well and civvies love it, and it’s now largely forgotten that ns was no less a joke at that time.
Is it just me or does it seem that more happened between 74 and 78 than in the 35 years since? Whenever ns or Jazz Funk people boast that they’ve been doing it for 30 years, I always think — better late than never, but you missed it.
I would also want people who were there in the late eighties/ early nineties when the Soul Scene was at its absolute best ever.
In hindsight, when Frankie left the Weekenders during the Fleetwood era to spend more time with his family, I should have replaced him as the NE representative. Even then, I was in a completely different league to anybody else in the region, between the withdrawal of Frankie and the rise of Ronnie: at least as good as most of the DJs and better than some and my contribution to the Weekender was such that Alex, despite his insane jealousy, could not have refused.
However, I was terribly nervous and sensitive ( not to mention hammered ) at that time and couldn’t handle DJing. Had it been a simple matter of pressing a few buttons, history may well have been different and we may have had an informed reappraisal of ns and not just wholesale revival, and No Thing on Me, Aretha Sing one for me, Still Waters and Just Soul may have been the thing a quarter of a century earlier. Oh, and we may not have had all the silliness about vinyl.
The bible tells us a prophet is never appreciated in his home town and 39 years of humility and modesty behind the scene hasn’t got us anywhere. When I started going back to ns nights in the early mid-eighties they were playing exactly the same records I’d been listening to 10 years earlier, which I assumed they knew, but it turns out they were oblivious; while I was listening to the stuff they listen to now, which they still don’t seem to realise.
Since people are not even catching up but falling further behind, on current form, a hundred years from now they’ll be going to a Soul Night where even the historicists have given up on vinyl, CDs will all be in charity shops and what’s left of vinyl ( Beatles, Frank Wilson ) will be consigned to antique shops; with a DJ who can play the whole of Soul Related Music, selected almost entirely on the basis of quality, with just a tiny nod to the dance floor.
I might even be doing a night playing who knows what? Deep Soul; Reggae; Mingus, Miles and Trane; Zappa; Weather Report; Eastern European Modernism, and no doubt still moaning that they don’t come, cos I never learn either
Ben E King and Jimmy James UK Tour
Ben E King
http://www.beneking.info
Early life
King was born Benjamin Earl Nelson on September 28, 1938 in Henderson, North Carolina,[2] and moved to Harlem, New York, at age 9.
Career
In 1958, King (still using his birth name) joined a doo wop group called The Five Crowns. Later in 1958, The Drifters' manager George Treadwell fired the members of the original Drifters, and replaced them with The Five Crowns. King had a string of R&B hits with the group on Atlantic Records. He co-wrote and sang lead on the first Atlantic hit by the new version of the Drifters, "There Goes My Baby" (1959). He also sang lead on a succession of hits by the team of Doc Pomus and Mort Shuman, including "Save the Last Dance for Me," "This Magic Moment," and "I Count the Tears."[2] King only recorded 13 songs with The Drifters, including a non-single called "Temptation" (later redone by Drifters vocalist Johnny Moore).
Due to a dispute over his contract, including a salary increase and a fair share of royalties, King was never again given a chance by Drifters manager George Treadwell to perform with the group on tour or on television. After the dispute settled, King was hired only to sing until a replacement for him was found. On television, fellow Drifters member Charlie Thomas usually lip synched the songs that King had recorded with the Drifters. This end gave rise to a new beginning. In May 1960, King left the Drifters,[2] assuming the more memorable stage name Ben E. King in preparation for a successful solo career. Remaining on Atlantic Records on its Atco imprint, King scored his first solo hit with the ballad "Spanish Harlem" (1961).[2] His next single, "Stand by Me," written with Jerry Leiber and Mike Stoller, ultimately would be voted as one of the Songs of the Century by the Recording Industry Association of America. "Stand by Me," "There Goes My Baby," and "Spanish Harlem" were named as three of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and were all given a Grammy Hall of Fame Award, as well as "Save The Last Dance For Me." King's other well-known songs include "Don't Play That Song (You Lied)," "Amor," "Seven Letters," "How Can I Forget," "On the Horizon," "Young Boy Blues," "First Taste of Love," "Here Comes the Night," "Ecstasy," and "That's When It Hurts." In the summer of 1963, King had a Top 30 hit with "I (Who Have Nothing)," which reached the Top 10 on New York's radio station, WMCA.
King's records continued to place well on the Billboard Hot 100 chart until 1965. British pop bands began to dominate the pop music scene, but King still continued to make R&B hits and minor pop hits, including "What is Soul?" (1967) and "Supernatural Thing" (1975). A 1986 re-issue of "Stand by Me" followed the song's use as the theme song to the movie Stand By Me, and re-entered the Billboard Top Ten after a 25-year absence. In 1990, King and Bo Diddley, along with Doug Lazy, recorded a revamped rap version of The Monotones' 1958 hit song "Book of Love" for the soundtrack of the movie Book of Love. He also recorded a children's album, I Have Songs In My Pocket, written and produced by children's music artist Bobby Susser in 1998, which won the "Early Childhood News' Directors' Choice Award" and "Dr. Toy's/The Institute For Childhood Resources Award." King performed "Stand by Me" on the Late Show with David Letterman in 2007. Ahmet Ertegun said, "King is one of the greatest singers in the history of rock and roll and rhythm and blues."
As a Drifter and as a solo artist, King had achieved five No. 1 hits: "There Goes My Baby," "Save The Last Dance For Me," "Stand By Me," "Supernatural Thing," and the 1986 re-issue of "Stand By Me." He also earned 12 Top 10 hits and 25 Top 40 hits from 1959 to 1986. He was inducted into the Rock and Roll Hall of Fame as a Drifter; he has also been nominated as a solo artist.
King's "I (Who Have Nothing)" was selected for the The Sopranos' Peppers and Eggs Soundtrack CD [2001].
Current activities
Currently, King is active in his charitable foundation, the Stand By Me Foundation and is also a founding Champion of the Global Village Champions Foundation along with Muhammad Ali, Gary US Bonds, and Yank Barry.[4] He has been a resident of Teaneck, New Jersey since the late 1960s.
King performed "Stand By Me" during a televised tribute to late comedian George Carlin, as he was one of Carlin's favorite artists. On November 11, 2010, he performed "Stand By Me" on the Latin Grammys with Prince Royce.
King toured the United Kingdom, performing at venues in England, Scotland and Wales during 2011. For a full list of the tour dates, visit CanAm Entertainment.
King's album "Heart & Soul" released in 2010 on the CanAm Records label takes a page from The Great American Songbook and features contributions from various jazz greats. JazzTimes heralded King's new release for its emotional and musical impact.
Jimmy james & The Vagabonds
http://en.wikipedia.org/wiki/Jimmy_James_(singer)
Jimmy James & The Vagabonds at The Birdcage in Portsmouth
The Vagabonds were originally formed in 1960. Later, James, already a successful solo artist in Jamaica, teamed up with them under Canadian band manager Roger Smith and in April 1964, they relocated to the UK. "Ska-Time" (Decca Records) was recorded as Jamaica's Own Vagabonds within two weeks of their arrival, and is one of the first examples of Jamaican ska music to be recorded in the UK. In 1965 they undertook more gigs and recordings in Hungary, organised as part of a cultural exchange programme, with The Vagabonds being one of the few Western European bands ever to play in the former communist state.[citation needed] Also in 1965, Jimmy James and the Vagabonds supported The Who and Rod Stewart who was with his group The Steam Packet at the Marquee Club in London. The band played the Shanklin Pier ballroom on the Isle of Wight in June 1965 and returned for 2 further sold-out concerts that summer. He and the Vagabonds shared several bills with Jimi Hendrix's band, The Experience, during the late 1960s when they were both trying to establish themselves.
"We used to hang out a lot at clubs like the Bag O' Nails, the Cromwellian and Whiskey A Go Go. A great guy, very quiet and unassuming," James recalled.[3] The Vagabonds and the Experience also played the Ricky Tick and Upper Cut clubs in London in December 1966 and January 1967, respectively and at the Beachcomber Ballroom in Nottingham.
They signed a recording contract with Pye Records and released their best known studio album, The New Religion in 1966. The band also played as support for The Who, and Sonny & Cher, Rod Stewart (who was also on Pye Records at the time), and The Rolling Stones. The band often used the Abbey Road Studios, once being there at the same time as The Beatles were recording. Their live performance was captured in the album, Live at the Marquee, also featuring The Alan Bown Set. Jimmy James and the Vagabonds were labelmates and rivals of Geno Washington & The Ram Jam Band.
The Vagabonds disbanded in 1970, but James, who owned the name, reformed the band with a new, all white line-up in 1974.[2] They had hits in the UK Singles Chart with " I'll Go Where Your Music Takes Me" and "Now Is The Time".[4]
Former Vagabonds bass player Alan Wood (1973—77) now runs his own management agency and represents Paul Carrack.
In 1979 a new band, Big Business, was formed by Alan Kirk and Andrew Platts, former Vagabonds and they continue to tour to this day. Big Business toured with Mick Jackson ("Blame It on the Boogie"). Kirk owns Hilltop Studios in Dronfield near Chesterfield. Platts is managing editor of the entertainment paper, Mercury Newspaper in Sheffield.
In 1999, drummer Russ Courtenay co-wrote the track "Whatever You Need", which appeared on Tina Turner's album, 24/7, and later on her All the Best and The Platinum Collection compilation albums. He is currently working on a project entitled 'Rainbow Beach'.
In 2007, James contributed the track "The Other Side of the Street" for Ian Levine's Northern Soul 2007 album.
[edit]
TOUR '13
August
Fri 23 Grand Pavilion Esplanade Porthcawl CF36 3YW
Sun 25 Floral Pavilion Virginia Rd New Brighton Wirral CH45 2LH
Tue 27 The Stables Stockwell Lane Wavendon Milton Keynes MK17 8LU
Wed 28 Concert Hall Civic Centre Motherwell ML1 1AB
Thu 29 Carnegie Hall Eastport Dunfermline KY12 7JA
Fri 30 Jam House Queen St Edinburgh EH2 1JE
September
Sun 1 DG One Centre Hoods Loaning Dunfries DG1 2HT
Tue 3 Eden Court Bishops Rd Inverness IV3 5SA
Wed 4 Jam House St Pauls Sq Birmingham B3 1QU
Fri 6 Concorde Club Stoneham Lane Eastleigh Hampshire SO50 9HQ
Sat 7 Bunns Leisure Paddock Lane Selsey PO20 9EJ
Sun 8 Robin 2 Mt Pleasant Bilston Wolves WV14 7LJ
Wed 11 Parr Hall Palmyra Sq Warrington WA1 1BL
Thu 12 Albert Halls Victoria Sq Bolton BL1 1SA
Fri 13 Towngate St Martins Sq Basildon SS14 1DL
Sat 14 Tropicana Robin Hood Skegness PE24 5TR
Sun 15 Pavilion Westover Rd Bournemouth BH1 2BU
Wed 18 Buttermarket Howard St Shrewsbury Shropshire SY1 2LF
Thu 19 Gordon Craig Lytton Way Stevenage SG1 1LZ
Fri 20 Concorde Club Madeira Drive Brighton East Sussex BN2 1EN
Sat 21 Playhouse Playhouse Sq Harlow CM20 1LS
Melba Moore to Visit The Uk
Also featured on the show is Meli’sa Morgan, an accomplished songwriter, producer and actress.
The Jazz cafe shows are onThursday 2nd May and Friday 5th May 2013 and Tickets can be purchased at:
http://mamacolive.com/thejazzcafe/listings/upcoming-events/8091/soulgigs-com-presents-melba-moore-melisa-morgan-2/
What soulgigs.com has to say about Melba:
Melba Moore is a Soul Legend. Tony Award Winner and 4 time Grammy nominee. In the beginning, Melba’s Stepfather pianist, (Clement Moorman) introduced her to several agents which eventually landed her a role in the cult classic musical Hair. Melba went on to land the lead role in Purlie. Ms Moore also appeared alongside the iconic Eartha Kitt in the musical Timbuktu and landed the lead role of Fantine, in the acclaimed musical Les Miserables.
Although Ms. Moore enjoyed working on Broadway, she didn’t want to forget about her first love…music. Deciding to focus more on her recording career, she made her recording debut on Mercury Records with “I Got Love”, followed by “Look What You’re Doing To The Man”. She was nominated for a Grammy Award for ‘Best New Artist.’ Numerous Grammy nominations, recordings, and television shows, including her own variety show entitled The Melba Moore-Clifton Davis Show, followed.
