Magazine

Soul Source music magazine feature.

Native Detroiter Ivy Jo Hunter was born Ivy George Hunter on August 28th 1940. As a child his parents sent him to music classes where he learned to play the Trumpet and Euphonium. Which pre-teens saw him perform with the Detroit City Youth Orchestra. Ivy’s mother told her son that being a professional musician was a very unsecure future and persuaded him to take up art at High School. Upon leaving High School Ivy also realized the life of an artist was tough going so he joined the army as an electrical engineer. "¨"¨After four years in the service Ivy returned to civilian life and decided to follow his first love and become a full time musician. After a stint of working several different clubs Ivy eventually wound up at one of Detroit’s most renowned clubs, The Phelps Lounge. It was a chance meeting there one afternoon that changed Ivy’s life around. Ivy was rehearsing with the clubs resident band and giving them their instructions as he had done many times before, when a guy who was just having an afternoon drink stepped out the audience and introduced himself as Hank Cosby."¨"¨Cosby liked what he saw Ivy doing and invited him down to the Motown studios. So in 1963 Ivy Jo Hunter signed four contracts as a writer, producer, artist and artist manager with Motown Records. Cosby was also responsible for introducing Ivy to William “Mickey” Stevenson and thus forming one of Motown’s most accomplished song writing and producing teams of the 60’s."¨"¨Ivy’s song writing credits can be found on a multitude of songs that achieved top 100 status both in the USA and throughout the world. Some of the highlights being such timeless classics as the Four Tops “Just Ask The Lonely”, The Spinners “I’ll Always Love You”, The Marvelettes “ I’ll Keep Holding On” and the Martha Reeves & The Vandellas seminal anthem “Dancing In The Street”.

“Dancing In The Street” was initially composed as a ballad but Ivy and Mickey struggled to come up with a suitable title. That was until Marvin Gaye intervened, Marvin was chilling out smoking a cigarette in the studio at the time and was listening in to what the guys were doing. He then made the suggestion to call the song “Dancing In The Street” and to make it a up tempo dance number. Thus in doing so earned himself 25% of the song writing royalties."¨"¨While “Dancing In The Street” was recorded as a innocent dance record it also became an unofficial civil rights anthem with many young disillusioned black activists claiming the title was a call to riot. This was vehemently denied by both Martha Reeves and Berry Gordy. Although “Dancing In The Street” is regarded as Martha & The Vandellas signature tune, other Ivy Jo compositions on the Vandellas included the sublime “My Baby Loves Me” and the driving “You’ve Been In Love To Long” (later covered by Barbara Acklin)."¨"¨Towards the end of his tenure with Motown Ivy was placed with the company’s V.I.P subsidiary. The V.I.P logo had the reputation of being somewhat of a graveyard label for artists and writers who had fallen out of favour with Berry Gordy (even though some of Motown’s finest releases can be found on the label). Here Ivy recorded two 45’s “I Remember When (Dedicated To Beverley) / Sorry Is A Sorry Word (V.I.P 25055) and “I’d Still Love You / I Can Feel The Pain” (V.I.P 25063). An album release was also planned although given a release number (V.I.P.S 406) and a title Ivy Jo’s “In This Bag” no release ever materialized. Ivy was to eventually leave Motown in late 1970."¨"¨After leaving Motown Ivy later joined forces with his brother John Maxey (who’s day job was that of a special needs teacher) to form the Independent Detroit based Probe 1 Production Company in 1972. Throughout the 70’s and into the 80’s the brothers continued to produce and record releases on many local Detroit groups, The Citations (five former pupils of John’s) Empulse and North By Northeast amongst others. Most would appear on the labels that Ivy and John operated through Probe1 Productions, Redline, Probe 1 and Midwest International etc

Ivy himself recorded solo outings such as “Ain’t No Black & White In Music / When Does The Loving Start” (Red Line PRL-01) and “ Everytime I See You It’s Hello / Anthem (Midwest 011087) as well as singing lead vocals on North By Northeast’s “Pain Of City Living / Slave Of Society” (Probe 1)."¨"¨Probe 1 Productions did manage to achieve some limited national attention. Firstly with the mellifluous “Two On A Cloud / Grown Up Fairy Tale” (Buddah 556) recorded by Curt Darin (a.k.a Curtis Gadson) but this release coincided with 20th Century’s buy out of Buddah records and the record failed to make any major impact. Other releases on Gadson (whom Ivy and John actually discovered) included “In The Middle OF The Night” (Midwest International 8150) and the heavily synthesised “Fire It Up” which they released in conjunction with fellow Detroit entrepreneur Ernest Kelley. This was later followed by the song “Hold On To Your Dreams” that Ivy Jo co-wrote with Vernon Bullock. “Hold on To Your Dreams” was recorded on former Dramatics vocalist the late William Howard and was released on the local Detroit Ju-Par label, based on Eight Mile Road. Howard recorded the song under his High School nickname of “Weegee”. The song became a big local hit, and through Ernest Kelley’s long time association with Henry Allen the song was soon picked up by Atlantic records and released on their subsidiary Cottilion label. The deal also included an album release using “Hold On To Your Dreams” as the title track. The album was recorded at the Sound Suite in Detroit under Vernon Bullock’s direction. (“Hold On To Your Dreams” was also later covered by The Staple Singers)."¨"¨A further collaboration between Probe1 and Ernest Kelley in 1981 produced the disco influenced “Coast To Coast” (MT 9710) which was recorded on a local Detroit act by the name of Solid State. This release came out on the Independent Music Town label. A previous Music Town release by Solid State “I’m Gonna Make You Mine”(MT9709) had no production connections with Probe 1."¨"¨1981 also saw the release of the Ivy Jo penned “Love Won’t You Hurry / Open Up Your Mind (To My Mind)” and was recorded by three male singers known as “Suade” this was released on Red Line (101042).

Released back in May this 45 is well worth another shout as it is simply so good.

Ivy Jo Hunter in collaboration with William “Mickey” Stevenson formed one of the most formidable song writing teams of the Motown stable during the 1960’s. Ivy’s writer’s credits can be found on a multitude of songs that achieved a top 100 status both in the USA as well as around the world."¨"¨Towards the end of his tenure with Motown Ivy was placed with the company’s V.I.P subsidiary. Here he recorded two 45’s “I Remember When (Dedicated To Beverley) / Sorry Is A Sorry Word (V.I.P 25055) and “I’d Still Love You / I Can Feel The Pain” (V.I.P 25063). An album release was also planned and although given a release number (V.I.P.S 406) with the title of Ivy Jo’s “In This Bag” no release ever materialized."¨"¨Some of the highlights from his eight year association with Motown include such timeless classic’s as The Four Tops “Just Ask The Lonely”, The Spinners “I’ll Always Love You”, The Marvelettes “I’ll Keep Holding On” and the Martha Reeves & The Vandellas seminal anthem “Dancing In The Street”."¨"¨After leaving Motown Ivy joined forces with his brother John Maxey to form the Independent Detroit based Probe 1 Production Company. Throughout the 70’s and into the 80’s the brothers continued to produce and record releases on many Detroit groups and solo artists which appeared on several of their labels. Ivy himself recorded several solo outings such as “Ain’t No Black & White In Music / When Does The Loving Start” (Red Line PRL-01) and “ Everytime I See You It’s Hello / Anthem (Midwest 011087) as well as singing lead vocals on North By Northeast’s “Pain Of City Living/Slave Of Society (Probe 1)."¨"¨Their only releases to break out of Detroit nationally were the mellifluous “Two On A Cloud / Grown Up Fairy Tale” (Buddah 556) recorded by Curt Darin (a.k.a Curtis Gadson) but this release coincided with 20th Century’s buy out of Buddah records and the record failed to make any major impact. Followed by ex Dramatic Willie “Weegee” Howards local Detroit hit for Ju-Par Records “Hold On To Your Dreams” which was later picked up by the major Cottilion label. Ivy eventually hit paydirt when in 1985 David Bowie and Mick Jagger covered “Dancing In The Street” as their contribution to the Live Aid Appeal. "¨"¨And so to the present, for this release Soul Junction have selected two previously unissued tracks from circa 1979 that Ivy Jo cut for Probe 1 productions. The excellent mid paced dancer “See You Around” b/w the sublime ballad “Yea, Yea, Yea” which showcases Ivy’s vocal talents to perfection.

By Louise in Articles · September 21, 201212 yr

Released today on Streetsoul Records.The Ultimate 45!!

Bobby Boyd "Why Are You Crying" from the ultra rare 1976 album b/w the previously unreleased "I Went Along With Your Program" Killer real soul!

First time on a 45 for this.

Go to www.streetsoulrecords.com

Listen to this at http://www.streetsou....com/page44.htm

Also available from Crazy Beat, Simply Soul, John Manship, Northern Soul Direct,
Soul Brother & many others.

This is a Limited Press.

By Guest Andyd in News Archives · September 19, 201212 yr

There is an interview with The Dells in the October edition (out now) of Record Collector.

Here is what the Record Collector website has to say....you must either buy the mag or subscribe to read the whole article at the following link:

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The greatest vocal group to have ever opened their mouths are calling it a day — after six decades of groundbreaking, heartrending records. The Dells bare their souls to Garth Cartwright

Let’s make things clear from the start: I believe The Dells possess the richest, most distinctive vocal blend in American music history. The drama of their sound involves a gospel force-field matched with the emotional engagements of a keen and loving heart. In song their voices weave and climb — a vocal basketball team of sorts, lots of deft passing and rim shots — gathering around Marvin Junior, who delivers the final slam dunk. For dramatic, complex, emotionally drenched harmonies, The Dells are 20th Century masters.

2012 finds The Dells celebrating their diamond jubilee — 60 years as a group — and also announcing their retirement. This is not a huge surprise; the group has not performed or recorded since lead tenor Johnny Carter was diagnosed with lung cancer in 2008. Carter, who joined The Dells in 1961 when original lead tenor Johnny Funches declined to return to the road, had previously enjoyed success with The Flamingos: thus he was one of the rare individuals to enter the Rock & Roll Hall Of Fame in two separate groups. He died on 21 August 2009. Since then soul music’s most golden voices have remained silent.
I travelled to Chicago in 2006 to interview The Dells for my book More Miles Than Money: Journeys Through American Music (Serpent’s Tail) and enjoyed an afternoon in the company of …

Also in the edition is an e-bay oMeter article listing the top 10 big sales in records for the past month. It shows 5 out of the 10 were Northern Soul 45's including The Professionals That's Why I Love You on Groove City (£1932).

All the 5 were not in mint condition and article asks imagine what the price would have been if mint, and how many classic Northern Soul 45's have survived in such condition?

First posting to Soul Source, I hope it is of interest.

By Soulwolf in News Archives · September 18, 201212 yr

Soul Up North

Issue 76 out now...

CLARENCE REID on the bright orange cover, inside..

£3... plus £1.40 postage paypal.... Use gift option to avoid fees...

Email stevecato64@yahoo.co.uk or drop us a message on here....

or visit the website at http://www.soulupnorth.co.uk

Inside this issue...

‘Blood, Sweat & Staples (pt3)
Dave McCadadden’s fanzines ‘It’s The Beat’ Martin Scragg
Funk In Yo’ Face , Clarence Reid Howard Priestley
An Interview with members of ‘The Detroit Soul’ — SoulmanJan, Willie West (pt2) — Dan Phillips
Bearsouls b-sides
Hitting the decks.. Wayne Hudson
Venue reports....Andy Bellwood
Cd reviews
Spotlight on soul intentions lable.. Phil Dick
What is northern....Phillip Bolton
Collecting British
LPs are good too.. Daryl Scott
Soulful 70s.. Steve Plumb
Spotlight on soul junction lable..
Modern musings... Mark Randal
Deep soul corner
Carl Davis RIP..
Double siders... Martyn Bird
Niter planner

etc.....

By Little-stevie in News Archives · September 17, 201212 yr

Friday 21st September event is the last scheduled Wilton allnighter for 2012, and the next and final allnighter will be arranged around the 20th Anniversary sometime in March 2013. It is with deep regret that we have no alternative but to close the Wilton allnighter. The event is just not viable; the books don’t balance. For the first time in 19 years, the last anniversary night lost money (£470). We have tried everything to make it work, but the facts are simple: if people don’t attend in sufficient numbers to balance the books, we just can’t continue.

We have had some fantastic nights over the years, and we would like to thank you, the fans, for your support; also our regular and guest DJ’s who have continued to find new records and put together some fantastic sets.

We have finally come to the end of the road. The number of fans on the soul scene has exploded over the last five years but not in our direction. Increased numbers of allnighters, soul nights, and weekenders have taken their toll. In some respects, the Wilton has become a victim of its own success for several reasons: Our original music policy is now used at other venues all over the UK, so we are not special any more; we don’t get the travellers any more, they now choose their local venues; fuel costs have compounded the problem; many of our regulars are now promoting their own venues, which doesn’t help our situation; Saturday night events will always take preference to Friday’s; the list goes on. There’s nothing we can do about the situation apart from take our final bow at our 20th Anniversary in March 2013.

We hope to continue with our Soulful Sessions Nights next year if we can secure dates from the management.

The success of the next Soulful Session Night on Saturday, 10th November, with a special live performance from Darrow Fletcher, is crucial to us securing dates for 2013. We need all the support we can get for Darrow Fletcher, and the future of soul at the Wilton.

Tickets for this special event are available online at
www.wheatsheaf.com/allnighter or on Friday at the allnighter.

Thank you for being part of our lives for 20 soulful years. Mouse — Boxy & Val

By Boxy in Event News · September 17, 201212 yr

A ten-year gap in this three-part CD series has given Kent time to root out the final Northern Soul treasures from this most prolific and mysterious group of black music labels. Great tracks come from the connoisseur' s favourites Charles Spurling, James Duncan and Mary Johnson proving their work to be substantially more than flashes in pans. Pioneers of black music Hank Ballard, Little Willie John and Otis Williams venture into the soul years with three excellent offerings, while Royal Flush and the Presidents Band dip their toes into the 70s to great effect. Willie Hatcher and Mill Evans are Detroit and Chicago legends and these two lesser-known numbers show how consistently solid their performances were.

All the King labels licensed tracks-in from around the USA but Hollywood was a later acquisition which not surprisingly issued mainly West Coast recordings. It would have been remiss of Kent not to include great singers Northern Soul favourites such as Hal Hardy & Freddie Williams, Marva Whitney and Robert Moore and their appearances further strengthen this disc.

But probably the biggest buzz for discerning collectors will be to hear out of left field releases such as William Patton's slightly stoned It Hurts Me and Mike Williams grammatically intriguing and rhythmically irresistible Something You Didn't Done .

The following is what Ady Croasdell has to say about the release:

The King group of labels — Federal, DeLuxe, Hollywood etc — were hugely productive throughout the soul era, so there are hundreds of releases which have taken years to locate. Hence the 10-year gap since “King Northern Soul Vol 2” was released.

Northern Soul collectors used to see the blue King label, immediately think “funky”, skip by it and continue the search for an “arranged by Mike Terry” denotation. There is no doubt that a drab grey label such as DeLuxe (as the Dave & Vee 45 from 1969) discourages the listener even before the needle drops. The mainly monochrome aspects of these labels could never compete with the colourful splashes of Groovesville, Giant, Tayster, Pzazz etc in building up the listener’s expectations; inevitably the music was undermined. We have mainly got over those prejudices now, but it is still a shock to hear how good some of those collected tracks sound on CD.

The more obvious big Northern sounds were featured on the first two volumes of this series but there are some great numbers here that have become very collectible over the years. Charles Spurling’s ‘That’s My Zone’ and his song ‘Unwind Yourself’ for Marva Whitney both sound very cutting edge for today’s funk-edged fans, as do the Brownettes and Charles’ super-groove ‘Popcorn Charlie’. There are some terrific tracks from long-serving King acts, such as Hank Ballard’s Rudy Clark-penned ‘I’m Just A Fool’, Otis Williams’ ‘When We Get Together’ and Little Willie John’s Drifters-inspired ‘Until Again My Love’.

The lesser-known Hollywood label is responsible for four excellent tracks from Robert Moore (who would go on to sing about ‘Party Freaks’ with Miami), L.H. & The Memphis Sounds (one of Packy Axton’s many bands) and Hal Hardy, who provides the superb ‘Name In Lights’; my hum in the head song of the month.

There is an increasing movement to play southern soul tracks at Northern Soul dances nowadays; although King was based in Cincinatti, they licensed in southern productions; mainly from Nashville and Macon. The Toni Williams, Dan Brantley and James Duncan tracks are all evidence of that growing trend. And, although we have recently issued a New Breed R&B compilation drawn from the King group, there are still some of those influences contained in the songs from Mary Johnson, Mike Williams and Oscar Toney Jr.
All but two of the 24 tracks are from King’s wonderfully preserved master tapes and sound alive again on CD. The booklet, with its amazing cover photo of the Presidents Band, is a darn sight prettier than an old DeLuxe label too.

By Ady Croasdell

Listen to a little King Teaser:

http://soundcloud.com/chalkster/king-sampler

Buy from Ace records with free delivery;

http://acerecords.co.uk/king-northern-soul-volume-3?update

Full track listing:

01 That's My Zone (He's Pickin' On ) - Charles Spurling"¨
02 Unwind Yourself - Marva Whitney"¨
03 Do You Love Me - Dave & Vee
"¨04 Right Now - Mill Evans"¨
05 Searching For Your Love - Robert Moore
"¨06 You Got To Prove It - Dan Brantley
"¨07 Out Of Control - L.H. & The Memphis Sounds"¨
08 Who's Got A Woman Like Mine - Willie Hatcher"¨
09 Popcorn Charlie - Charles Spurling"¨
10 Name In Lights - Freddie Williams"¨
11 Tearing Down My Mind - Toni Williams"¨
12 Please, Johnny, Don't You Take My Life - James Duncan"¨
13 Something You Didn't Done - Mike Williams"¨
14 Baby, Don't You Know - The Brownettes"¨
15 Thunder - Lord Thunder"¨
16 Our Meeting - The Presidents Band
"¨17 I'm Just A Fool (And Everybody Knows) - Hank Ballard"¨
18 When We Get Together - Otis Williams & His Charms"¨
19 Until Again My Love - Little Willie John"¨
20 Keep On Loving Me - Oscar Toney Jr
21 House Of Broken Hearts - Hal Hardy with the Billy Cox Band"¨
22 You Have My Blessings - Mary Johnson
"¨23 Mama's Baby - Royal Flush
"¨24 It Hurts Me - William Patton

By Chalky in News Archives · September 16, 201212 yr

For the second article highlighting Dave Godin's Column from Blues & Soul, the scans feature the readers choice.