Melba scored a string of Billboard Charted hits with songs like “This Is It” and “You Stepped Into My Life”. Ms Moore continued to enjoy great success musically with such chart topping songs as “Love’s Comin’ At Ya,” “Keepin’ My Lover Satisfied,” “Living For Your Love,” “Read My Lips,” which she received a Grammy nomination for ‘ Best Female Rock Vocal’. She had two Billboard #1 hit singles for “Falling” and “A Little Bit More,” a duet with Freddie Jackson. Ms. Moore later released “Soul Exposed” which featured a stellar version of “Lift Every Voice and Sing”. It featured such artists as Freddie Jackson, Stevie Wonder, Aretha Franklin, Dionne Warwick, Jeffrey Osborne, Lou Gossett Jr., Bobby Brown, Anita Baker, and Stephanie Mills.
More recently, Ms. Moore starred with Beyonce and Cuba Gooding Jr. in the motion picture “The Fighting Temptations”. Presently, she is working on an autobiography with professor and former New York Times writer Mel Watkins detailing her achievements over the span of her career. Melba Moore returns to the UK by popular demand to perform hits from the past present and future and with a very special guest to be announced via www.soulgigs.com the dates are highly anticipated.
Melba and Melisa will be appearing at Manchester's Band on The Wall on Sunday 5th May 2013 (Bank Holiday Weekend).
Tickets can be purchased at http://bandonthewall.org/events/3895/ with a discount for early birds.
Mel Britt - Northern Soul Icon
The Day We Met Mel Britt
With the passing of Mr Mel Britt I thought it timely to remind ourselves of a very special day in his company. In a strange quirk of fate I almost missed this day as I’d visited Motown a few times in previous years and had enjoyed a tour of the building prior to its refurbishment as a museum with Mrs Esther Gordy-Edwards and contemplated keeping that memory fresh rather than see it “all polished up” so to speak and it was only due to Sam Robert’s insistence that I don’t miss the trip and my wife Bev’s adamant “We’re going…end of story” that I found myself in amongst a busload of great friends with a butty box and that heavy eyelid, early morning feeling that comes with having a great night followed by an early call! Here’s what occurred that day…
On a cold windy morning on Tuesday 10 March 2009, a bus full of UK/US SoulTrip USA soul fans stopped off at an Interstate service area at Battle Creek Michigan, just off the I-94. We were en route to Detroit to visit the Hitsville Motown Museum and have lunch with a number of soul stars who had provided the musical backdrop to most of our lives. Our host Kev Roberts left the bus and made a phone call. He came back on the bus and relayed that we’d be here about 15 minutes as we were awaiting the arrival of a special guest. Now I’ve met a few of Kev’s special guests over the years and have enjoyed the company of a number of my musical heroes due to Kev’s SoulTrip events and so I knew this was gonna be something special. The buzz went round the bus as people started guessing who it could be, Lamont Dozier, Jack Ashford, Dennis Coffee, were just some of the names mentioned. NOTHING could have prepared us for the arrival of a man who, for many of us, would rank in the top 3 people we would wish to meet.
As the cab pulled up next to the bus, a bearded, rather disheveled black man, wearing a wooly hat pulled over his head and wrapped up in a large winter coat to keep out the biting wind, emerged from the back seat. Tension mounted on the bus as Kev escorted his guest, who, with the aid of a walking stick made his way up the steps of our bus. “Ladies and gentlemen please welcome… Mr. Mel Britt!”, were Kevs next words and they were met with a massive spontaneous round of applause and cheering! We were taking Mel Britt to West Grand Boulevard — Hitsville - Motown!! Now that was special moment!
As we arrived at 2648 West Grand Boulevard, (now renamed Berry Gordy Jnr Boulevard), Kev asked if Bev and I would keep an eye on Mr. Britt as he had other host duties to take care of? Keep an eye on him? Was he kidding! Man, it would be a privilege! Once we signed Mel in at the museum entrance and convinced him to leave a message for future visiting fans, we escorted him around the Motown building at his own pace, listening to him tales of the people he worked with and eventually ended up in the Snakepit itself where we all met Dennis Coffee who relayed his stories of his tenure as one of the Funk Brothers and Mel spotted a few familiar faces amongst the photos on the walls, he had worked with over the years. He relayed to us the work he did with Norman Whitfield between ‘84 and ’92. His respect for Mr. Whitfield knew no bounds as he constantly referred to the late great producer as a ‘genius’. He also recounted his time as a member of The Visitors (Bashie/Minit Records) and his pride at having sung on the late great Mary Well’s last 45.
Mel, Bev and Dave
After many photos, handshakes and hugs with everyone we made our way back to the bus and continued on to a venue called The Memphis Smoke in Downtown Detroit. There we were met and enjoyed a fantastic few hours in the company of Frances Nero, Lorraine Chandler, Clay MacMurray and his lovely wife Karen Pree, Laura Lee, Annette and Rosalind (Of The Vandellas), The Capitols (Including Donald Storball), the enigmatic Spyder Turner, Sylvester Potts (Of The Contours) Little Carl Carlton and a host of others. As we enjoyed a great lunch the artist’s songs were introduced over the sound system to rapturous applause. Many photos, autographs and sleeves signed were the order of the day.
Scan of She'll Come Running back - FIP
And then it happened… a moment that should have been frozen in time and placed in the Smithsonian Institute of Soul should there ever be one ….As Mel Britt was signing a sleeve for my copy of his iconic FiP 45 — She’ll Come Running Back” Kev started the opening refrains of the song.
What happened next will stay with many of us for the rest of our lives:
As Mel recognised the opening bars of his song he turned round to see over 200 people providing a handclap beat to the song, cheering and singing along! He physically grew 4 inches in height! The crowd just kept going not missing a single heartbeat for the entire two and a half minutes of what is one of the most revered soul songs ever! Even the artists had now realized they were witnessing a huge outpouring of love for someone special and they too joined in! As the atmosphere intensified people came up and hugged him, shook his hands and said thank you for his song and he responded with a huge massive smile that relayed the fact that he had at last understood what his song had meant to so many people over the years. As the final bars of the song faded the applause was deafening. Mel was a little overcome and the crowd too had realized that they had been touched by Mel and his song in a way that very rarely happens. Grown men wiped the tears from their eyes and no one could speak for a few minutes as we absorbed the atmosphere and inwardly acknowledged that we had all been part of something very, very special. After over 30 years of collecting records, attending concerts, meeting artists I have enjoyed some wonderful moments as a soul fan. But nothing…and I mean NOTHING compares to that 5 minutes in the Memphis Smoke Lounge in Detroit that left me speechless!
Video
The journey back to Chicago was halted once again at Battle Creek as we clapped Mel Britt off the bus and into his cab for his journey home. It was sad to see him go and as he disappeared into the dark cold night I later discovered I wasn’t the only one who had resolved to try and repay him for the years of enjoyment he had given me. As we talked about our experience it became clear that many people were happy to contribute to a group that would improve Mel’s life and that of his family if we could.
So….here we are “The Friends Of Mel Britt”. There’s no membership, no rules, no gatherings just an opportunity to say thank you to Mel in a practical way that will hopefully enrich both Mel’s life and ours for putting something back into a scene that many of us have enjoyed for most of our lives. It is intended to administer funds as and when we can to Mr. Britt via There’s That Beat! magazine and hopefully to do it on a monthly or quarterly basis. By the time you read this there will be more info on “The Friends Of Mel Britt” on the website at www.theresthatbeat.com so pop along if you fancy helping out or contributing.
Best,
Dave
Dave Moore
Epilogue…
The “Friends of Mel Britt” site was completed and Dave Raistrick offered to oversee the funds raised to ensure no shenanigans occurred but the site was live for only a couple of days. In that time it raised 10UKP which was a donation from that late great Macc Lad…Glenn Hunter. Unfortunately I had some personal upheaval to contend with and had to return back to work in order to keep the wolf from the door and decided that rather than have it limp along we’d withdraw it and return to it at a later date. I informed Glenn who said….Get me a pint at Prestatyn. Unfortunately we never got that pint as Glenn passed before we hooked up again, so I sent the tenner to Help For Heroes, which I’m sure he’d had agreed with.
There was much more to Mel Britts’ musical legacy than just that one Northern Soul 45 as I’m sure people are aware. But to be honest, for many, me included, it’s that drum and rhythm guitar combo intro to that string arrangement at the beginning of “She’ll Come Running Back” that I’ll always remember the big fella for. Oldie? Oh yes. Overplayed? Oh Yes. But then there’s a reason as plain as the nose on your face as to why records like this STILL fill dancefloors. It’s simply because they are fantastic.
So, Mr Britt, have a safe and peaceful journey, but please look back at your fans before you disappear, and take a well earned final bow Sir, for a job extremely well done.
Acknowledgements:
Kev and Sam Roberts for all their efforts and the memories.
Glenn Hunter (RIP) and Dave Pointon (RIP) for their friendship and shared love of ‘the people’ as well as records.
From Left to Right.
Mel Britt, Ray Foreman, Darryl Penrice, James Watkins
Courtesy of Ray Foreman & family.
site note - article and images updated Sept 2020
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This way you can join in with the current auctions and not miss out waiting for payday, or get behind with your bills.
This is the ideal solution to raise money, without having to say good-bye to your collection!
Send us the details of your records, and we will buy them from you (original vinyl only). We will hold your record(s) for 28 days (or longer), and then you’ll buy them back for the amount lent plus interest. If you don’t buy them back, you don’t owe us a penny!
ABOUT ME;
My name is Martyn Smith & I work for a small pawnbroking business run by my wife Miranda.
I have been a collector of Soul records since the mid 70s & some of you will know me from the allnighters from back in the day or from record buying & selling in more recent times. Having had to part with the bulk of my records over the last few years to raise money, I realised that there was a gap in the market for people with rare records who need to raise money for a short period without having to part with them permanently - Which leads directly to this venture.
FULL DETAILS AT;
https://www.facebook.com/pages/Cashbrokers-Northern-Soul-Vinyl/144331012404709
26 High Street
St. Neots
Cambs
PE19 1JA
01480 219131
Ask for Martyn or Miranda
stneots@cashbrokers.co.uk
PLEASE FEEL FREE TO PUT ANY QUESTIONS TO US BY EMAIL ,PHONE OR ON OUR FACEBOOK PAGE
site note
posted as a news item as may be of interest
please use the links above for full details and queries etc
Flying High in the Friendly Sky - Brainy Soul
If a bunch of nerds can pseudo-intellectualise about the relative artistic merits of formula rock and the BBC construct of the history of pop, centred on the Sixties and the Beatles; Soul Music and the Soul Scene can easily withstand a little intellectual discourse. And not just at the level of vinylism, remembering names and dates, pitting differing opinions against each other, and people bluffing about where they’ve been, what they’ve heard and who they’ve seen.
One of my pop/ Rock friends once said to me that Zeppelin, John Lemon and Simple Minds are a different thing to Simply Red — pop nerds always think we go mad for Red Micks voice — and I replied that I think Led Zeppelin are different to Lemon, SM and SR. He always thought he was ‘ different ‘ from other people because he liked the Beatles ( the most successful act ever ), Elvis ( third ), Zeppelin ( fourth ) and Pink Floyd ( top ten ).
Somebody into Classical Music would no doubt say these are all the same, but French post- structuralist philosopher Derrida would agree but would include Handel and Vivaldi as well. Derridas theory of differance amalgamates difference with deference and illustrates how the difference between two Soul Nights or two Soul Records may be arbitrary and provisional and therefore subject to change over time.
A simple example would be how Golden Age discoveries are now derided by critics as the same 200 records, but at some point, current in demanders may one day join that illustrious list.
Another example might be Levine saying Curtis went too far playing P.Funk at Northern Soul Nights, while I suspect by then Curtis was no longer thinking in terms of NS, even though in 76 I was certainly thinking of specific records by Crown Heights Affair, Cameo and Jimmy Castor as NS, and I imagine Levine and Curtis were too.
An example drawn from pop music, whereby in the sixties the Beatles and Stones were perceived as very different: the Beatles as a teeny group and the Stones as much tougher, while now they are largely considered together, and are thought of as the greatest music ever, outside of classical.
Travelling up from London after seeing the Ojays in the mid- eighties, I was kindly joined by someone who’d been to Knebworth and, no disrespect to Cliff and his fans, he thought he was out of place amongst gods of rock: Paul McCartney, Phil Collins and Eric Clapton. He too thought he was ‘ different ‘ but hadn’t heard of the Ojays. Phil Collins sang some soul he said no he didn’t I said, to myself.
One last example from Jazz: some Jazz Funk people think the term refers to Jazz and Funk and think of the Jazz element as ‘ Modern ‘ ( electric ) Jazz, as opposed to acoustic Jazz which they consider as ‘ Traditional ‘ or Trad. In the history of Jazz, Traditional refers specifically to Dixie/ New Orleans type Jazz with clarinets and banjos and stuff while Modern Jazz is Bebop onwards, generally excluding Jazz Funk, which Jazz buffs would normally consider part of Soul, pop, disco, elevator music etc.