The first scan is from Issue 44, 1970. As you will see Dave Godin asked readers to send in their favourite sounds.

I remember one or two names, I get a mention I am at the top of Column 2 "John Evans from Colwyn Bay" picking a Ben E King flip side which is probably still my favourite track today!

You will notice a couple of paragraphs below my name check is Derek Howe from That Beating Rhythm!

Also fascinating is the mention of the alleged Motown/Mafia connection which obviously must have concerned a few people at the time.

The following two scans are the 'We Get Letters' column from issue 49, December 1970.

You will see the names of a few stalwarts of the scene, some of whom are Soul Source members, do you get a name check?

By slimharpo in Articles · September 16, 201212 yr

David Bursey: A Soul Journeyman.

David Bursey is yet another one of soul music’s many unsung heroes, a soul journeyman who has spent a life time living the dream of recording a hit record. David Charles Bursey was born on May 23rd 1943 in the town of Ripley Tennessee. In 1952, David’s family took the well trodden path north in search of a better life eventually settling in Milwaukee Wisconsin. Upon leaving school David worked intermittently in the construction industry during which time he began performing with a street corner group known as the ‘Four Souls’ whose line up also included David’s childhood friend Eddie L. Quinn, Lee Harris and Roosevelt Morgan. No recording were ever made. In 1967 David met his partner of forty four years, Ruby White. Together Ruby and David raised a family of six daughters. Also around this time David began employment as a Butcher at the United Packing Slaughter House. An occupation that David would eventually leave behind him to pursue a career as a full time performer. During the late 1960’s and early 1970’s David would feature in the line up of several notable Milwaukee harmony groups.

Photo:- James “JB” Young, Centre David Bursey, Right Robert Wardell. Front sitting down Celeste Campbell.

In 1965 David was a founding member of the Candi Bars with Celeste Campbell and James ‘JB’ Young. The group later grew to four members with the addition of Robert Wardell in 1966. Wardell remained with group for a period of circa twelve months before he moved on. The Candi-Bars solitary 45 recording was released during 1968 on their own Candi-Stix label, and was recorded at Tom Gress’s Studio in Milwaukee.The record sold well locally but never broke out nationally. Two presses of the 45 can be found the yellow first issue and a second release on the silver label design. A later reissue can be found on the Gule label. Many of the silver issues can be found with reversed labels. A possible explanation for this could be that on the first yellow issue ‘I Believe In You’ is credited as the A-side (100-A) but the songs master number in the run out groove is (100-B) thus when the record was re-pressed the pressing plant thinking by putting the A-side label with A-side master were doing the right thing ? David can be found as the co-writer along with Celeste Campbell on the ‘Your The One’ side a popular track with sweet soul collectors, while the flipside‘I Believe In You’ became a popular track with the emerging crossover scene in England in the mid 1980’s and remains a current favourite to this day. The Candi -Bars eventually broke up for personal reasons although they all still live in and around Milwaukee and have remained in contact to this day. After they broke up James ‘JB’ Young continued with his day job as a truck driver until his forced retirement due to renal problems. Celeste Campbell who previously to the Candi-Bars had been a member of a three girl high school group turned her back on a performing career choosing to devote her life to raising her daughter."¨

David joined Gerry Armstead’s group known as the ‘Phases’ and feature on their 1969 release ‘Anything You Wan’na Be/Sing Your Song (Capitol 2684).The group also included Tom Burke (now deceased). Both sides of the Capitol release were composed by Gerry Armstead and Bill ‘Bunky’ Sheppard with ‘Anything You Wan’na Be’ being chosen as the all too familiar X “Bunky’s PICK”. The Phases later broke up due to an alleged contract dispute between Armstead and Sheppard with David and Tom joining Robert Gardner and Clarence ‘Sijo’ McGee to form the group known as the Brothers By Choice. It was at this point David quit his day job at United. The Brothers By Choice headed west to Los Angeles to further their career. The firstly approached Capitol records on the strength of their previous release as the Phases, but Capitol weren’t interested. After a period of three years of no success David, Robert and Clarence later returned to their native Milwaukee, with Tom remaining in L.A eventually being ordained in to the ministry. Clarence then reformed the Brothers By Choice with his brothers Boss and Larry McGee alongside Robert Gardner who went on to record “You Think That I’m A Fool/Can’t You See” for Calgar records (0002) in 1973.

The Brothers By Choice circa 1970: - Tom Burke, Robert Gardner, SiJo Mcgee & David Bursey

Left to right: Tom Burke, Gerry Armstead and David Bursey

On his return to Milwaukee, David was invited by his old friend Gilbert Moorer to join the Esquires. During his involvement with the Esquires, David featured as the lead vocalist on the group’s “ Henry Ralph” recording and also as a backing vocalist on the release’s flipside” My Sweet Baby”. For a very long time this was thought to have been a UK only 45 release on John Abbey’s Action label. But eventually US 45 releases began to appear on Hotline records a division of Cutlass Records from Nashville, Tennessee. One would assume that this was part of the same deal that also saw former Esquire Mill Edwards (aka Mill Evans)” I Found Myself/Don’t Forget About Me” gain a Cutlass release.

David continued to perform through the rest of the 1970’s and early 80’s but with a frequent back pain from a injury sustained while working at a Hotel restricting his performances. In the early 1980’s David and Eddie L. Quinn were joined by Jimmy Taylor and Alvis Moorer of the Esquires to form a group known as “Ice” no recordings were ever released. . In 1988 David recorded the self penned popular modern soul dance track “Got To Get Away/Rainy Night In Georgia” under the pseudonym of Noah a childhood nickname given to him by his mother.

In 1991 David teamed up with again with former fellow Esquire Sam Pace and Eddie L. Quinn to form a group known as Fairplay. Several tracks were recorded but through lack of finances nothing was ever released. It is from these sessions that we at Soul Junction have taken the funky little dancer “ Don’t Let Our Love Go (vocal and instrumental versions ) for release (SJ517). Fairplay drifted apart for a while before reforming in circa 2006 this time with 5 members David Bursey, Eddie L. Quinn, Joe Hayes, Charles Ross and Chuck Mays. Again this was to be a short lived affair.

Photo:- Sylvester Mackintosh, David Bursey and the late Reverend Eddie L. Quinn

In 2010 David Bursey recorded a solo cd album entitled “If” which can still be found for sale via CD Baby.

David still continues to perform as much as his health permits, as can be seen in his most recent photo taken while on stage at the Milwaukee African World Festival of African Music in 2011.

Words by David Welding"¨"¨Acknowledgements to: David Bursey, Ruby White, James “JB” Young, Celeste Campbell and the late Reverend Eddie L. Quinn"¨Photographs: David Bursey & Ruby White."¨Label Scans: David Welding and the Candi-Bars on Gule courtesy of Bob Abrahamian.

Listen to the forthcoming Soul junction Release, "FairPlay" with "Don't Let Our Love Go"

Listen on Soundcloud.com

"¨

By Louise in Articles · September 15, 201212 yr

Backbeats Artists Series - First 5 Releases — Track Listings

Since its launch in early 2010, the Backbeats Series has subsequently released 30 compilations covering numerous genres within black music throughout the previous 50 years all at an incredible budget price which appeals to consumers. This is probably the reason why combined sales of the series have now reached 125,000 and are continuing to grow.

Following the demand for the multi-artist compilations, we decided that it would be great if we could target the same market with a similar-value range of artist compilations drawn from the same areas of appeal that the various artists Backbeats compilations draw from.

So welcome to the Backbeats Artists series which will regularly release incredible value artist compilations that have been compiled by experts and produced with love. We kick off with 5 great artists from black music’s illustrious history…………

All the following for less than £5.00 each including P&P! How’s that for value?

BACKBART001 Holland & Dozier — The Creative Corporation
Compiled by Steve Edgar

1. Don't Leave Me (Vocal) 3.14 - Holland & Dozier
2. Why Can't We Be Lovers 4.03 - Holland & Dozier
3. Don't Leave Me Starving For Your Love PT1 3.23 - Holland & Dozier
4. Don't Leave Me Starving For Your Love PT2 2.18 - Holland & Dozier
5. Slipping Away 3.24 - Holland & Dozier
6. Can't Get Enough 2.36 - Holland & Dozier
7. New Breed Kinda Woman 2.51 - Holland & Dozier
8. If You Don't Want To Be In My Life 3.06 - Holland & Dozier
9. I'm Gonna Hijack Ya, Kidnap Ya, Take What I Want 3.40 - Holland & Dozier
10. You Took Me From A World Outside 3.40 - Holland & Dozier
11. I'm So Glad Pt1 3.57 - Holland & Dozier
12. Super Woman (You Ain't No Ordinary Woman) 4.01 - Holland & Dozier
13. Let's Get Together 3.49 - Holland & Dozier
14. Don't Stop Playing Our Song 3.46 - Holland & Dozier
15. The Picture Will Never Change 4.33 - Holland & Dozier
16. Lady By Day 4.22 - Holland & Dozier
17. Where Did We Go Wrong 4.13 - Holland & Dozier
18. Don’t Leave Me (Instrumental) 2.48 - Holland & Dozier

Amazon Link:

http://www.amazon.co...46423711&sr=1-1

BACKBART002 Laura Lee — Supreme Soul Diva
Compiled by Dean Rudland

1. Woman’s Love Rights 5.12 - Laura Lee
2. Wedlock Is A Padlock 3.07 - Laura Lee
3. Love and Liberty 3.03 - Laura Lee
4. It’s Not What You Fall For, It’s What You Stand For 6.29 - Laura Lee
5. Since I Fell For You (Parts 1 & 2) 8.01 - Laura Lee
6. Two Lovely Pillows 3.33 - Laura Lee
7. Her Picture Matches Mine 3.52 - Laura Lee
8. I Can’t Make It Alone 3.06 - Laura Lee
9. Don’t Leave Me Starving For Your Love 2.59 - Laura Lee
10. We’ve Come Too Far To Walk Away 4.33 - Laura Lee
11. I Need It Just As Bad As You 2.57 - Laura Lee
12. Crumbs Off The Table 3.34 - Laura Lee
13. Rip Off 3.15 - Laura Lee
14. If I’m Good Enough To Love (I’m Good Enough To Marry) 3.38 - Laura Lee
15. Guess Who I Saw Today 3.51 - Laura Lee
16. If You Can’t Beat Me Rockin’ (You Can Have My Chair) 2.52 - Laura Lee
17. You’ve Got To Save Me 3.15 - Laura Lee
18. I’ll Catch You When You Fall 3.53 - Laura Lee
19. At Last (My Love Has Come Along) 4.34 - Laura Lee
20. Mirror Of Your Soul 4.43 - Laura Lee

Amazon Link:

http://www.amazon.co...46423711&sr=1-5

BACKBART003 Tommie Young — Shreveport Soulstress
Compiled by Dean Rudland

1. That's How Strong My Love Is 3.14 - Tommie Young
2. Everybody's Got A Little Devil In Their Soul 3.38 - Tommie Young
3. You Came Just In Time 2.40 - Tommie Young
4. Hit And Run Lover 2.32 - Tommie Young
5. Midsummer Dream 3.16 - Tommie Young
6. Do You Still Feel The Same Way? 3.41 - Tommie Young
7. You Brought It All On Yourself 3.49 - Tommie Young
8. That's All A Part Of Loving Him 3.17 - Tommie Young
9. She Don't Have To See You (To See Through You) 3.09 - Tommie Young
10. Do We Have A Future? 2.26 - Tommie Young
11. You Can Only Do Wrong So Long 2.41 - Tommie Young
12. Take Time To Know Him 3.14 - Tommie Young
13. Get Out Of My Life 2.48 - Tommie Young
14. I'm Not Going To Cry Anymore 3.04 - Tommie Young
15. One Sided Love Affair 3.24 - Tommie Young
16. You Can't Have Your Cake (And Eat It Too) 3.30 - Tommie Young

Amazon Link:

http://www.amazon.co...46423711&sr=1-3

BACKBART004 Willie Mitchell — Memphis Rhythm King
Compiled by Dean Rudland

1. Everythings’s Gonna Be Alright 2.23 - Willie Mitchell
2. 30-60-90 2.25 - Willie Mitchell
3. That Driving Beat 2.07 - Willie Mitchell
4. My Babe 2.21 - Willie Mitchell
5. Mercy 2.09 - Willie Mitchell
6. The Champion 2.13 - Willie Mitchell
7. Cleo’s Mood 2.22 - Willie Mitchell
8. 20-75 2.14 - Willie Mitchell
9. Wade In The Water - Willie Mitchell
10. Grazin’ In The Grass - Willie Mitchell
11. You Can’t Sit Down 2.02 - Willie Mitchell
12. Toddlin’ 2.06 - Willie Mitchell
13. Poppin’ 2.18 - Willie Mitchell
14. Pearl Time 2.30 - Willie Mitchell
15. Papa’s Got A Brand New Bag 2.12 - Willie Mitchell
16. The Horse 2.29 - Willie Mitchell
17. Barefootin’ 2.13 - Willie Mitchell
18. Breaking Point 3.03 - Willie Mitchell
19. Six To Go 2.14 - Willie Mitchell
20. Big Power House 2.22 - Willie Mitchell
21. Prayer Meeting 2.13 - Willie Mitchell
22. Turn Back The Hands Of Time 2.47 - Willie Mitchell
23. Teenie’s Dream 2.10 - Willie Mitchell
24. Groovin’ 3.00 - Willie Mitchell

Amazon Link:

http://www.amazon.co...46423711&sr=1-2

BACKBART005 Honey Cone — Scorching Soul Trio
Compiled by Dean Rudland

1. Want Ads (Long Version) 3.48 - Honey Cone
2. While You’re Out Looking For Sugar (Album Version) 3.14 - Honey Cone
3. Sunday Morning People 2.42 - Honey Cone
4. Son Of A Preacher Man 2.26 - Honey Cone
5. Are You Man Enough Are You Strong Enough 3.17 - Honey Cone
6. Take My Love 3.09 - Honey Cone
7. The Feeling’s Gone 2.51 - Honey Cone
8. When Will It End 2.52 - Honey Cone
9. We Belong Together 3.10 - Honey Cone
10. It’s Better To Have Love And Lost 2.42 - Honey Cone
11. If I Can’t Fly 3.23 - Honey Cone
12. Take Me With You 2.59 - Honey Cone
13. All The Kings Horses (And All The Kings Men) 3.48 - Honey Cone
14. Don’t Count Your Chickens (Before They Hatch) 3.01 - Honey Cone
15. How Does It Feel 3.09 - Honey Cone
16. One Monkey Don’t Stop No Show (Part 1) 3.31 - Honey Cone
17. Stick Up 3.02 - Honey Cone
18. Who’s It Gonna Be 5.53 - Honey Cone
19. Sitting On A Time Bomb (Waitin’ On The Hurt To Come) 3.40 - Honey Cone
20. Innocent ‘Til Proven Guilty 3.28 - Honey Cone
21. Woman Can’t Live By Bread Alone 3.05 - Honey Cone
22. Stay In My Corner 4.57 - Honey Cone

Amazon Link:

http://www.amazon.co...46423711&sr=1-4

We currently have around 30 more Backbeats Artists albums in the pipeline and we'll be releasing them 5 at a time every couple of months, so watch this space!

Ian D

By Ian Dewhirst in News Archives · September 14, 201212 yr

The tickets will all have gone by the end of Wednesday this week so grab them now or regret it for the rest of your lives!
£20 each, cheques payable to A Croasdell, Flat 10, 108 Gt Titchfield St, London W1W 6SN enc SAE if possible.
PayPal is £20.75 each to ady.croasdell@btinternet.com
6TS 2013 dates
100 Club All Nighters
10pm-6am
Jan 12
Feb 16
Mar 16
May 18
July 6
Aug 17th
Sept 21st
Nov 2
Dec 7
Cleethorpes Northern Soul Weekender
June 7-9
Crossfire Oldies All Nighters
229 Great Portland St London W1
11pm-6am
Mar 31
Oct 12th
100 Club Xmas party
Thurs 19th Dec
9pm-2am
Ady Croasdell
http://www.6ts.info

By Mike in Event News · September 11, 201212 yr

just a reminder that can keep up to date when elsewhere
just like page to be kept in the loop
https://www.facebook.com/soulsourcesoul/
twitter
https://twitter.com/soulsourcenews
all public and no need to friend anyone etc etc

By Mike in News Archives · September 10, 201212 yr

Thanks to Mark Randle for his summer choice of Modern Soul and special thanks to Howard Earnshaw and Soul Up North for allowing us to use Mark's article. This will hopefully be a regular piece with marks recommendations of recent Modern Soul releases.
Soul Up North Is just about to Issue it's 75th Issue...more details to follow as soon as I get them.