Culture operates by a system of binary oppositions which highlights differences. In simple terms, the essence of something is determined as much by what it isn’t as what it is. Post-Structuralism questions any notion of ‘ truth ‘ in culture arguing that it is always based on power which benefits those exercising it. An apparent dichotomy is constructed and represents points on a variable rather than opposition. Bearing this in mind, the potential for debate is limitless:
High/ Low Culture. It never ceases to amaze me that Geater Davis and George Perkins are deemed Popular but Beethoven and Mozart aren’t.
Parole/ Langue. Used in linguistics to distinguish between words in common use and the full resources of the language, but here to differentiate between records played on ‘ the scene ‘ and the whole of Black Music, History and Culture.
Musicology/ Cultural Reception. Appraisal of the primary text ( the music itself )/ how it’s received by an audience. Progrock/ punkrock ( Rock: the Primary Text by Allan F. Moore ).
Simple/ Complex. Blues/ P.Funk. Even Theodore Adorno of the Frankfurt School, ( Marxist intellectuals who studied American Culture ( Adornos expertise was Music )), did not preference complicated Music.
Novelty/ Innovative. Pop music/ Funk.
Authentic/ Superficial. Blues/ Pop. Post Structuralism would argue that any notion of authenticity ( or innovation ) is inevitably constructed.
Songwriting/ Composition. ( Verse/ chorus/ solo, generally in 4/4. / Extended pieces, recapitulation, conceptualisation, progression, virtuosity, embellishment, improvisation, atonality, complicated time signatures etc. ). Elements of composition creeping in from the late sixties in the music of James Brown, Ike Hayes, Curtis, Marvin, Lamont, Dan Penn, Eugene Record with the Chilites and P.Funk, following the arrival of classically trained keyboardist Bernie Worrell; with mixed results.
Modern/ modern. Rare Seventies/ recent.
Mass Culture/ Cult. Media led/ organic(ish).
Celebrity DJ/ Soul Fan(atic).
Genre/ Brand. Music with common characteristics ( rare, sixties, Motownesque, driving beat )/ Music played at a Northern Soul Night, by a Northern Soul DJ including New York Disco ( DC Larue ), Funk ( Cameo ) and Jazz Funk ( Hubert Laws )).
Pop/ Soul. The worship of the popstar and everything s/he does, including their music ( Lemon, Bowie )./ Worship of the 7” of plastic that reproduces the sound.
Blues/ Gospel. Determining the third element in Soul Music, required by the ‘ power of three ‘ which is no more than a rhetorical device, but we’ll give it a go anyway. It may be useful to switch Blues for R+B. In fact it may be useful to think of Soul as R+B with Gospel vocalising.
The more proficient pop nerds tend to go for country, illuminating underlying racism and focusing on the predominance of white musicians, particularly in the early days at Muscle Shoals, a popular myth they think they’ve discovered. Once read some liner notes claiming the third element is Jazz, which would certainly be valid for Funk, but probably comes from a metonymic misinterpretation of Jazz.My own preference would be for doowop, particularly in Detroit and Chicago vocal groups.
Naturally, Art also always plunders folk/ pop music - why waste your energies writing melodies everyone will get to know, when you can just steal some ready-made from people like Lemon or Macca, and turn it into something interesting.
Northern Soul/ Modern Soul. The records the ns people think are Modern and the Modern people think are NS: Carstairs, Montclairs, Cashing In, Am I Cold Am I Hot, Collins and Collins, Something new to do, Charles Johnson, Anderson Bros, James Bounty, Nine Times, Sidney Joe Qualls, Touching in the Dark, King Tut, James Govan, Only Way is Up etc.
Pop/ Rock. The bands the pop ( rock/ and roll ) people think are rock and the Rock people think are pop: Beatles, Stones, Kinks, Doors, Queen, Sex Pistols, Clash, U2, Smiths, Oasis etc.
Modern Soul/ Rare Groove. Margie Joseph Riding High was Rare Groove before myself and others brought it up north when it became Modern Soul. There are many more examples including records by Leroy Hutson, Willie Hutch, Jean Carn and Leon Ware.
Modern Soul/ Crossover. If two people ever agree on what crossover is. One of my sons likes Heavy Metal ( he also likes Classic Rock, Progrock, Folkrock, Blues, Reggae, Soul Funk and Modern Classical Music ) and every new band seems to have its own genre drawing on a potentially limitless combination of words including: heavy, metal, classic, industrial, thrash, death, hard, core, progressive, southern, rap, electronic, post, nu, neo, new, wave, grind, crab, black, groove, tribal, punk, pop, British, American, Norwegian.
I don’t disagree with genres just so long as they’re meaningful and useful. Anybody see Gaz Barlows face when District 3 said they were totally different to Union J, one being pop and the other more pop/ R+B.
I want a night which only plays Crossover, with a DJ who hates Modern Soul. Starting to sound silly? I also want to create two new genres: proto crossover, the bit between sixties and crossover, and I can’t decide between neo and post crossover for the bit between crossover and seventies. Getting even sillier? Since they’re quite small genres I propose a broom cupboard for each at the next weekender.
Incidentally, somebody told me there’s a crossover record from the last year or so, and the recent Darrow Fletcher album from the late seventies is referred to as Crossover, suggesting a generic definition which goes beyond something recorded at the stroke of midnight on New Years Eve1969, which is, strictly speaking absent in Northern or Modern.
It’s a bit like doctors and lawyers who use Latin, not because of any intrinsic reason why it suits either discipline, but because it gives those using it power over the rest of us.
Culture always needs a history and a story, so the media dreams up a linear narrative which generally bears little resemblance to events on the ground; like everything leads to and from the Beatles, and Gospel became Soul became Funk became hip hop.
Crossover both links in to and transgresses this particular narrative though, as good a definition as any I’ve heard is ‘ the stuff nobody wanted 10 years ago but everybody ( whoever they are ) wants now, ‘ which I thought was Progrock.
I wonder if in time Crossover will simply be used to describe rare seventies and free up Modern to reclaim its literal meaning, further illustrating the deferance of language.
Incidentally, the term crossover was in use in the seventies and was interchangeable with Jazz, Funk, Rock, Fusion, pop, disco, commercial to distinguish Jazz Funk from ‘ the real thing, ‘ Itself a construction.
The Soul Scene per se can be seen as discursive since it differentiates between ‘ rare ‘ Soul and the stuff everybody knows ( see below ).
Soul/ R+B. When I was studying Music at college, a young class member told us about this new music called R+B, to which we objected that it had already been taken.
The ns people have reclaimed the term once again but the genre to which they have applied it is quite distinct from either the one in the charts or the original direct Blues derivative which fused with country to become Rock and Roll and Gospel to become Soul.
I tend to think of R+B, of whichever guise, as not quite Soul, not quite Blues, not quite rock and roll, not quite anything. Incidentally, in America R+B has been more or less interchangeable with Soul all along.
A little more post-structuralism is in order, courtesy another Frenchman ( apologies to the xenophobes ), Michel Foucault. Such distinctions can be seen as discursive practices or bodies of knowledge which are ideological since they are based on power exercised by those who create and articulate them, but since they are constructed, they are both arbitrary and provisional. In short, they don’t actually exist outside the discourse.
Discursive practices are maintained through interpellation whereby the ‘ opinion leader ‘ ( DJ, promoter, dealer, serious/ boring soul fan ) invites participants to share in their advanced knowledge/ appreciation of particular records/ labels/ artists/ areas/ format.
Just Soul/ Modern Soul. Since Modern Soul does not have a rigid generic definition, does a Just Soul record become a Modern Soul record on its second play?
Just Soul/ just Soul. We tend to take language for granted and assume it reflects our experience of the world accurately, but it is not always easy to appreciate how language constructs the world we think we know. The example which is always used is that eskimos have dozens of different words for different grades of snow.
It is not possible for someone to control the signified of language in every given situation so it does not always reflect what it’s intended to. For instance, Deep Soul did not settle on the Music Dave Godin intended it for.
The Just Soul Nights are another case in point and the more negative connotations of the term ( only soul/ only just soul ) come to the fore, reflecting the music played more than what the DJs think they are playing.
Similarly, when my partner in crime at the Manor was guesting on a local BBC Radio Soul Show, he called his slot Beneath the Radar and the music he played reflected what he said rather than what he intended it to mean, while I would have called it Above the Radar.
Ephemeral/ Timeless. Pop Music/ Classical, Jazz, Rock, Reggae. Soul if we ‘ Save the Children.
Plaissure/ Jouissance/. Enjoyment of music/ physical response ( dictionary definition - orgasmic ).
Deep Soul/ Northern or Modern Soul. May be something of an oversimplification since the sheer Soulfulness of the voice can invoke a physical response.
A better example may be between enjoying listening to Jazz and Blues from the twenties and thirties for its historical significance, and the way faces light up when Dancing Queen comes on at a wedding, or the first time you hear Whams XMas record each December ( November, October ), which
I like to play for my elderly relatives. But enough of my guilty pleasures.
Soul Boy ( Golden Age )/ Neo ( new ) Soul Boy ( Late 70s )/ Post ( after ) Soul Boy ( 80s )/ Neo Post Soul Boy/ Post Neo Soul Boy ( Revival ).
Vinyl/ CD. The relative aesthetic value of the vinyl album sleeve/ the utility of CD liner notes.
Music/ Social History. See Haralambos. Reading it now, it’s interesting to note how perceptions about Blues and Soul have shifted since it was written.
The grain of the voice/ Pain in the voice: Otis Redding/ James Carr. . Wilson Pickett/ Bobby Womack. . Sam Cooke/ Johnnie Taylor. These and the following may also be instances of:
Soul Music for pop fans/ Soul Music for Soul Fans: Stevie Wonder/ Willie Hutch. Sam and Dave/ Soul Children. Solomon Burke/ ZZ Hill. See Guralnick.
Did Aretha become a popstar in the seventies? Did she become a popstar when she stopped singing gospel?
Motown/ Stax, Atlantic. A popular myth, particularly with the BBC, that Motown is pure commercial and if you want the ‘ real thing ‘ you have to go ‘ down south.‘ Actually you can stay in Detroit, or bob over to Chicago, New York or Philly. Lots of big soulies prefer Motown to O, Wicked, Lady Soul etc and HDH writing for the Tops is a defining moment in the emergence of Soul Music as an art form, quite distinct from the black pop of the preceding years, alongside Change is Gonna Come, Curtis getting serious, James Carr getting seriously Soulful, James Brown getting Funky and Aretha defying everybody by making not just 1, but 2 classic albums. I’m conscious too that Southern Soul isn’t all quality as previously thought and much of it hasn’t aged well, which suits the pop nerds who think it’s period music - all roots and rustic.
Taste/ Opinion. Bourgeois Myth and proletariat excuse/ better but almost half a century into the age of post-structuralism, Soul Fans especially, with our instinctive loathing of all things populist, should be thinking in terms of Ideology, Discourse and Power.
Don’t forget, these are all compare and contrast issues with no correct answers, designed to make people think and encourage debate ( and not just who can hate me the most ) and hopefully get some better music out there.
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Save the Children — Who really cares?
The purpose of this article is not to offend a large part of the constituency, who are what the Pentagon would call collateral damage. Vinyl worshippers have an investment in plastic entirely disproportionate to their interest in music, which they will take to the grave. My hope is to help deconstruct the prevailing ideology and plant the seed of an idea for younger folk and future generations that it isn’t about politics and religion, never was and never will be.
In hindsight, because of their proximity to the Golden Age, the neos and posts were always likely to want something of their own. Sixties Newies went some way to fulfilling that need but was largely dire, so it became ( original ) vinyl we could never have afforded even if we gave a damn. And then the dinosaurs joined in.
It’s easier to accept missing something 30 years ago than 5 years ago. The pop nerds make a similar charge against my generation for not liking the Beatles, but there’s a difference between thinking something you listened to as a 5, 6, 7, 8 year old is juvenile, and not knowing something exists because it’s slightly beneath the surface.
Whether Soul becomes the province of the proverbial dinosaur — like a next generation of teddy boys — or a valid C20th Art form in the realm of Modern ( early C20th ) Classical Music, Jazz, Rock and Reggae, will be determined in the coming years.
If there isn’t a sensible Soul Night you can’t go, but if there is and you don’t go, you get the Soul Nights you deserve. If Soul Acts don’t perform in your region you can’t go, but if they do and you don’t go, you will get the live acts you deserve.
There aren’t enough sensible people in the NE to maintain a night which is there as a resource if you fancy it; you have to go. There may come a time when more people want a bigger picture than in-demand records on vinyl and the various versions of ns, but there may be nothing worthwhile left for them.
I’m edging towards a view that major Soul Fans almost have a responsibility to go to a good night, and the scope of this article illustrates that any night I’m involved in is not just another soul night. Those who have already come across me should have known that, and anybody who hadn’t come across me should have come across me, and has now.