Modern Musings………news and grooves from the Modern Side with Mark Randle
I love sport, but had not really given any thought to the Olympics, and of course you would have to be accompanying the NASA rover Curiosity on it’s trip to Mars to be unaware that it was being held in London this time around. I enjoy football, racquet sports etc, etc but have never really considered myself a fan of watching track and field, swimming, cycling and the like. But I’ve got to say that having watched the opening ceremony and being engaged by that, I spent the two weeks that followed glued to the TV when work and such like didn’t get in the way. Maybe it was the added interest of it being on home soil, but I was absolutely riveted to it all and have to say a massive well done to Team GB on third place in the medal table; bring on Rio 2016!! On a more general note, I think 2012 has been a great year for GB, what with the games and the Queen’s Diamond Jubilee celebrations. I’m sure some of the more cynical or Republican amongst you might disagree, but I reckon it’s been a year in which to be very proud to be British, and 2012 has done us a lot of favours through the eyes of the rest of the world.
It was nice to see the weather hold out for the games too, aside from that first weekend. I don’t know what the record books say, but 2012 must be some sort of record for rainfall during the summer months. After all I’ve said about being proud to be British, in this particular respect I could easily leave the country!! I don’t know about you, but I feel that winter is a long and miserable time in many ways, and when we don’t get much of a summer to compensate it’s not good for the old endorphins. We really do need those rays for a few months. Anyway, my first track for review is from Noah & The Ark’s…………….….only kidding!
Down to business, and after much will they, won’t they, the biggest news I have for you this ish is that the Prestatyn Weekender returns in 2013 over at Pontins Holiday Centre in Prestatyn on the North Wales coast. Once again being promoted by Pontins themselves, of course now owned by Britannia Hotels Group, and featuring a blend of Northern, Rare 60’s and Modern soul, the event is to be held over the weekend of 8-10 March 2013. All things Northern Soul remain in the control of John Poole, but there are changes on the Modern side, with Richard Searling responsible for organising the more contemporary aspects of the event. DJ’s confirmed for the main modern room are Bigger, Colin Curtis, Andy Davies, Mick Farrer, Fish, Fitzroy, Jim Hargreaves, Steve Hobbs, Terry Jones, John Kane, Neil Rushton, Neil Self, Mike Stephens and myself. Taking care of business on the 70’s/crossover front are Kev Briscoe, Andy Davies, Sean Hampsey, Ivor Jones, Terry Jones, Steve Plumb, Ady Pountain , Soul Sam, Cliff Steele, Andy “Tats” Taylor and Glynn Thornhill. A quick mention that Northern fans can salivate at the prospect of The Vibrations live in concert, but for you good folks reading these pages I can tell you that Vince “Audio” Broomfield from the Sunshine State is making his way to these shores for live duties too. Many of you will be aware that Vince is one of our real indie soul heroes from both his solo work and that with his extended family as La Voyage. The former of course has seen him recently releasing quality unreleased music from the vaults, along with new material, for Dave Welding/John Anderson’s Soul Junction Records here in the UK. If you’re not familiar with Vince, then please check out my one-off Starpoint Radio special for July 2012 at http://starpointsoulboy.podomatic.com/ (see play list below) to hear some of his fine catalogue from across the years, and to prepare you for his live show next March. Tickets for the weekend, which are selling very nicely thank you, can be obtained on 0844 576 5949, 01745 881800 or at www.pontins.com, with a variety of packages to suit all purses. Don’t sleep though, as certain types of accommodation are all but sold out!!
After a successful inaugural event last November, The Scottish Soulful Weekender returns for SSW2 on 2-4 November 2012. The venue once again is the Cairndale Hotel in English Street, Dumfries, DG1 2DF and following a few tweaks as a result of lessons learned at the first event it looks set to be another blinder. Featuring DJ’s such as Tony Humphries, DJ Spen, Gilles Peterson (TBC), Greg Wilson, Al Kent, Paul ‘Trouble’ Anderson, Ian Levine, Ian Wright, Snowboy and with Darrow Fletcher appearing live, the weekender looks to confirm itself as a major player on the dance/soul scene. The line-ups, organisation and effort put in from day one at this event says it all and the promoters are worthy of your support.
Following our mega Summer All Dayer, Soul Purpose returns for a more modest, but non-the-less essential regular session on Friday 7 September. Guest DJ making his Soul Purpose debut is Bournemouth Weekender head honcho Bob Masters. I’m sure you know the score by now, but if you’re a virgin (no, not like that!) then the place to be is Sketchley Grange Hotel, Hinckley, Leics. LE10 3HU. We run 8pm through 1am with door tax just six of your English pounds. Master Masters will be supported of course by residents Sam Evans, Mark Goddard and myself. See you there for lots of what follow below:
Joey Negro And The Sunburst Band Most cuts (UK Z Records LP/CD “The Secret Life Of Us”)

The new set from Joey Negro’s Sunburst band has the look and feel of summer, so it’s ironic that it’s probably the wettest one on record for 100 years!! Oh well, based on the old adage that the cup is half full, rather than half empty, we should view this feel good set as the perfect antidote and just the ticket to lift our spirits and at least make it seem a little like summer! As one would expect it is full of up tempo soul, soulful house and jazz-funk and kicks off in fine style with a cover of a real Randle favourite from back in the day, in the shape of Brenda Russell’s “In The Thick of It”, here featuring the vocals of the great Angela Johnson. A nice jazzy feel to an impressive version. Following US vocalist Angela, comes the UK’s Pete Simpson on the slightly more straight-up soulful house groove of “Why Wait For Tomorrow.” Diane Charlemagne impresses on the low slung, mid-tempo groover “My Way” before the instrumental “Jazz The DMX,” actually sounding more funk like than jazz, though the piano on top does provide a jazzy icing to this particular cake. The semi-vocal “Easy Come, Easy Go” has an 80’s electro feel and in truth is over before it starts, which is a shame because it’s a right groove. Darien takes us back to the full vocals, featuring on the great “Where The Lights Meet The Music”, with the hook sounding uncannily like the Jones Girls classic “Nights Over Egypt.” Quality dance floor material encouraging you to “spend your nights where the lights meet the music.” One of the albums highlights is the bouncing, bass-driven Incognito like title cut with Donna Gardier and Diane Charlemagne sharing vocal duties. I have to say that Pete Simpson’s “Caught In The Moment” doesn’t really do it for me, opening like a piece of American MOR pop/rock, but maybe it’s just me? “Opus De Soul” is another Incognito like instrumental groove; nice enough to provide an interlude between the killers. Vivienne McKone’s “Trust Me” is actually a funked-up version of an old Viv cut from the Y2K’s. Nice, but if you don’t know the smoother original then check that out first! The last five cuts on the album are a further mix of vocal/semi-vocal and instrumental cuts with an 80’s feel, but you’ve already had the highlights of this great set over the first two-thirds of it. Another quality offering from one of the UK’s finest purveyors of good time dance floor friendly grooves.
R. Kelly Various cuts (US RCA CD “Write Me Back: Deluxe Edition”)

Having delivered lots of quality cuts over the years popular on the UK soul scene, and often bridging the gap between the modern and rare soul scenes, Robert Kelly returns with his strongest album for some time. The set opens with the up tempo “Love Is”, which has the feel of David Ruffin’s “Walk Away From Love” despite the difference in tempo and it not being credited…….yep, it’s there alright! “Feelin’ Single” takes the tempo down a touch and has a nice Rod Temperton feel (think Tamia “You Put A Move On My Heart”), but with no involvement evident from Rod. The cut credits the use of Bill Wither’s “Lovely Day”, though I’d say it’s less obvious than the “Walk Away…..” influence on the opening cut. Strange but true. “Lady Sunday” is an obvious radio pick from the set and is quite fabulous. “When A Man Lies” and “Clipped Wings” take the tempo right down and provide the man the opportunity to prove that he can sing a bit. “Believe That It’s So” is one of the albums highlights, a string laden mid-tempo gem with an anthem feel a la “Happy People.” “Fool For You” trips along with an old school feel, as does “All Rounds On Me” with a vocal intro followed by a very Ray Charles influenced electric piano run. It turns into a swing your pants electric guitar laced number which isn’t really for me. “Believe In Me” and “Green Light” are fairly typical Kelly ballads. “Party Jumpin’” is instantly forgettable from our viewpoint, with the only thing going for it being that it sits alongside the albums big dance floor cut and one which will need no introduction. “Share My Love” has been doing the rounds on the UK modern scene for months thanks to the “dodgy download” that is such a big part of our music in the 21st century. Anyway, it’s here now available to all, but vinyl junkies need to decide what’s more important, the music or the format, because this is only available on CD album and looks set to stay that way. It’s a typical Kelly dance floor groove with more of that hands in the air anthem feel, as he declares that he wants to share his love with his girl for the rest of his life, though it’s clear what his short-term goal is!! There are four bonus cuts on this deluxe edition with “One Step Closer” being the pick, but you can probably live without these if its dance floor grooves you’re after.
Big Brooklyn Red Various cuts (US Trusoul Records CD “Answer The Call”)

One of the most sought after mid-tempo dance floor gems of the past couple of years, “Taking It Too Far” finally gets to see the light of day, with quantity of this US release now in the UK. This is one of those stories of myth and legend, which I believe goes a little something like this. The CD was originally released in 2008, pressed in the US, but only ever distributed in Japan. Confused yet? The result was an excruciatingly hard to come by CD containing a much sought after track. Of course these days the impact of such shenanigans is mitigated by the availability to all via MP3 and CDR, but for the collectors amongst us, we need the real thing and our need is now satisfied. To complete the story, and add to the allure, it is the track of choice, “Taking It Too…” which caused it’s limited distribution, as the cut uses Lowrell’s “Mellow, Mellow Right On” as it’s foundation, and it was lack of clearance for the use of this which lead to it being pulled from release. Presumably this has now been resolved. Anyway, it’s here in all its glory but what you need me to tell you is that this is far from a one trick pony, and for those that aren’t aware of Big Brooklyn Red you really need to check him out. Visually not your typical big voiced American soul singer, the old adage never judge a book by its cover comes into play here. “Home To You” and “Believe In Yourself” get the set underway nicely, the former with some great brass weaving around Red’s resonant vocals. The aforementioned big cut comes in at track three, and you don’t need me to tell you much more than I already have about this, except that there is further use of brass to fine effect as this plods along with Red’s quality vocal telling the story of a break up, and an effort to remain friends, but with the lady being intrusive on his new life he proclaims that she is “taking it too far, to ever get me back baby…..” Though you wouldn’t guess from the intro, and could therefore easily bypass it, “So Inspired” is another of the albums highlights, similar in style to “Taking It Too…” with that brass in there again. Though nice enough, with the exception of the duet with (Lady) Alma Horton “Sunrays”, nothing really reaches the heights of the four opening cuts until the album comes to a close, where the title track shines. This is precluded by an up tempo version of Marvin’s “Sexual Healing”, which you’ll either love or hate. The album closes with “Truth”, another up tempo mover with more great vocals from the man, accompanied by that brass again, plus nice piano and strings. Overall a decent album then this, and worthy of your hard-earned. And a tip for you, check out the 2002 12” release for Distant Music Patrick Green feat. Big Brooklyn Red “Shine Your Light On Me”, which was where I first heard of Red, it being a gospel house dancer of the highest order. I don’t half look after you lot!

Various Most cuts (UK Harmless LP/CD “PIR Classics: The Tom Moulton Remixes”)

Ian Dewhirst is known to most of us, either to the Northern Soul faithful as DJ “Frank” (Wigan Casino etc), or maybe from further down the line as compiler of the great Mastercuts compilations. Truth be told, Ian has earned his living from the music business for more years than he cares to remember, and now finds himself involved with the likes of heavyweight remixer Tom Moulton in pulling together Philly/disco compilations such as this one. Whatever your preference, this is a great package, either as a four CD box set with 31 tracks and accompanying booklet, or as 3 double LP’s featuring a dozen or so of the choice cuts from the CD. Of course, you could be a complete mug and buy the lot, but who would do a thing like that? (Er, you Randle? — Ed). Lot’s of great tracks then, from the more obvious (“Back Stabbers, “The Love I Lost”, “I Don’t Love You Anymore”, “You’ll Never Find Another Love Like Mine”) to the perhaps not so obvious (to us) such as “When Will I See You Again” by the Three Degrees. The only downside to all this of course, is that many readers of this particular magazine like the short, sharp get in, get out of the 3 or 4 minute tune, rather than an extended remix of what were already longish cuts in their original form. But if anybody’s going to remix and extend them, then I guess Tom Moulton’s your man, and many of these tracks are musically non-the-worse for Tom’s touch, which of course also lifts this from being just another straight-ahead PIR compilation. Lovers of soul music across the genres need this in their collection, the only question is……….vinyl or CD? Vinyl is the collector’s choice, but can you live without the other tracks? Over to you………
The Music Box with Mark Randle on Starpoint Radio playlist for July 2012:
The Sunburst Band ft. Angela Johnson- In The Thick Of It (UK Z Rec’s CD) Jarrard Anthony — I Love You (US JAPMEG CD)
Cool Million feat. Natasha Watts — Show Me (EU SedSoul CD) Perri — It’s Been You (US MCA LP)
R. Kelly — Lady Sunday (US RCA CD) Jennifer Holliday — It’s In There (US Arista CD)
Ron Carroll & Byron Stingily — I Owe My Love To You (EU Peppermint Jam CD) Teena Marie feat. Lenny Kravitz — Main Squeeze (US Sarai CD)
Rodney Mannsfield — Wanna Make Luv 2 U (US A&M CD) Richard Earnshaw feat. Natasha Watts — Won’t Let Go (Vocal Mix) (UK Duffnote MP3)
Johnny Gill — Wrap My Body Tight (UK Motown LP) Ralf GUM/Monique Bingham — Little W. 12th St. (J Montana Mix) (UK Solid Ground MP3)
Robbie Mychals — One Mile From Paradise (US Alpha International LP) Audio — Romantic (UK Rare Groove Records LP)
Ziggy Funk/Taliwa — What You Afraid Of (Ian Friday Mix) (US Quantize MP3) The Keepers feat. Audio — Can You Picture This (US Sterling Gold Records 12”)
Steven Stone & Wendy Lewis — New Lady (Original) (EU Soul Deluxe MP3) Audio feat. Vince Broomfield — Won’t Somebody (UK Soul Junction Records 7”)
GU feat. Cei Bei — Fall’en Raine (Original Vox Mix) (US NLC 12”) Howard Johnson — Several Exceptions (US Raven Mad Records CD)
Gregory Porter — On My Way To Harlem (US Motema Music CD) Big Brooklyn Red — So Inspired (US Trusoul Records CD)
Chidi — Someone (UK Selah Records CD) Princess Freesia — Stellar Sight (UK Digi Soul CD)

SIMPLY SOUL MAIL ORDER Top 10 (August 2012)
1. Various - Ferry Ultra and the Homeless Funkers (EU Peppermint Jam CD)
2. Sunburst Band — The Secret Life Of Us (UK Z Records LP/CD)
3. Cool Million — 111 (EU Sedsoul CD)
4. DJ Kemit — Everlasting (US NIA CD)
5. Various — PIR Classics: Tom Moulton Remixes (UK Harmless LP’s/CD box set)
6. R. Kelly — Write Me Back (Deluxe Version) (US RCA CD)
7. Various - Crossover To Modern Soul (UK Outta Sight CD)
8. Yambee — Blacker (UK Midnight Riot 12”)
9. Rhythm Machine — Rhythm Machine (w/ unreleased tracks) (US Now Again LP/CD)
10. Kon & The Gang — Get It Together (EU Basic Fingers 12”)
Tel - 0116 237 5461
Email - sales@firstexperiencerecords.com
Web - www.firstexperiencerecords.com
Soon be Christmas!
Mark

modern soul

By Mark R in Articles · September 10, 201212 yr

Just wanted to share this with all the soul fans here and in particular, Impressions fans.
I've more footage to be transfered yet but as a taster this is The Impressions opening song from their first night of two at the Jazz Cafe in London on Friday evening from their small but perfectly formed "The Soul Of Curtis Mayfield" Tour in the UK.

I'll be putting more up as soon as I can but for now enjoy this fabulous tune...

Eddie

By Guest eddiep in News Archives · September 10, 201212 yr

Blues & Soul Article Preparing For Visit To Wheel plus Soul Fans Name Checks...are you mentioned?

Here are scans for the B&S issue 48, December 1970 where DG announces his plans to visit The Wheel, interestingly there were concerns about it being closed down then! I will post up the report on the actual visit soon.

Blues & Soul Report Dave Godin Visit To Twisted Wheel & Pictures

My latest Public Service Post! B&S number 50. The iconic report of DG's visit to The Wheel. If anyone recognises themselves in the pics or recognises others who are still into Soul Music, perhaps they could post their info on here + anyone who was there but is not in the pics?

Later on I will post up issues where DG gives name checks to those who wrote into him about soul records, maybe you are in there?!

Blues & Soul 1975 Dave Godin Column 'Northern Soul Is Dead' Shock

This DG B&S column is in issue #170 September 1975. Reading it again reminded me how disappointing his columns could be sometimes, especially when he went on a rant about something.

Commercialisation insofar as ‘dumbing down’ the essence of Soul music was a relevant topic but could have been adequately covered in 2/3 paragraphs IMO. However, I was particularly interested in his scathing review of the re-release of Lorraine Ellison’s ‘Stay With Me’ which he describes as artificial, fraudulent & insincere, an opinion he formed when it was first released. He goes on to say in his view it is a ‘cunningly calculated exercise in plastics emotion’ He also wonders ‘how much calculated conniving went into its creation’ and that L.E. was ‘probably putty in the hands of her producers’ phew!

He then goes on to compare it with ‘True Deep Soul’ such as Piece Of My Heart, Erma Franklin and Soul numbers sung by artists like Irma Thomas. What surprises me is that DG doesn’t seem to know or ignores the fact that Piece Of My Heart and many of the great Irma Thomas songs e.g. Time Is On My Side were written and often produced by the same writer/producer as Stay With Me, Jerry Ragavoy. J.R. also created great Deep Soul with Garnet Mimms & Howard Tate and many others.

This column was written about 8 years after the song came out and Jerry Ragavoy was pretty well known by then yet he isn’t mentioned in the review as maybe having a lapse in taste in DG’s view. I happen to think he was wrong by the way but obviously he was entitled to his opinion but maybe he did not know as much as he thought or he was guilty of shoddy research. No surprise he gives 5 stars to his employer’s Contempo album release!

Comments anyone?

By slimharpo in Articles · September 9, 201212 yr

Bettye Lavette celebrates her 50-year music career with the triumphant release of 'Thankful n' Thoughtful' on anti- September 25 and her autobiography. 'A woman like me' co-written with David Ritz out September 27.

"¨

"¨"¨

R&B legend Bettye Lavette is set to mark her 50th anniversary in the music world with the upcoming release of her mesmerizing album, THANKFUL N' THOUGHTFUL, on September 25 on ANTI- Records, as well as her breathtaking and no holds barred autobiography co-written with David Ritz out on Blue Rider Press through Penguin on September 27."¨

"¨"¨

Read the press release for her forthcoming album:

"¨"¨http://www.rosebudus...tful_press.html"¨"¨

Buy David Ritz's biography of Bettye from Amazon:

"¨"¨http://www.amazon.co...47106571&sr=1-1"¨"¨

Visit Bettye's own website:
"¨"¨http://www.bettyelav....com/index.html

"¨"¨Bettye will be appearing at London's Jazz Cafe on December in what appears to be her only UK date.
"¨"¨http://venues.meanfi...tured-gigs/7673

And a good read from the New Yorker about Bettye:

http://www.newyorker..._fact_wilkinson

By Chalky in News Archives · September 8, 201212 yr

Sad to hear of Odyssey's lead singer Lilian Lopez passing away late on Sept 4th.
Great vocalist who I worked with on a few occasions.
Don't Tell Me Tell Her for me is one of the great killers of 1980 not forgetting the enormous pop hits such as 'Native New Yorker'

http://en.wikipedia..../Odyssey_(band)

By Goldsoul in News Archives · September 8, 201212 yr

THE ESCORTS are the subject of a new documentary that should be worth watching .......