Certainly I would have gone to a night featuring Paul Mooney or Mike Hoskins, probably John Powney and maybe a couple of others even though, in general, people in the NE are between 20 years and twice that behind me.
I’m dumbfounded that people who live a short distance away from a Soul Night with the potential to be as good as any in the world, didn’t go in almost 2 years, but still tell their friends and come on here and claim to be top soul boys and girls. I wonder if and when I will ever be able to take the NE seriously again.
Many people are content with the Good Old Days mentality ( even though most weren’t actually there ) and I have some sympathy with this; like my Rocker friend acknowledging the music of Status Quo bears a certain honesty; but it needs to be done tastefully, intelligently and progressively.
In many respects, this is preferable to the relentless excavation of 60s Soul which has been trodden continuously for decades in the endless search for that elusive B side missed by Levine, Searling, Soul Sam and a constant procession since.
As the great years of Modern Soul came to a close, I came to believe the DJs bringing back stuff like Run for Cover and Dearly Beloved had grasped the future.
Treading the various nights on offer today I was often struck, not only by the Music played, but also by the stuff excluded. I felt a modern day Soul Night should be able to play Northern, Modern, Funk, Jazz Funk and — crucially — Just Soul, the bit I thought everybody knew but seems to cause the most difficulty.
As I promoted the Manor House I was dumbfounded by ns people protesting that I play Funk, and Jazz Funk people advising me to drop the Northern, presumably because they assumed I was just going to play the tired and should be rested stuff played everywhere else.
Somebody involved in another night, told me s/he liked everything and went on to say s/he hates Funk. OK so s/he doesn’t like the Ohio Players, War and P.Funk. Does s/he not like James Brown, the Isleys and Maze? What about Soul Music with a syncopated rhythm by the likes of Marvin, Curtis, Womack, Willie Hutch and the Temptations? Or bona fide NS records by the Commodores, Crown Heights Affair and Cameo.
Classic Soul is amongst the great Music of the world which generally attracts the followers it deserves, who then fail to behave in the way it deserves.
Next time you call someone a dinosaur, check you don’t whistle when you boil, and the next time you bemoan the state of the Soul Scene in the NE or elsewhere, ensure you’re part of the solution and not part of the problem.
I hope Soul Music will have the resilience to survive those intent on interpolating the politics, sport, economics and religion at the expense of the Music and, if it does survive, I have no doubt that playing everything is the way forward, which depends on genuine enthusiasts coming out of the woodwork. I regret the NE, instead of leading the way, will be in the wilderness for a generation.
Part 3 to follow shortly....
Heart Of England Soul Club Returns To The Ritz This Easter Sunday
The rescue took place on May 5, 1980 - and at the same time the 5th Anniversary HESC All-Dayer was taking place with Ronnie Laws live on stage.
"We had people breaking into the Ritz through the roof that day so later seeing the SAS abseiling down the side of embassy was surreal. Mecca owned the Ritz and they pulled the plug on the All-Dayers after having people breaking in," said HESC promoter Neil Rushton. " The Mini All-Nighter will be the 38th Anniversary of the All-Dayers, the first one was on Easter Sunday, March 30, 1975."
Music policy in the original iconic ballroom will be 100% Northern Soul, with original Ritz All-Dayer DJ's Ian Levine, Pat Brady, Ian Dewhirst, Neil Rushton and Dave Evison joined by Mick H, Nige Brown and Bob Hinsley. The downstairs club will be devoted to Ritz/Blackpool Meca/Cleethorpes 70's anthems.
Advance tickets are £10 (plus booking fee) each online from http://www.soulvation.biz/ or to callers at Beatin' Rhythm Records, Manchester. Pay on the door is £15.Info - 01543 670116.
ends
Mel Britt R.I.P
I think Mel's music is going to live on forever though...
added by site
yet more sad news
Here's a clip of the local Battle Creek Obituary
http://www.legacy.com/obituaries/battlecreek/obituary.aspx?pid=162958119
Melvin Curtis "Cookie" Britt Battle Creek
Melvin Curtis "Cookie" Britt of Battle Creek, Michigan died on February 1, 2013, in Select Hospital in Battle Creek, Michigan.
He was born in Gary, Indiana, on June 19, 1945 to Betty (Slackman) and Matthew Britt. He attended Gary Public Schools until the age of thirteen at which time he moved to Anderson, Indiana. He graduated from Anderson High School in 1964 and enlisted in the Army serving in both Europe and Viet Nam.
In his late twenties, he moved to California to pursue a career in the music industry.
During his time in music, Melvin toured with Jr. Walker, opened for Diana Ross in Las Vegas, appeared on the dance show "Soul Train", and appeared on the soundtrack for the movie "Animal House". In 2009, he was the guest of honor at a celebration in Detroit honoring R & B artists of the 60s and 70s.
He still has a song on the top 300 "oldies" being played in Europe and England.
photo posted orignallyi by boba @bobaand is of the Visitors
From Left to Right.
Mel Britt, Ray Foreman, Darryl Penrice, James Watkins
Info Courtesy of Ray Foreman & family posted by Dave f in same thread
Silas Phifer of the Mello Souls - RIP
It has been long held belief that Silas Phifer died a number of years ago in a nursing home; the latter is true but it now appears that the former was not accurate.
His family contacted me recently to inform me that Silas actually died on11 February 2013 aged 69.
Silas Jackson Phifer III was born August 30, 1943 in Wilmington Delaware. He was educated in the Wilmington Public School system and earned a scholarship to Juilliard School of Music to study classical music. He declined this opportunity as he wanted to be a singer and chose to pursue a record deal to try to make it big quickly.
Silas married in 1960 to Joan Jones who he had met in school. They had 3 children before divorcing in 1970.
His first attempt to break into the recording industry appears to have been with The Mellow Fellows who secured a deal with Candi Records, a Wilmington based record company, owned by James Chavis who ran his business from his home on Vandever Street. In addition to Chavis Records, James also had the Candi and Barvis record labels releasing an eclectic mix of R&B, Gospel and Garage recordings.
This release date of this initial 45 is unknown but is likely to be around 1964. The song “Gotta Find My Baby” (Chavis 1023) was written by James Chavis and credited to Silas Phifer and The Mellow Fellows. The flip “You Gave Me Love” featured Edwin Johnson as the lead. Despite appearances in venues across Delaware and Pennsylvania the record failed to sell enough to launch Silas into the big time.
This didn’t deter Silas from returning to the recording studio a few years later to try again. The group were now known as the Mello Souls. The recording session is believed to have taken place in 1967, at Frank Virtue’s studio on Broad St, Philadelphia. The songs were published by ‘Mary Hill Music’ named after Frank’s wife.
Released on Mello Records (967) the Silas Phifer and George Lewis composed “We Can Make It” flipped with “I Got My Pride” would appear to have sunk without a trace before being rescued by Mark Dobson for the benefit of the UK rare soul scene.
Joan has no real knowledge of what Silas got up to with his musical endeavours and has no recollection of his groups or any of the records that he made. The same is true of his children and wider family members. The majority of what they now know has only been discovered since his death.
Silas married again in 1974 after meeting Geraldine Roberts at the Salvation Army where he had volunteered to help with emergency housing. They had one son, Silas Jackson Phifer IV, who was born exactly one year after their wedding.
Silas worked at the Delaware Hospital and at various other odd jobs whilst trying to forge a musical career but despite his efforts it was never meant to be. Geraldine recalled that Silas had been in a group in the 70s, who had recorded an album, but she couldn’t recall their name and had never owned a copy of the record.
Silas was a former member of New Pentecostal United Holy Church, where he sang on the choir and studied to be a Deacon. In addition he was a community activist and worked with former Mayor Jim Baker. He also worked for radio personality and President of The Afro-American Historical Society Harmon Carey.
Silas lived life to the full and played things fast and hard. This lifestyle eventually took a significant toll on his health and as a result he required nursing home care for the last 12 years of his life.
R.I.P. Silas …. You did a good job
Andy Rix
True Soul: The Scottish Weekender
So we sourced the venue and passed the word around what we were planning...keeping our ears to the ground and listening to folks regarding which DJS they would like to play for them so after numerous phone calls and loads of chit chat we launched the True Soul event. We now have news warm you up and get you in the mood for the Summer of 2013 ....Right on... and that's the "True Soul Weekender" now launched and ready to go. Doors are now open to all you Brothers and Sisters who fancy a great weekend of fun and soul music in what can only be described as Scotland's Jewel in the crown "The Peebles Hydro Hotel".
We give you 2 nights of hot Upfront Soul music played by a cracking line up of DJs at The Peebles Hydro Ballroom....come along and enjoy!!!
The dates for the Weekender are Friday & Saturday the 30th & 31st of August 2013.
Music policy is complete across the board up front dance soul music 60’s up to the current date.
Venue: Peebles Hydro Ballroom....
http://www.peebleshydro.co.uk/hotel-brochures.html
Friday and Saturday evening:
Two x 7ish hour soul sessions plus a Saturday afternoon event.
Playing the music over the weekend are some of Europe's premier league rare soul spinners who play across the board sets. These will be complemented with a top Scottish Dj line up whose reputations are up there with the best and between them have some of the best records known to man and woman in their play boxes and collections.....so hold on tight for a treat and some hot tuneage!!!!
Your Top Soul Spinners over the weekend are:
Butch, Lars Bulnheim, Marco Santucci, Fraser Dunn, Alan Paterson, John MacDonald, Lenny Harkins, Andy Dennison, Duce, Andy Whitmore and Colin Law
{19:00hrs till 02:00hrs}
Saturday afternoon 12 noon until 5pm:
“Hello is that Ruff Cutt? Is Scotland On?”
Once upon a time in the Wild Wild West (Scotland not the USofA that is) there was a bunch of outlaws lead by one Jim O’Hara, a real Desperate Dan type character, together with his outlaws they became known as the Ruff Cutt Gang. Now these scallys have escaped the lock ups and institutions that housed them and they are back for another hoedown, bringing you an afternoon of music and mayhem in tribute to One of the Scotland’s and the UK’s finest Rare Soul Clubs,
"The Allanton (Shotts) Allnighters" aka "The Ruff Cut Soul Club".
With an amazing line up of some of THE original trend setting DJs from this iconic club, Jock O'Connor, Andy Dennison, Keith Whitson, Alan and Steve Walls and Colin Law will bring the memories flooding back of one truly great all-nighter.
Miss this 5-hour session at your peril!!
Side by side with Scotland’s "Black Gold Record Fair/Swap meeting"
Record dealers can call or email Lesley to reserve their free tables:-
T:01721 725 937 or Email: lesley@qubekitchens.co.uk
RECORD DEALERS BOOKED AND CONFIRMED ARE
SOUL BOWL RECORDS /SOUL JUNCTION RECORDS/ADEY PIERCE[sILVER FOX RECORDS] /DAVE WELDING ...more to be confirmed soon
Pay on the door £10 for each soul session and £5 for the Saturday afternoon goodie....
Website details are www.truesoul.co.uk
Peebles Hydro hotel are currently taking deposits on half price room reservations for the weekender-use the password True Soul for this deal and hey be quick they are selling fast. these are limited and selling well and include access and use of amenities ...
BOOK NOW 01721 720 602
Loads of alternative accommodation if in Peebles which are all a stones throw from the venue
Peebles town is one of the hot locations that's has everything that's great about Scotland - just to mention the amazing
fresh air /scenery/shopping /eating
out /golf/biking/walking/daydreaming/fishing.....and a fantastic Soul Weekender....to boot to
Talking of golf we are in the process of setting up a wee round first light on Saturday morning for all you go getters??? Our championship golf course rests in a very unique setting amongst the beautiful Borders Hills, skirted by the famous River Tweed., the Par 72 parkland and woodland courses feature wide and undulating USGA greens and a distance of over 7000 yards from the medal tees.
T:01721 725 937 or E: lesley@qubekitchens.co.uk
Charles Bradley - Victim of Love - Second Album
Current midweek ear turner (which led to this post) is the track below
http://youtu.be/TmXeFYrUo2I
The tracks titled 'Love bug blues' and its off Charles Bradleys upcoming second album that due out very soon and is now available to pre-order!
After his first album think its fair to say that this album may be what you call... a must buy pre-order
Daptone blurb below
Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration.
Track Listing
1. Strictly Reserved For You
2. You Put The Flame On It
3. Let Love Stand A Chance
4. Victim Of Love
5. Love Bug Blues
6. Dusty Blue
7. Confusion
8. Where Do We Go From Here ?
9. Crying In The Chapel
10. Hurricane
11. Through The Storm
Available Options
* Format:
CD - $13.99
Vinyl - $15.99
CD BUNDLE: Victim Of Love + No Time for Dreaming - $24.00
VINYL BUNDLE: Victim Of Love + No Time For Dreaming - $29.00
Vinyl + 1 Slipmat - $22.00
Vinyl + 2 Slipmats - $28.00
Link below has the full score
http://daptonerecords.com/shop/index.php?route=product/product&product_id=277
SXSW 2013: Charles Bradley Gets the 'Love Bug Blues'
Watch his live performance at Rolling Stone's Rock Room
view live video...
http://www.rollingstone.com/music/videos/sxsw-2013-charles-bradley-gets-the-love-bug-blues-20130316
PRE-ORDER: Victim of Love is out April 2nd. All pre-orders will ship by March 27th.
Jean Carne - Newcastle - Sunday 24 March 2013
The incredible Jean Carne will be celebrating 40 years with Philadelphia International Records at Hoochie Coochie featuring all her greatest hits.
By Arrangement With Yellow Go-Rilla Productions Ltd' and Shades of Soul Ltd
Sunday 24 March 2013 at 7:00PM
Tickets: £25
Jean Carne (born Sarah Jean Perkins on March 15, 1947 in Atlanta, Georgia, United States) is an
American jazz and pop singer known for her unique vocalising and her impressive interpretative
and improvisational skills.
Early in her career, her name was spelled as Jean Carn before she added an e under the advice of
a numerologist. Carne is a vocalist credited with a five octave vocal range. She is recognised for
her unique vocal ability and has proven herself to be a vocalist of unlimited depth and dimension.
Full Details @
http://www.hoochiecoochie.co.uk/event/artist/jean-carne/
Soul at the Crossroads - What’s Going On and What’s Happening Brother?
Prologue — hey wha’s happenin?
Originally titled Soul Wars — a New Hope, but I try not to be too provocative. OK, so I don’t try that hard, but it’s what elevates Art above politics.
Has anybody, DJ or otherwise, recently thought twice before playing a record, whether it’s actually any good. Whether they recognise a record because they like it, or like it because they recognise it, and recognise it because they’ve heard it thousands of times over many years, everywhere they go.
Something similar happened in the mid-nineties when lots of people realised for the first time just how many Beatles songs we all know and, spurred on by unprecedented bombardment by the combined media, translated quantity to quality.
Alternatively, whether somebody likes a record because the only other people who like it are like- minded people who are ‘ in the know.’ Does anybody suspect one of their friends of secretly buying something on CD they couldn’t find or afford on CD, but don’t have access to a lie detector?
As Soul Fans, we know too well the potential for people to listen to rubbish, and it’s naïve and arrogant of us to assume we’re immune from this. Like any art form, Soul Music gets better before it gets worse, but it does get worse, drastically worse.
Nobody sensible thinks the best Soul Music is the stuff everybody knows: Commitments/ Blues Brothers type stuff, Stevie Wonder, Barry White, and the secret is to know when to stop. I like to think I go far enough before it starts to get rubbishy, but I would wouldn’t I and this is where it becomes important to listen to other Music to contextualise within an ever increasing framework, encompassing Northern Soul ( NS ), Rare Soul, Soul, Black Music, Music, the Arts.
An understanding of Art in general can only enhance an appreciation of Soul Music and how can anyone possibly know Soul is the greatest Music on earth, which it is, if it’s all they ever listen to?
This article began life as an update on the Soul Scene in the North East ( NE ) but grew into a review of where the scene is and where it might be going. In fact it grew and grew and grew and I apologise for that, but the problems of the Soul Scene are not small.
On another site, BOF ( Boring Old …( doggawn it baby you guessed it )) has just said I Ramble On ( Led Zeppelin ) after a couple of pages about Danny Bakers offering on the Beeb about Classic Rock albums, so I’ve stopped tweaking and adding to it and asked my clever son to upload it forthwith.
It takes a good hour to read so I’ve divided it into sections for ease of reference, and anybody who doesn’t recognise them should maybe consider country and western.
Those sufficiently interested to learn or contribute will relish it, and the rest will probably have stopped reading by now; but beware, if the cap fits you may find yourself wearing it, and it may prove uncomfortable reading for some.
Although I’ve listened to stupid amounts of Soul over the last 20 years, I’ve also listened to stupid amounts of Jazz, Reggae, Blues, Rock and lots of other things too. I felt certain some people in the NE, only listening to Soul, or Soul and Jazz, would have forged ahead. On the contrary, we were getting away with better music 20 years ago and it’s hard to think what people have been doing, beyond trying to figure out what the latest crossover and R+B are, and hanging on to, and in some cases reverting back to vinyl as an excuse for everything. But why are so many soul fans looking for excuses not to go places that play quality Soul?
In the late eighties the future of the Soul Scene seemed bright, particularly from the barren wasteland of the NE. While the Weekenders weren’t based in the region, it was no secret that this is where they emanated from and, if Alex had no credibility among Soul Fans, others among us did. Alex had all but lost interest in Soul, thinking Jazz more arty and intellectual, even though his idea of Jazz didn’t exceed Grover Washington Jnr and the Jazz Juice albums. When he needed to become a Soul Fan again to get his slot at Caister, he decided Jazz had been exhausted by the Jazz Juice and other compilation albums. A hundred years of Jazz reduced to a dozen or so albums compiled by a very young Soul Boy who didn’t know his Sonny Rollins from his Rosemary Clooney, and now plays dance through the night on Radio 2.
It fell to me to tell Alex what to play and he would refer to me as his Soul Man if a London DJ or an American artist rang him while I was there. Once I arrived at his house only to be told he’d had Leon on the phone, like this was normal. OK, who’s Leon I asked. Baby you know you hot today, you guessed it again.
I thought of him as my post disco and smooth Jazz man. He eventually got the weekender he always wanted, and now every region in the country, bar the NE, seems to have one.
There are very few people left in the NE who remember a brilliant Soul Night in the region. Consequently, it seems people either don’t think it’s possible or don’t actually want one; unless of course it’s theirs.
With the exception of Frankie and me, the region has never really had anybody playing records they haven’t first heard a ‘ proper ‘ DJ play — ie one from somewhere else. Alex used to lay claim to the Jackson Sisters, which is embarrassing enough, but he first heard it played by Max Reese, tucked away in Cambridge. There seems to be an assumption in the NE that people from other regions will always play better music than someone from the NE.
My old mate Colin Johnson is enjoying something of a rep these days, occasionally even guesting outside the region. I recently asked him what he plays and he admitted - all the records I introduced him to 20 years ago. Sounds good to me I said, though I have always avoided them. In fact everybody playing Modern Soul in the NE seems like they are desperately trying to play the same records I was desperately trying not to play 20 years ago.
I’m somewhat surprised by some of the people who have emerged as major players, seemingly because they have decided they are, so just behave as if they are, without ever seeing a live band, reading anything or buying a record without first hearing an established DJ play it.
The NE ( and probably beyond ) needed a bomb up its proverbial with some ( big ) heads banged together, so if they don’t want to listen to what a Good Soul Night can entail in the second decade of the third millennium, they can read about it.
What’s Happening Brother? — What’s been shakin up and down the line?
I first noticed the NE Soul Scene was in crisis going to see the various live acts we’ve had over recent years including James Brown, George Clinton, Maceo Parker, Terry Callier, Irma Thomas, Mavis Staples, Azymuth, Ornette Coleman, Femi Kuti, Swing out Sister, Larry Garner, Chilites, Mary Wilson, Michael Roach, Tavares, Temptations, Four Tops, Charles Walker, Fatback Band, Jack DeJohnette, Polar Bear, Eugene Hideaway ( or as we say up here Haddaway ) Bridges and Leon Ware. With odd exceptions, Soul Fans generally make excuses and stay away. Maybe they’re all going to see hip hop acts, though I understand CDs have now overtaken vinyl for mixing.
Incidentally, the wider musical community isn’t doing much better. A friend of mine is the drummer in a top Prog-Metal revival band and also teaches drums. His idols are Miles Davis and Frank Zappa but he didn’t go to see Jack DeJonette, legendary drummer who’s played with just about every Jazz Great of the last 50 years, including Miles ( on Bitches Brew no less ), supported by Polar Bear featuring prominent British Jazz drummer Seb Roachford, ( also of Acoustic Ladyland and Basquiat Strings ); nor Frank’s son Dweezil, who I’ve seen 3 times in as many years.
It will be interesting to see if he makes Trilok Gurtu, another legendary Jazz/ Jazz Rock/ World Music drummer due in the region.
There’s a plethora of Soul Nights in the NE these days; too many in my view, though I understand the North West has dozens. A review of the ones I’m familiar with might be useful. Anybody not from the NE might want to skip the next few pages although I also discuss some nights in the North-West and Yorkshire and, in any case, I imagine the overall picture is similar everywhere.
Apologies to any ns nights on Teeside or North of the Tyne; I know at least one of the Newcastle nights boasts a vinyl only policy but I don’t know if the music is better because of this.
The first thing to say is there aren’t any good Soul Nights in the NE, which isn’t to say you will never hear any quality Soul or enjoy a good night out.
When I became active again after 10 years in West Yorkshire, loads of ill health, kids etc, several people, including Frankie Lucas, Colin Johnson and Mickey Powney told me the quarterly Seasons of Soul near Newcastle was the best night in the region.
I was therefore a little surprised when it was more Walkers/ MacMillans than Fleetwood, Morecambe, early Southport Soul Room - something of a retrograde step in my view; indeed, no less so than the ns nights. Music policy is sublime to ridiculous: Modern, Northern, 60s, 70s, 80s, Jazz, Jazz Funk, Funk, disco, pop soul, Latin and new releases from regulars Deano and Dave Baker and guests culled from night clubs and wine bars in Newcastle and around the NE; which may be why so many Soul Fans seem to have stopped going.
I recently had an exchange of emails with someone who questioned how you can have a Soul Night and not play people like Marvin, Curtis, Teddy and Al Green. I think s/he missed Modern Soul which of course preferred Leon Ware, Leroy Hutson, Anthony White and Sidney Joe Qualls, and I let it hang that we got Womack, War and Wilson ( Jackie ). Perhaps I spoilt him at the Manor House.
The Northern/ Modern scenes sometimes get a little carried away with this theme. When Leroy Hutson did Fleetwood, Alex made one of his all time, world famous gaffes when he claimed Curtis Mayfield was nothing without Leroy Hutson. Apart from the amazing music by the Impressions before Hutsons career had even begun, and apart from them not really contributing to each others music, whether as singers, songwriters, musicians or producers; Hutson made enough extraordinary music to fill up a CD, but Curtis Mayfield was one of the greatest human beings who ever lived.
Interestingly, Hutson was with the Impressions for 2 ½ years and only made 1 album with them, so will have spent a lot of time singing Curtis stuff, which must be the best education imaginable in song-based music.
On its release circa 75, a review of JJ Barnes Groovesville Masters said the only difference between JJ and Marvin Gaye was that Marvin was probably a multi- millionaire. Apart from Marvin being somewhat obsessed by the taxman, and most of his wealth going up his nose, JJ made a handful of great records while Marvin was one of the greatest artists of any art form from any period. Berry Gordy described him as the truest genius he ever met, and he met a few.
Hoochie Coochie have put on some decent and half decent acts and play some half decent music. When there’s no band on, it’s middle aged men trying to pick up middle aged women to night club music which was upfront in the eighties but we don’t yet know whether it will have any historic resonance, and I for one am doubtful.
Modern Soul was at the level of I’m so Happy and Benny Troy and, while I’m happy to take credit for introducing most classic Modern Soul records to the North East, along with Frankie and Ron Edmundson, these were definitely nothing to do with me. Having said that, prior to Leon Ware, we got Cory Blake and Denise LaSalle Here I am Again, so things may be looking up.
His monthly Soul on Sundays is a noble venture but he seems to have already succumbed to the allure of those who peddle ns, of whichever denomination ( including Rhetfords version of Just Soul ), as the ultimate in Soul Music, which is not only ridiculous, but preposterous.
I fear it will end up just more half-heartedness, more mediocrity, more politics, more vinyl for the sake of it. The cynic in me thinks perhaps he’s been seduced into believing his 20,000 vinyl records won’t come to nothing.
It’s interesting to note that he had Charles Walker, prior to Leon Ware the most cred act from the point of view of Soul, give or take Candi Staton ( depending on the time and place ), but none of his purist connoisseurs made it, and only Deano made Leon Ware.
Furthermore, he’s advertising the venue as part of the Sage Jazz Festival and I shudder to think what modern day ( Jazz, Funk and ) Soul people play to a Jazz crowd. Like pop people playing to a Soul Crowd I imagine.
I have said before that the Swallow in Gateshead is the best of the nostalgia nights but, as with elsewhere, I don’t see the point in bringing in guests like Colin Curtis and Kev Roberts just to play the same records as the resident DJs. That said, all credit to the promoter for having the courage and vision to put on CC.