Reginald Hayes, Bill Martin and LaGrant Harris, The Escorts, who recorded their debut album, All We Need Is Another Chance, while doing time in prison.

More funds are urgently required to complete the project.

Video link:

http://www.kickstart...-another-chance

The unsung story of The Legendary Escorts is that of the musical group, formed behind bars in the early 70s at Rahway State Prison. It carries the weight and wisdom of both their tumultuous and celebratory experiences from the past decades up to modern day. Through their successes, trials, and tribulations, the storyline will explore the soul generation, civil rights movement, and penal reform from the inside.

By Roburt in News Archives · September 7, 201212 yr

Mentioned a few times on here over last few years , for those hotdeals,co,uk types here's news of a 2 for 1 ticket offer

shows showing Tue 11 — Sat 15 September, 9.15pm

link for more info, site search for more background

http://www.ayoungert...t-soho-theatre/

press info:

Northern Soul is a bit about northern soul, its’ also a bit about pigeons, but mainly it’s about — me.

Directed by international phenomenon Ursula Martinez. Northern Soul is a hilarious one-woman show about Victoria’s attempts at joining in.

Victoria, an untrained dancer, has been travelling the dance halls and living rooms of England being taught to dance by Northern Soul’s ex-champions.

Northern Soul draws on those investigations and explores the ‘soul of the north’ using film and original Northern Soul dance moves.

Performer & Deviser: Victoria Melody
Director: Ursula Martinez
Choreographer: Janine Fletcher
Multimedia: Louise Purnell
Technician: Greg Mickelborough

By Mike in Event News · September 7, 201212 yr

Been out in the USA for a couple of weeks now, this remake of the respected 1970s film is scheduled to start showing in the UK this October 2012
Mainstream media reviews seem to be fairly positive/mixed, has anyone out there in soul source land seen it yet?
,

Press blurb ...

Set in the 1960s, three sisters form girl group and soon become local sensations with major label interest, but fame becomes a challenge as the close-knit family begins to fall apart.

Musical prodigy, Sparkle (Jordin Sparks) struggles to become a star while overcoming issues that are tearing her family apart. From an affluent Detroit area and daughter to a single mother (Whitney Houston), she tries to balance a new romance with music manager, Stix (Derek Luke) while dealing with the unexpected challenges her new life will bring as she and her two sisters (Carmen Ejogo and Tika Sumpter) strive to become a dynamic singing group during the Motown-era.

Soundtracks include music from the original film written by Curtis Mayfield and current tracks by R Kelly

By Mike in News Archives · September 7, 201212 yr

Towards the end of the 80's one of the Rare/Northern Soul Scene's most colourful characters, Pete Lawson, published two issues of his magazine "The Gospel According To Dave Godin".

Part homage to Dave Godin, part Pete's view of the scene, the people involved and not so involved who thought they were. Pete was sometimes very critical of those who he thought gave little and took a lot, some of Pete's views can be seen as harsh, some of his views are without doubt highly amusing. The magazines are however a good insight into how the scene was post Stafford and lurching into the 90's with a jolt.

The third issue Pete was tragically killed before he could publish. It was printed in his memory unfinished and complete with edit notes.

If you fancy a read of all three issues of Pete Lawson's magazines "The Gospel According To Dave Godin" then they are free to download as either a PDF or ePub file for those with iPads etc. The PDF will also open in iBooks on the iPad.

All three are for download. The two that actually got published by Pete and the third which he was working on at the time of his death.

All three are on my site under Magazines and reviews.

http://www.soulunder...magsandreviews/

By Chalky in News Archives · September 2, 201212 yr

The soul source gallery has just come to the end of a long overdue upgrade

Not only has the engine been upgraded but all the images/cats have had a going over

last count creeping up to the 100,000 mark

here you go

http://www.soul-sour...lforum/gallery/

ask feedback/qs via this thread which will move to the feedback forum later

cheers
mike

By Mike in News Archives · September 2, 201212 yr

The Pain Gets A Little Deeper - LONDON HLU 10024 (1965)

I can remember writing that title and information down on a scrap of paper after one of the DJs played it at the Twisted Wheel in Manchester in the late ‘60s. I never found a UK issue copy at the time, or one of those beautiful, much cherished, London American yellow demos, a very hard release to find even in those days.The mass importation of USA releases hadn’t happened yet, so my collection of soul 45s comprised UK releases only. Things were about to change dramatically at the end of the ‘60s.

On my first trip to the US, in 1970, I found “Pain” and some of Darrow’s other releases on the Groovy label, in Chicago. In the ‘60s, we had very little access to information on artists like Darrow, or US soul releases. It’s very hard to understand, if you weren’t around at that time, the little we knew about soul artists compared to the easy access to information we have today. If an artist or group was fortunate to have an album released in the UK, the back cover notes were the only written documentation available to us, later magazines like Blues & Soul were invaluable to collectors. The Sunday night Mike Raven show on the BBC and others like Radio Luxemburg, pirate radio stations and the American Forces Network (AFN), were the only way to hear new releases. Reception on some of those radio stations was very poor and always seemed to fade away at the time when the DJ announced details of a record!

Well, I think that’s enough nostalgia, but I mention those times to explain that we had no idea that Darrow was only 14 years old when he cut the track “Pain” in the studio in Chicago in December 1965.

Well, time moved on, and after his UK performance at our own Cleethorpes Northern Soul weekender in 2006, and a US appearance at Brooklyn’s Dig Deeper concert in 2008, I wondered what Darrow was doing now. So, in 2010, I contacted Darrow and arranged to meet up in Chicago and do an interview. Much has been written about Darrow over the years, but hopefully we can find out a little more about his musical career and plans for the future. Before the details of the interview, I thought it would be appropriate to give the reader a little background on Mr. Darrow Fletcher.

Everyone predicted stardom for the young crooner, but often we hear tell of child prodigies frequently in the crazy world of entertainment, who never recapture their initial impact and are often forgotten as one-hit wonders. However, it was not so for Darrow. He had close to 20 singles in an active career, which spanned 9 labels and 13 years, many of which are cherished and collected by soul fans today throughout the world.

Born on 23 January 1951, in the Detroit suburb of Inkster, Darrow, when he was three years of age, moved with his family to Chicago. Whilst he was a freshman in high school (he attended first Hirsch and later South Shore schools), at the age of 14 in December, 1965, he recorded “The Pain Gets A Little Deeper”, written by Darrow and producer Ted Daniels, and cut with the help of his stepfather, Johnny Haygood. It was an impressive debut. It was a rough song for a 14 year old to get into, or so one would think, but Darrow belted it out as if he had just gone through a knockdown, dragged out divorce. The record was leased to Groovy, a small New York label owned by Sam and George Goldner and Kal Rudman. They got the record on the national R&B charts for seven weeks in early 1966, and as we all know, it was also released on London here in the UK.
Soon Darrow was touring the “chitlin’ ” circuit, playing venues like The Apollo, The Uptown and the Regal, where, in July 1966 he shared the bill with B B King, The Elgins, Stevie Wonder, The Capitols, Lee Dorsey, Jimmy Ruffin, and from Chicago the Sharpees and Jo Ann Garrett. I can remember Bob Pruter telling me that a ticket for a show like that back in 1966 cost just $1.25. Darrow also appeared on the Chicago version of The Soul Train, and Ken Hawkins’ World of Soul in Cleveland.

Following three failed follow-ups on Groovy, and dissatisfied with the final arrangements of the association, Darrow’s stepfather, Johnny Haygood, in 1966, formed Jacklyn Records, named after one of his daughters. Darrow cut three singles on Jacklyn — “Sitting There That Night” scored immediately, 2,500 sales for the record in Chicago alone. It was written by Haygood, with arrangements by veteran Burgess Gardner, and its marvelous Curtis Mayfield style guitar intro and brassy horns, made the record a genuine Chicago style classic.

In 1968, Haywood got a production deal with MCA, which gave Darrow releases on Revue, Congress and UNI. No hits developed out of MCA until 1970, with “I Think I’m Gonna Write A Song” in February, and “When Love Calls”, written by Johnny Moore and partner Jack Daniels, sold at least 6,500 in the Chicago area.
Darrow then moved to LA in 1974 to record for Ray Charles on his Crossover label. “It’s No Mistake”, in 1975, was an accomplished opener, and he had a minor hit with “We’ve Got To Get An Understanding” the following year. Crossover records had made a leasing/distribution deal with Atlantic so both of Darrow’s final releases were on their labels but the Crossover logo was clearly shown on the label face.