Sister Andrea told me she’s doing a Jazz Funk Night there but I hope she recognises the seventies legacy and reflects this in the DJs. Frankie used to DJ when it was a 2 room event but, while I know he was at a previous one, he wasn’t DJing and, in any case, Frankie held on to ns longer than most.
For the first time in ages, Durham has its own Soul Night, at the Gala Theatre. Chocker full of people, some of whom used to travel to Wigan, but would never dream of making the journey to Aycliffe or Easington on a Saturday night now.
Some hadn’t seen each other for 35 years which made for a good night out, but the minority of serious punters weren’t impressed; once they get into Motown they’ll never get back out, I commented, and the next one was advertised as a Motown and club night, which ranged from Epitome of Sound to Billy Ocean — yes that Billy Ocean — via the Isleys worst ever record — Disco Nights - all in shiny, shiny vinyl and leaning heavily toward the latter.
The promoter, who isn’t from the region, took the view that a not very good soul night is preferable to no soul night, while I think the last thing the NE needs is another poor night.
Even more alarmingly, s/he seemed to think that no Soul Night is preferable to a brilliant Soul Night with a little room playing CDs.
To my knowledge, Terry Jones is still bringing his Village Soul to Sunderland though I can’t find any trace of it anywhere. It’s 6 years since I’ve been and I’m told it’s not what it used to be, which wasn’t that remarkable anyway. Sunderland has always been something of a mystery to anyone outside its catchment area who isn’t a season ticket holder.
The Big Club at Aycliffe is a popular same 200 records night with some really dodgy stuff thrown in for bad measure. It’s a most enjoyable night out with many visitors who should know better. A group of girls go every time and set up their own buffet and lose their shoes to dance around their handbags to the Motown stuff. Haven’t been since they played Judy Street.
Never been to the Hydra Soul Night cos the satnav closes down as you enter Aycliffe and you end up in an industrial estate, which I’m told is very near. Apparently it’s a fair night but strictly the Same Old Thing.
The Rafa Club in Aycliffe claims, with some justification, to be the most progressive ns night in the region. Ran by the Shoulder brothers, it boasts local hero Paul Acklee who seems to have no shortage of grannies to flog to finance his record box.
I’m long in the tooth for this sort of thing, and I don’t hear it as the future of the Soul Scene any more than stompy Wigan classics or 80s nightclub music. It’s a nice little room, friendly with cheap booze, the music isn’t bad but it isn’t great, at least it’s different. A bit like going to a weekender and finding only one small room with a minority interest.
Nevertheless, the NE is certainly lucky to have it and it probably deserves your support more than any other ns night, not least cos Paul Shoulder is one of the most genuine lads on the scene.
Incidentally, I don’t hear late 80s Modern Soul as the future either, though I think people need to catch up with that, and probably New York Disco and 70s Jazz Funk too, before we will get a Soul Scene for C21st.
The Cricket Club in Bishop, formerly the Coachman in Darlington, and maybe now the Wild West Club in Leeholme, offers an alternative approach to forwarding the cause of rare Soul. Been a few times but never for long and I’m not really sure what it is. Its manifesto seems to be that a £5 record can be as good as a £5,000 record which strikes me as stating the bleedin obvious and thinly veiled politics. You won’t hear anything terrible but you’re not likely to hear anything amazing either.
The value of vinyl, whether expensive or inexpensive, is a minuscule part of Soul Music discourse which most Soul Fans neither know nor care about and most who do use as a stick to beat us with.
I have always thought that, while there are many good commercial Soul records and many good rare Soul records, broadly speaking, the overwhelming, vast majority of Great Soul Music falls somewhere between these two poles, and this is the stuff which is largely ignored by successive generations of DJs on the scene.
I was at one night and somebody who’s into such things was telling me this record is 4K and that one’s 2K and another is 3K when Richard Temple came on, one of the best and most important NS discoveries ever, which I can’t believe you don’t hear at every revival night, and blasted them back into oblivion.
Back at the Bridge at Catterick seems to have gone quiet, despite having Mike Charlton and Gaz Simons. A victim of its own success, the venue and Music was OK but it claimed a Just Soul policy and delivered a mix of northern and modern. The first one I went to was full to the rafters of people, most of whom missed mid-seventies Northern and late eighties Modern and seemed intent on convincing themselves they were part of something really special. Then Soul Sam turned up and played Joy and Pain and Benson Love x Love. I often wonder whether people realise there are many great records that have never been played on the Northern, Modern or Jazz Funk scenes; lots and lots and lots of them.
Worst of the dinosaur nights is the Engineers Club in Darlington which I haven’t been to since Judy Street and blame for me not being able to go back to the Big Club on the same principle.
Chatting with Big Ron Edmundson and we were saying how this was when we stopped listening to ns first time round. For me, if James Coit was the final nail in the coffin, Judy Street was the longest and the sharpest.
The Grange in Darlington has a Black Music policy on Saturday nights rotating Carlo, Ewan Renton, Massey, Paul Harrison and others. It’s more night club/ wine bar and the model seems to be Seasons of Soul but with a mostly regular Darlington crowd.
Easington has the longest running night in the region with an impressive large room playing safe northern and a modern type room which seems like an afterthought and hasn’t really taken off. Can’t knock stuff like Flowers and Cory Blake, even if we were chasing them over 20 years ago, but Love don’t you go through no changes makes me think this sort of level can’t be maintained.
It also hosts Jazz Funk/ 70s nights and the last one I went to offered an erratic mix of Edwin Starr Back Street, ns, disco, jazz funk and modern. Sister Sledge, Cashing In AGAIN? My Baby’s got Esp — not something I would play but a fair record if it’s the worst in your box, if it’s the best you’re in trouble.
This was the level of Modern Soul in the NE in the mid- eighties when myself, Frankie and Ronnie arrived with our backgrounds in Golden Age NS, Seventies Jazz Funk, Deep Soul and Just Soul and took it up a whole heap of notches, and this was when I decided to do another Manor House, focusing on Classic Modern Soul, something I’d hitherto avoided.
All of the Soul Nights are essentially the same, whether they play the same 200 records, the next 200 or the 200 after that, they’re all predominantly preoccupied with obscure plastic. I suppose, for anybody who thinks that’s all there is, it doesn’t really matter where they go to hear them.
People who don’t just want the same stuff, but things they don’t know or at least aren’t sick to death of, won’t come because they assume it’s just going to be more of the usual. Like someone I met recently who went to Italy to see John Gary Williams, Syl Johnson and Otis Clay, but doesn’t know vinylism and crossover exist.
Despite its shortcomings I am always first to defend the Soul Scene to its critics. Like Phil Collins allowing himself to slag off progrock because he was a part of it ( and not because after nearly 40 years and godzillions of units shifted, discerning listeners still think of Gabriel as THE singer in Genesis ), I feel justified in offering constructive criticism to the Soul Scene because I think we should improve rather than abandon it and I think these critics need some grasp of NS and Modern to be a complete Soul Fan.
The most encouraging thing I can say about the NE is that the North West and Yorkshire ain’t doing much better.
Lowton is much like Easington but with Richard and Ginger playing the same records as Dom, Rick and Barry at Easington. The Modern Room is more adventurous than Easington, if unremarkable, but also poorly attended.
Blackburn hosted a 3 room all-dayer over the August Bank Holiday which seemed to all but kill off the Modern Room, at least while I was there. Or was it the music? Tried in vain to get there in time for Glynn Thornhill, the only type of Soul DJ who excite me these days, and if he can play stuff even long term partner and cohabitee Queen Ethna doesn’t know, he must be pushing boundaries. On my previous visit, there was a wedding in the hotel and I thought I’d crashed it by mistake when I went in the northern room. Others agreed, it seemed much better this time with stuff like the Montclairs — always a better record than the Carstairs in my view — Esther Philips What a Difference, Cameo Find my Way and the Pointer Sisters, which I’m amazed doesn’t get more spins on the nostalgia scene. Perhaps they are thinking more about what they play.
Nolan Porter did a PA which reminded me why I generally avoid 1 or 2 hit wonders who can’t really sing any more. The third room was the most tantalising, threatening an eclectic mixture from DJs like Curtis and Dean Johnson, who will always keep you guessing, but the equipment crashed during both their sets. I enjoyed Grooving on a New York Afternoon more than I ever did at the time, but sorry Dean, I still consider it second rate Jazz.
I have mentioned the It’s Just Soul nights at Rhetford before but will only add a couple of things here. Before the journey home, my wife and I retired to the lounge for coffee but I kept popping in to hear what was being played. After one pop, Freddies Dead was on and I said - it’s brilliant but I had always played another track off the album. When it was followed by No Thing on Me I said — OK I’m convinced. However, in general it’s like Eric Morecambe said, they play all the right artists but not necessarily the right records; a bit like Andy Peebles.
I have thought for over twenty years, this was the way to go, but not from the perspective of NS ideology. Vinylism has no place anywhere but there isn’t even the semblance of an excuse here, and you need people who’ve been doing Just Soul all along, not people who are basically into Rare Soul, picking up bits along the way. Anybody who was doing NS in the seventies will remember hearing all sorts which would not nowadays be thought of as NS.
The Just Soul part of Rhetford is hegemonic with the night mostly encompassing bog-standard Modern, some dreadful stuff I took to be crossover and Just Soul, with the odd exception, either clumsily selected, more pointless obscurity or at the level of Radio 2. Like most Soul Nights you’ll probably get half a dozen records that excite you, admittedly a different six to the usual ones, but it’s hardly the breakthrough they and their followers claim. It’s perhaps best summed up by the scene in Diamonds are Forever, when Bond shoots the wrong cat.
My only other excursion outside the NE last year was to the monthly night in Keighley. I had planned to go to the RAFA but the missus ran off with the satnav and I figured it would be quicker to get to West Yorkshire than to a night in neighbouring Aycliffe I’d been to half a dozen times recently.
I was pleasantly surprised. Although they have a vinyl only policy, it doesn’t seem to be just an excuse for playing not very good music. The Modern Room was closed due to alterations which I think improved the mix and, after about an hour, I was ready for more familiarity. Presumably this was heralded by House for Sale but I decided - when in Keighley - and went for a curry before my journey home.
100 Club Allnighter Lookback - 16 March 2013
Keith Money did three sets, and as usual, kept the floor busy, playing some of my favourites including She Doesn't Love Me, Job Opening and Ask My Heart, what a beautiful love song that is!
Joel did two sets and kept the action going with tunes like Lost In A Crowd, instrumental version of Make My Love A Hurting Thing and The Price by the Sherrell Brothers.
Butch did his two sets as usual. Not much you can say, he's had all the accolades. But I was very pleased that he played more of my favourites, Just Like The Weather, Sha La La, Shake Cheri and the great United Sounds' It's All Over Baby. Great to hear his Chuck Jackson cover up, as he said proper Northern Soul.
And of course there was Ady, doing one set in the middle of the night and his usual ending piece. One that he played was the Gerri Grainger acetate Why Can't It Be Tonight, heard that played at Prestatyn by Carl and Maria Willingham. And he played the Demures' unreleased I Wanna Be Good To You, I do hope that will be issued eventually. In his last set he included If You And I Had Never Met by Magic Night and Charlie Rich's Don't Tear Me Down and the San Francisco TKOs' Make Up Your Mind; ending of course with Baby I Need Your Loving. Next year it will be 50 years since that was originally issued, still sounds as good today.
At first I found the dance floor incredibly slippery, almost went over, did anyone else have any problems with it? Might have been my leather soled shoes I suppose. Got less slippy as more danced. There were some tourists, one must be tolerant, buy why do they always seem to "dance" next to me, lol? I did notice the bouncer requesting people not to take drinks on the dance floor, and they all obeyed straight away.
It began to thin out around 2.30ish, leaving the old stagers to carry on. The silver lining to that is that there was more space on the dance floor.
As per normal it was good to see so many of my friends, only a week since I saw some of you at Prestatyn. It was nice of Liz to come over and introduce herself to me, hope we meet up again soon.
Thanks to all the DJs and to the 100 Club staff, once again you have triumphed.
Bobby (Bobbie) Smith - Spinners R I P
Surely such a major happening on the soul music scene should have registered in the music press ?
added by site
Seems that this sad news has now been confirmed via various soul sites out there
Title photo (l to r)
Philippe Wynne, Billy Henderson, Pervis Jackson, Bobbie Smith and Henry Fambrough
Wikipeda Link
http://en.wikipedia.org/wiki/Bobby_Smith_(rhythm_and_blues_singer)
Robert "Bobby" Smith (sometimes spelled Bobbie; April 10, 1936 - March 16, 2013[citation needed]) was born in Detroit, Michigan and was an American R&B singer, the principal lead singer of the soul vocal group, The Spinners, also known as the Detroit Spinners or the Motown Spinners, throughout its history.
Smith had been the group's main lead singer since its inception, having sung lead vocals on The Spinners first hit record in 1961, "That's What Girls Are Made For" (which has been inaccurately credited to the group's mentor and former Moonglows lead singer, Harvey Fuqua). Smith also sang lead on most of their Motown material during the 1960s, such as the charting singles like "Truly Yours" (1966) and "I'll Always Love You" (1965); almost all of the group's pre-Motown material on Fuqua's Tri-Phi Records label, and also on The Spinners' biggest Atlantic Records hits, such as "I'll Be Around", "Could It Be I'm Falling in Love", "They Just Can't Stop It the (Games People Play)", and the Billboard #1, "Then Came You" (with Dionne Warwick).
With the death of Smith on March 16, 2013 as well as fellow Spinners members Billy Henderson in 2007, and bass singer Pervis Jackson in August 2008, Henry Fambrough is the last remaining original member still performing with the Spinners
Blues and Soul Interview with Bobbie by Pete Lewis
http://www.bluesandsoul.com/feature/384/spinners_reaching_dizzy_heights/
It's Better To Cry
A new book exploring the connection between rare northern soul and the beach music scene of the 1960s in the south eastern states...
What the blurb says....
“1960s south east USA. A time characterised by racial tension and oppressive Jim Crow laws, but also of a political uprising leading to the 1964 Civil Rights Act and gradual desegregation. For white teenagers this brought easier access to race music and a new dimension in cool: the sound of soul and R&B. Even before the mid sixties, radio stations with wide broadcasting capabilities were promoting national acts to every corner of the Carolinas, Virginia and Georgia. Neighbourhood friends, high school students and college bands were inspired to create their own brand of soul to play in the beach pavilions, inland waterway dance clubs, sock hops, frat parties and campus venues.
These blue-eyed and integrated beach bands, soul influenced garage bands and vocal groups have long been embraced by the northern soul scene of the UK and Europe. Their music provides a whole other subgenre for rare soul enthusiasts to investigate. This book brings the era to life, exploring this vibrant music scene in the south east states through interviews, record label scans and previously unseen band photographs. It will serve as an invaluable reference source for northern soul collectors, beach music fans and indeed anyone who wishes to dig deeper into the history of sixties soul music, beyond the well documented stories of Berry Gordy, Ahmet Ertegun and the major labels.....”
What the author says....
Comprehensive published literature and online resources exist on the soul of the south east states, such as Greg Haynes’ Heeey Baby Days tome and his ongoing online work, Jason Perlmutter‘s Carolina Soul website or Rick Simmon’s Carolina Beach Music: the Classic Years. I wanted to build further on this work. Specifically, I wanted to present the interface between the rarer end of northern soul and 1960s beach / R&B of the Carolinas, Virginia and neighbouring states.
The Rivieras at Tanglewood Country Club, Winston-Salem NC, 1967. Permission of Nat Speir.
Bands on the hit list included Anthony and the Aqua Lads, Bob Meyer and the Rivieras, The Tempests, The Embers, The Delacardos, The Appreciations, Bob Collins and the Fabulous Five, The Berkshire Seven, The Greater Experience, The Generation, Athens Rogues, Maurice Williams and the Zodiacs, The Soulmasters, Lost Soul, Gene and the Team Beats, The Chashers, Ron Moody and the Centaurs, The Spontanes, Novas Nine and The Soul Six. Tracking down surviving artists for interview took a huge amount of detective work. However as a result the histories of many of these acts are now documented for the first time, with a few suprises revealed, as well as some myths dispelled. Other important stateside individuals who assisted in this venture included label representatives, managers, promoters, archive specialists, press photographers and local beach fans who lived through it all.
Scotty Todd and the Soul Six. Permission of Tim Newell / Jack Kelly.
On the other side of the Atlantic, well known and respected DJs and collectors on the northern scene have contributed in different ways, helping to show how, when and where these records were introduced to an eager audience on UK shores. The chapters are illustrated with dozens of label scans of local and national label releases, artist publicity pictures, personal photos of the bands, tour bus pics, copies of label contracts, booking letters and much more.
7” acetate of Anthony and the Aqualads. Permission of Mark Dobson.
This book should be of interest to soul fans from a range of backgrounds, but particularly those from the latter days of Wigan Casino, Stafford’s Top of the World and to the present.
Now available (B&W only) for purchase online at:
http://www.blurb.co.uk/b/4118924-it-s-better-to-cry
100% of all profits to the UK reg. Charity Children’s Heart Surgery Fund.
Aachen Soul Weekender March 8th and 9th 2013
So, my weekender started on the Wednesday night when I left work, because I had to go down to Wales to collect Jessica because she was quite ill, and didn’t think she was capable of the four hour train journey to my house on the Thursday on her own. However, she had never been to Germany, or a European Soul Weekender, so was desperate to come, and I thought the excitement of the weekend would see her through. When I arrived, she was in bed, where she’d spent the whole day with a temperature of 101.4 degrees. Hmmm, was she going to make it?
I fed her, with food and medicine, made arrangements for someone to light her fire on the Monday, and packed her case for her. Now when someone says:
“Four bra’s, the black or beige ones.” To me that doesn’t mean two black ones and two beige ones, it means any combination of colours……..So I packed four black ones. Of course I was wrong and should have correctly interpreted it correctly as two of each !
On the Thursday morning she wasn’t much better, so I made her stand in the yard whilst I washed her down with a hosepipe and we caught the 10 am train successfully. As soon as we got on the train Jessica went to sleep, and stayed asleep until we arrived in Wolverhampton, which was quite an achievement as we changed trains in Shrewsbury !
Back at my house, she went to bed, and slept through until the alarm went off at 4.15 am on Friday morning. She took her temperature and it was back to 98.6 degrees, and she felt much better. Result !
We headed out for the airport, met Johnny Weston at the check in, and everything proceeded smoothly until we went through the departures barrier.
John and I both use the same type of record box to fly with, and we were in different queues. I was waved straight through, John was stopped and not only had to open his box, but also had to take every record out of it so the miserable sour faced customs woman could examine the box for a secret compartment that might have contained four illegal emigrants! It’s a box of records! What did she expect to find under the records? Ah well, we had to have a beer to commiserate with John.
So that’s when the weekend really started, at 7 am, with a pint of John Smiths!
The flight was fine and we arrived at Dusseldorf, and as we were waiting to collect the cases the exit door kept opening, and I could hear someone shouting abuse at us. I could have sworn it looked like Eddie Piller as well.
When we had collected our luggage we went through, and it was Eddie Piller! He was DJing that weekend in Dusseldorf with Henry Storch and had arrived at the airport half an hour before us, bumped into Lazy and The Jan, so decided to hang around to say hello. The Strange World Of Northern Soul!
Stefan, known to everyone by his DJ name of ‘Lazy’ introduced himself and performed the introductions to everyone else. The Jan was there, along with Andreas, and his wife Anne (better known as the DJ MS Dienel) Then we headed out to the van for the drive to Aachen.
The drive took an hour, and Jan Drews gently poked fun at Jessica all the way, explaining that in Germany they had autobahns, and bridges, and boats, and Jessica naively, said that they had them in the States as well.
We arrived at the hotel, booked in, and within minutes of getting to our room a guy delivered a goody bag from Lazy to our room. He also delivered a book. Now that in itself is quite a funny story.
Jessica’s next door neighbour in Wales wanted to buy a book connected with his work. It was called something like ‘The Architecture Of Welsh Cottages’, and is out of print and quite expensive now, like £200 expensive!. However, he found a copy of German Ebay, at the equivalent of £25, but the seller would only sell to a German address. So the network of Northern Soul fans came into play, and the book was delivered to Lazy a couple of weeks before we arrived. The thing that really puzzled us though is why, and how, did a copy of the book end up in Germany? Still, that was a plan that came together.
Once we’d settled in to the hotel we were met by Lazy and taken on a tour of the city.
Now the city is one of the oldest in Germany, and twelve hundred years ago was one of the most important, because the king at the time, Charlemagne, thought the Spa waters were beneficial to his health, so he ruled the kingdom from the city. He also built an amazing cathedral! It’s hard to describe how amazing it is, but when you consider it was built in 800 BC, the workmanship and craftsmanship astound you.
Then we went to sit in the sun and have a coffee, and in Jessica’s case, a Spaghetti Ice. She’s a bit of a foody really, and has a rule that if she see’s something on a menu that she’s never tried before, orders it. As you can see from the photo, it really does look like spaghetti, but it’s really ice cream! (And was very nice too!)
Aachen is also famous as a Spa town, and Lazy took us to the point in the city centre where there are two outlets for ‘Stinkendes Wasser’ (I think that’s right!). Which were water pumped up from the ground, rich in sulphur, and as you can guess, it really is stinking water!
A quick beer, to try the local brew; Bitburger, and then it was back to the hotel for a rest for a couple of hours.
Around 6 pm I used my finely tuned navigation skills to find our way round to Lazy’s flat for a meal, and to meet up with all the other DJs. When we got there he wasn’t in, (He was driving back from Cologne station with some of the other DJs), so his girlfriend Daniela was host. She gave us all a beer, and explained what food was available, and left us to chat with the others that were already there. You couldn’t ask for more really. What a great start to the evening.
The Hamburg crew were the next to arrive, so it was great for me to meet up with Ralf, Lars, and Tolbert again after a couple of years. Then Henning from Switzerland arrived, and John Weston performed the introductions there because they knew each other.
The meal was a local speciality, and consisted of a stew with a special type of cabbage in it which is only available locally, and during the winter season. Jessica of course ripped me to pieces because I tend to have a preference for meals with meat in them, and she thinks I avoid healthy meals with vegetables in them! To my joy, I discovered there was a healthy quantity of good German sausage in the stew as well, so I wolfed my portion down with glee.
The beer was flowing nicely as more people arrived. I think Marc Forest was next, then MS Dienel, certainly at some point another old friend, Peter Werhand, had arrived.
As the time neared 9.15 pm, the mini bus arrived to ferry us all to the venue, and the weekender started promptly at 10.00 pm.
As usual, with all my reviews of weekenders, I couldn’t tell you who played what, when, but I do have to say the music was of a standard, and variety that would have only been reached at a few of the current UK weekenders !
Jessica was having a ball though. As I’ve already said, it was her first time in Germany, and she was absolutely fascinated by the difference between here and the UK. In particular how much younger the crowd was than in the UK. Because of this, we played a game of spot the English people, and Jessica said one guy in particular had to be English because he was older than most other people. I said he wasn’t English because of the way he danced.
She was also quite surprised by how many people spoke such good English. To my shame I’ve been DJing in Germany for over fifteen years now, and still speak almost no German (Although I can read a fair bit, and understand some conversations now), Jessica though, had made a valiant attempt to learn some useful phrases from her 1951 edition of the Collins ‘Useful German Phrases’ book. (More about that later though!)
I DJ’ed at 1.15 am, and am pleased to say managed to keep the dancefloor busy, and then we stayed for another hour or so, and then surrendered to the need for sleep. We’d been up for twenty two hours, and had to go back to the hotel.
Breakfast was served up until 11 am, so we made an appearance at about 10.30 am, and Jessica’s spirits were immediately lifted to discover that they served ‘Everything’ Bagels as part of the help yourself buffet breakfast. Now I’m not a big fan of bagels, so I contented myself with the fresh rolls and ham and cheese. Jessica though, loves bagels, and regaled me with stories of having bagels for breakfast in New York (I did tell you she was a foody!).
We did the sensible thing after breakfast and went back to bed for a couple of hours because the alldayer didn’t start until 3 pm.
Around 2 pm we met Johnny Weston in the foyer, and wandered off into the town to do a little exploring and shopping. Jessica bought a huge pile of Aachen Printen, which are a kind of gingerbread biscuit made in all sorts of different varieties, chocolate covered and so on (Do you see a theme developing here…Jessica and food!), I bought some tobacco, and Johnny boy bought a round of beers in the Irish pub! Good to see we took the healthy option.
Onto the alldayer, again at the Jacobshof, with Miss Twist from Utrecht DJing, record sales in the bar area, and a hot buffet provided for the DJs. I got the beers, whilst John started digging through the records, and then Jessica and I wandered through to the food area. It was a very tasty spicy pasta, with salad, or an extremely peppery mushroom soup. I was hungry, so I had both. Having eaten we wandered back into the bar area, only to find John had gone in search of food. He reappeared ten minutes later, with sweat on his brow, and his tongue hanging out. His face was also rather red:
“Have you tried that soup! They were all laughing at me in there, because it was burning my tongue.”
I did wonder why he carried on eating it if he found it that hot, but this is Johnny Weston, so thought better of it.
Jessica meanwhile was practising her German. Now I’ve mentioned her 1951 phrase book, that was full of useful phrases. I particularly like the one in the aeroplane section which asked “Do you mind if I open a window?” However, it was more about trying out her pronunciation than actually saying anything meaningful. Anyway, all her new German friends got collared and had to try and decipher what she was saying. I think Lazy got the most confusing one. He was asked something along the lines of “Can you strip and degrease the engine in the motor car.”. The look on his face was classic!
Jan Drews had had to pay import duty on a record the day before, so Jessica tried him with “I will pay no tax”. Several other people got trapped by her though, and I was helpless on occasions just watching the expression of confusion crossing people’s faces.
Jessica actually spoke to the guy who she had said was English the night before. He was from Belgium! So that was one-nil to me!
Johnny Weston, having been in the venue for two hours by now, suddenly realised it was the same venue as the night before, but looked different because the lights were on! I ask you, what is he like?
Then there was the cake! Daniela apparently had spent the whole day previously baking. What a superb selection, not wishing to be greedy, Jessica and I only tried small portions of three different ones, and each one was delicious in it’s own way.
Back to the hotel around five for a few hours sleep and then back to the venue for the Saturday allnighter. As is typical with all my reviews, I again have no idea who played what, I know I did two spots, both of which went well. I know we drank more Bitburger on the Saturday than we had on the Sunday, and we stayed to the end of the allnighter. I made Jessica practice her German by sending her to the bar everytime we ran out of beer, so at least she now knows at least one useful German phrase! The rest is just a blur, of laughs, conversations, and fun.
We just made it for breakfast on the Sunday morning, and to Jessica’s disappointment there were just ordinary bagels, no ‘Everything’ bagels (It’s something to do with the topping on the bagel I’m informed.) and then despite my protestations that nowhere would be open, we went for a walk round the town again.
Having walked past all the closed shops, we were back at the hotel in time to pack and be ready to leave the hotel at 3 pm back to Dusseldorf airport. Andreas and Anne were with us, as they now live in Sweden, so were catching a flight after ours. We said our goodbyes to Lazy in the car park at the airport, and went to check our baggage.
We then had a last cigarette with Andreas and Anne, and went airside. This time it was my turn to be stopped by the border control and be asked to open my record box. I tried pointing out Johnny Weston, in the hope rthat they would grab him as well and make him empty his record box again, but no such luck. They just made me open the box though, and swabbed it for drugs, but didn’t ask me to take any of the records out, so that was ok. A quick beer and a sandwich, meant we were ready to fly, just as they announced boarding.
On the plane it was a female pilot, so Jessica was treated to all the jokes we used when travelling to Belfast last year….have trouble with the pedals because of her high heels, extra mirror for her makeup, and most upset that other people were wearing the same outfit etc, etc! I have to say though, it was obvious that a man was doing the actual flying and she was just there to make the announcements because we landed right on schedule in Birmingham.
UK Border control. The queues were horrendous, fortunately the queue for the automated chip reading control barrier was the shortest, so that’s where we headed.
Now you may have noticed that this review doesn’t contain any classic Johnny Weston moments.,…well here it comes: There are huge signs over all the kiosks, they say three things basically. 1. You have to have a chipped passport. 2. You have to be over 18 years of age, and 3. Your passport has to have the logo on the front of it to say it’s a chipped passport. So John’s behind me in the queue, and he’s grumbling about people who can’t use the self service passport scanner, and the number of people in the queue with children. Fair point I suppose!
I scan my passport, and the facial recognition software recognises me and lets me through. Jessica was in front of me, and waiting for me, so we wait for John.
And we wait, and we wait. Then we see the Border Control guard gesturing John towards the huge queue for people who can’t get through.
We left him to it and went to collect the bags. We had time to collect both bags and sit down and wait for him. Eventually he turns up. The conversation went:
“Show me your passport.”
“No”
“Show me your passport, I want to see if it’s got the logo on it.”
“I just followed you, I didn’t know my passport wasn’t chipped.”
When Jessica and I had stopped laughing we trundled out of the airport for a cigarette and said our goodbyes to John.
It had been a fabulous weekender. Everything was organised for the DJs, down to the last detail, the food was great, the beer was strong, and free! And it’s like a breath of fresh air to DJ to a crowd that have no hangups about Oldies or Newies, or Funk, or R & B. If it’s a good record, they will dance and enjoy it! It was also good to see so many of my German friends again, and people from Sweden, Italy, Switzerland, Holland, France, Belgium, and Luxembourg, and to make new friends, from all over Europe. And if you include Jessica from Wales, and John and myself from England, that means people travelled from ten different countries to be at the weekender.
Lazy and Daniela especially, what a great couple, the amount of work they both put in to make the weekender a success is phenomenal, and the whole weekend is a credit to them both.
I knew what to expect in Germany, and anticipated a good time, but Jessica was blown away by the whole weekend, and is now a sure convert to the European way of doing things. We’ll be back to Aachen again, and probably several other European destinations over the next few years. Hopefully we’ll see our friends again later this year in Manchester, when they come to visit the UK.
Chantel’s Memorial Soul Nite
Saturday 27th April 2013 from 8pm until 2am
@ Bedford Athletic Club, Wentworth Drive, BEDFORD, MK41 8QA
Chantel was a spring baby, born on April 22nd 1958 in London, later moving to Watford and then Hitchin when she was in her teens. She grew up to be a bright and attractive young woman, with a warm lively personality and a way with people. This stood her in good stead in the various retail jobs she did throughout her life. All of them involved managerial responsibility, but more importantly, she had the gift of being able to bring out the best in the other people.
In 1978 she met her future husband Kevin at a Northern Soul gig and discovered the love of her life. They married in 1980 and in the fullness of time their two sons were born, Barry and Neil. It’s probably fair to say that nothing meant more to Cha than the three men in her life, then along came Barry’s two sons and she took great delight in becoming the devoted grandmother.
Chantel unfortunately lost her fight for life on the 11th December 2011 and a group of her friends along with Kev decided that it would be a fitting tribute to put on a Memorial night in her honour and at the same time raise some money for the Sue Ryder Trust.
So the Memorial Soul Nite has been arranged for the 27th April 2013. DJ on the night include Andy Rix, Kevin Bateman, Andy Felts, Hammie, Taff, Panch, Pete Hulatt and Geoff.
I have been asked to write a few words about my wife Chantel Batemen.... After much deliberation I decided not to bore you all by saying what a wonderful, loving, kind and fun loving person she was because everybody who met her would already know this. You would also know how much she loved her music and to dance and this love started at a very young age when she went to soul nights with the Letchworth crowd and then at the age of 18 to her first allnighter at St.Ives. This love stayed with her for the rest of her life.... I would like to recall a couple of stories for you.
I remember Chantel telling me about a dance competition she entered many years ago, I think it was Norwich. Anyway she won first prise and it was a grand prize of £50.00, which was and still is a lot of money. She went up to collect her winnings and they paid it to her in 50pence pieces, as you can imagine she wasn’t happy about all the change but took it all the same. Needless to say I don’t think she entered anymore competitions after that....that is until Cleethorpes 2003.
On the Sunday night at the weekender they had a fancy dress competition and Chantel decided that we should enter. When I say “we” I mean Chantel, myself, Panch and Winston. Great now all we needed was a theme and some outfits. Of course it wasn’t just a case of going to the shop and hiring one, no Chantel wanted to make one!
Now at the same time the Kentucky Fried Chicken advert had just come out, the one with the backing track Bobby Garrett — I Can’t Get Away. Well as you can imagine the light bulb lit with Chantel and the plan began to come together in her mind... I wasn’t too sure about it to begin with but after a while I could see it coming together. So we went about making the buckets and with the help of Panch and Ann they were ready in time for Cleethorpes and all we had to do was keep them under wraps until Sunday night.... It was worth all the hard work as we had such a laugh and won the competition.
It wasn’t easy doing anything in them buckets, you only have to ask Panch because he found out when he dropped his moustache....
Another good story is about a friend’s wedding. Chantel had been asked to be Dean’s best man when he married Marion and of course she was honoured and accepted. Well Chantel wanted to do something special that was funny and memorable and so the thinking cap came out.... The plan came together at the services after we had been to Stoke or Keele alnighter, there was a few of us and the conversation turned to what would we get Dean and Marion for a wedding present. After a few silly suggestions someone said I know why don’t we get everyone to buy them a toaster. Chantel then said I know what would be funny getting everyone to buy them a toaster, of course we fell about with laughter at the thought of them opening numerous toasters but the plan was made and as many guests were asked if they minded buying a toaster (putting the receipt with the gift) for the newlyweds. Chantel and I made a poster and everything was set. And so the to the wedding reception and in the evening just before the soul night was to start, Chantel took her place to do her presentation. Yes as you may have guessed Dean and Marion received over 20 new toasters and a loaf of bread!
Yet another plan that Chantel had been a big part in putting together and it was received with the response that she always wanted to achieve, yes everybody was in fits of laughter, even Dean and Marion. Would you believe that this story was told on the local radio, the Sun Newspaper and also Anglia News.
Well there are a couple of funny stories about Chantel.
I expect she is up there on that big old dance floor smiling down.
In her words “Look up into the starry night and you will see her dancing wild and free”.
I hope to see some of you on the 27th April.
Kev Bateman
Bettye Swann - Cleethorpes June 7-9th Weekender - A Soul Pilgrimage
We have had final confirmation that Bettye will honour us with her presence and talents at this year's weekender.
She has never sung in Europe before and along with her neice is thrilled to be performing to the many admirers of her soul singing career thoroughout the 60s and 70s. This news will excite soul fans of every persuasion.
Booking details are below.
At this stage we are only selling weekend dance passes, details on the flyer or http://www.6ts.info
There may be some Saturday night only passes available nearer the date, an announcement will be made about that a month before the event.
Ady
Royal Mail Postage Prices To Change 2nd April
Parcel prices
Changes to our parcel services from Tuesday 2nd April 2013
Choosing the right parcel service is as easy as 1, 2, 3…
We have listened to your feedback and have simplified our parcel services.
From 2 April 2013 you will have a clear choice of delivery options with features designed around you:
Guaranteed, for important items that must be there the Next Working Day: Royal Mail Special Delivery Guaranteed by 9amâ„¢ and Royal Mail Special Delivery Guaranteed by 1pmâ„¢ Confirmed, for when you need reassurance your item has reached its destination: Royal Mail Signed For 1st Classâ„¢ and Royal Mail Signed For 2nd Classâ„¢ Standard, perfect for non-valuable items: Royal Mail 1st Class and Royal Mail 2nd Class These changes are part of significant investment in our parcels business to ensure we deliver the best service for you.
We are introducing two new parcel formats which replace current packets and parcels — Small Parcels and Medium Parcels. Find out more about our parcels changes.
1st Class and 2nd Class parcel prices
1st Class Small Parcels prices start from £3.00 2nd Class Small Parcels prices start from £2.60 1st Class Medium Parcels prices start from £5.65 2nd Class Medium Parcels prices start from £5.20 Royal Mail Signed Forâ„¢ parcel prices
1st Class Small Parcels prices start from £4.10 2nd Class Small Parcels prices start form £3.70 1st Class Medium Parcels prices start from £6.75 2nd Class Medium Parcels prices start from £6.30 International prices
Postcards to anywhere in the world will cost 88p Airmail letters weighing up to 40g will cost £1.28 to Europe Airmail letters weighing up to 40g will cost £1.88 to rest of the world — Zones 1 & 2 International Signed For costs £5.30 per item (in addition to postage)
Funk Bros - Hollywood Star
http://www.detroitnews.com/article/20130306/ENT04/303060345/1424/ENT04/Motown-s-Funk-Brothers-get-their-star
Lorraine
added by site
The Funk Brothers, Motown's famed backing musicians, will be getting a star on the Hollywood Walk of Fame on March 21 in Los Angeles.
Percussionist Jack Ashford and guitarist Eddie Willis, as well as several of the late Funks' family members will be there to bask in the glow of the Tinseltown honor.
"This is a once in a lifetime opportunity; I couldn't miss this," said Joe Hunter Jr., son of the late pianist Joe Hunter, the first bandleader for Motown's band in 1959. He scraped up the money to fly out with his wife. "Too many people sacrificed to make this happen."
From The Detroit News: http://www.detroitnews.com/article/20130306/ENT04/303060345#ixzz2MuoSaZkL
Use the above link for full story plus details of...
A fund has been set up for the Funk Brothers to offset some of the remaining expenses connected to the Hollywood Walk of Fame ceremony.
Soul in the Bowl All-dayer Cancelled - Announcement
The good news is that we are able to carry on with the Soul Nights, dates being April 13th, Sep 14th, and Nov 16th.
Tickets
If you have already bought tickets, obviously a full refund will be given. But as a gesture, you also have the option of using one ticket for two people’s entrance to any of the Soul Nights this year, or one ticket for two nights entrance, saving you £4.00.
For a full refund or any other info, please call Jem on 07905 028003 or Len on 07970 361219.