Darrow’s version of “The Rising Cost of Love”, backed by “Honey Can I”, are cherished by ‘70s/modern soul fans. His Atco single “Improve”, from the same period, has a very elusive B-side called “Let’s Get Together”. The more easily obtained demos are all double A sides. In the early ‘80s he returned to Detroit and around 1987 returned to Chicago, but not to the music business. Several deaths in the family, including his mentor and stepfather, Johnny Haygood, caused Darrow to suffer depression, but later involvement in the church, and more recently singing gospel and recent concert appearances has helped him recover. Before I left the UK I compiled a CD of all Darrow’s releases including “Hope For Love” which hadn’t been released at that time. During an earlier phone call Darrow told me that he hadn’t access to any of his songs and would really appreciate a CD so he could listen to the songs he created all those years ago. I told him that many of his tracks were available on Youtube, but that wasn’t much help as he didn’t have his own computer and only had limited access to one at his girlfriend’s house.

click to view in full

So the time had come to meet Darrow at his home on Chicago’s north side. When we arrived at the house, Darrow was already sat on the porch, so eager to get started. So, recorder and CD at the ready, we made our greetings and got into the interview.

DB Tell us a little bit about how you first got into the music business.

DF Well, it was through my father. He used to hear me sing a lot when I was young, well through my stepfather. He used to hear me in the back room, singing, and fooling around, you know, and he asked me — he said you really like to sing. Every time I look around you’re in the back room singing, you know. He say you want to sing professionally? I told him yes. I used to do talent shows and by the grace of God I always came in number one. I had a little group and we sang, like, a little doo-wop stuff, you know, and I was playing a guitar, and I really liked my guitar, I used to play you know. We went from talent show to talent show and my father said what would you really like? What’s one of your greatest desires? I said I want to sing in school, all the people in the school come to the auditorium to hear me sing. He said why can’t you broaden your scope. Laughing…. Would you like all the people all over the world to hear you? That’s all over the world. I said yeah. Laughing…

So anyway, talent show to talent show…next thing I know, my father told me to learn as many tunes as I could, and we wrote some songs together. And put them on tape. And that’s when he presented them to different record companies here in Chicago. And they liked the material and he went round a lot of different people, not just one person. The one that liked it, he said ok, he would get back with him, yet he went to other places as well, other record companies and they liked me, and he wanted to know what the best deal was, that’s what he was juggling about for, to make sure he got the right deal. Finally he got in with Groovy, the Groovy label. “The Pain Gets A Little Deeper” was my first recording and from there, I was doing shows and recording more records, and it happened between 65 and 79. Well, I moved to California in 74 because Ray Charles was interested in me, because he heard a few of my tunes that was presented to him by one of his representatives, an A&R woman for Crossover records, Pat Bush, she had seen me perform at the Regal and she said Ray needs to hear these, so she took them. She went back to LA, played them for Ray and Ray liked them and he called, had his secretary call my home and my father spoke with her. Ray sent me the money to go out to LA to record. He set me up in a hotel and I worked on some songs. I had four songs which we recorded in Ray’s studio.

DB What tracks did she take to Ray?

DF The ones that she took to Ray Charles was “Hope For Love”, “Changing By The Minute”, I think it was. There was a few others. “This Time I’ll Be The Fool”, that was Ray’s favorite, he loved that song.

DB “Hope For Love” was never actually issued was it? It was never made into a record

DF No, well, actually we only pressed up demonstration copies back then, but I made an agreement recently with Kent to release it on a CD in England.

DB Yes, that track was released in England on a Kent modern soul compilation quite recently. The track was originally found on an old studio spool of tape that record dealer John Anderson rescued some years ago from Chicago and was made available to the guys at Kent.

DF Anyway, Ray was very much interested. I came out there and he was my executive producer and I worked with him from 74 to 79. It was one year with a four year option. And before that, before 6 months went by, Ray was interested. He told me, he said, listen, I’m going to pick up the option. He took me with him to Chicago, to the amphitheatre. He said, I’m gonna call you out in the middle of my show and I want to you do that tune, “This Time I’ll Be The Fool”, and he played piano behind me and he was singing, moaning right along with me and he was saying, come on son, come on son. It was a thrill. After we got finished with the show and everything …

it was a beautiful experience for me. That’s basically how I got into the music, was through my stepfather. He said, I’m gonna make a star out of you. I recorded an album with Ray Charles, and what happened, he told me ok, he had a write up on the album and he had something to say, you know, just a sentence, just a paragraph, and it said he had mentioned about me, he said in his eyes, he said, he sees me ahead of time, in the future to be one of the major stars in the industry. He said because one thing that he noticed about me, he noticed that I was a hard worker, in others words, I loved to practice, and he said he’s got a lot of gut, you know, and he said he could see more soul in him than any one thinks Ray could see. He say, I can see your gut when you sing, you are very sincere. He.... I don’t know, it was a long time since I read that, but it was an honor coming from him, speaking about me.

DB It would be nice to get hold of that album. It wasn’t issued so it must have only got to the demonstration stage.

DF That’s what I was saying, that’s what I would like to do.

DB But the album was never officially issued.

DF It’s ok, I’m saying that I would like ….. when I call out there, and finally catch up with Mabel John, the lead singer of Raylettes, now that Ray has passed away, I can get in contact with her and ask her for my album. Just so I have can have it, cos I’ve misplaced my copy. And I need another one.

DB It was never issued officially because I’ve never seen it out there. From a collector’s point of view, if I’d seen something like that I’d have picked it up, and many other collectors would have done the same. From what you say about Ray’s words on the back of the album sleeve, he must have had all the art work and packaging completed. Ray must have pressed up a very small quantity of staff demos. I wish we could get hold of a copy of that demo album.

DF Now, once I get that album, then I believe that all the tunes I was looking for should be there. I wish you could hear “Sunny” and “Fever”. “Forever And A Day”, that’s another tune that’s never been released and Zane Grey has it, Zane wrote it. And I’m gonna ask Zane for it.

DB You weren’t you born in Chicago?

DF I was born in Inkster, Michigan. I was raised in Chicago. I would go back and forth to Detroit to visit my grandmother and spend the summer with my grandmother, and then I’d come back home to Chicago.

DB Did you get any influence from the Detroit music?

DF I’d get influence through my cousin, Rose Batiste. She used to sing a lot, when we were kids. I was, like, 5 and she was, I think 7 or 8 and she used to sing a lot and I admired her singing, and one day, I think she was, like, 13 or 14 years old and I heard her singing, and she sounded like Aretha Franklin, she could duplicate Aretha’s voice, that’s how good she was. Her dad, my uncle, was just like a proud peacock. Chest poked out and everything. He would take her to do nightclub work and she used to sing. Next thing I know she’s signed up with Motown. Next thing I know she moved to England, no, to Europe.

DB And you haven’t been in touch since.

DF I haven’t seen her since. I’d love to get in touch with her.

DB You haven’t had any mail or anything.

DF I have no idea where she is now, and I miss her. When I moved I lost all my phone numbers. Lost my phone book. What can I say? Eventually I may bump into her again, if I keep doing work out there, in England, or Europe. I may see my cousin.

DB Well, we’ll try to do something, see if we can track her down for you.

DF Give her my number, both of them.

DB What I’d like to do now, Darrow, is play a few tunes. I know it’s a long time back but if you can relate to that time, and if there were any other artists, producers, session musicians who we might know, involved in the sessions, because most of those tracks were recorded in Chicago or Detroit, even though some of them were leased out to other record companies.

DF Yes. Except for the ones in California, they were recorded with Ray Charles.

DB What about “Pain Gets A Little Deeper”? Your first one.

DF My very first one.

DB You were involved in writing that as well.

DF Yes, yes, a little, because I wrote the tune with my father, as matter of fact I wrote a couple of tunes, I may have wrote some with someone else. But those two in particular, “Pain Gets A Little Deeper” and “We’ve Got to Get An Understanding”. I did the music to “Pain”, I didn’t write the words. “Sitting There That Night”, my father and I wrote it, and “Understanding”, Joel Webster, which was Mabel John’s son, and I, wrote “Understanding”.

DB “Understanding” was one of the later tracks, one of the Crossover tracks. When I look at the records and pick up the names on the records, there’s Ted Daniels on there, Don Mancha, where did they fit in? Were they involved right from the start?

DF Well, Ted Daniels, he was a producer, he’s deceased.

DB He used to be in a doo-wop group years ago.

DF No, Ted never was in a group, he was a producer and he wrote songs, but he was never in a group, He never sang or anything. Don Mancha was a songwriter.

DB Don Mancha has passed away now hasn’t he?

DF Yes, I heard he’s passed away. Ok, you remember Johnny Moore.

DB Yes, he was my good friend.

DF Yes. I understand he passed away?

DB Yes, Mother’s Day, 2005.

DF I’m sorry to hear about that. But, I remember someone telling me that he passed away. But he was another guy that wrote for me. And there was another guy — Maurice Simpkins, he wrote several tunes for me. But mostly the ones that I mention are on your CD.

DB Tom Washington did some arranging for you as well.

DF Yes. Tom Tom, he’s known as Tom Tom. I remember he did two tunes: “Changing By The Minute”, and “When Love Calls”. I remember those. He may have done something else too, but those two I can remember.

DB You mentioned to me a few days ago that the Chi-Lites did backgrounds on some of your songs.

DF The Chi-Lites sung backgrounds on “Changing” and “When Love Calls”.

DB They were recording for Carl Davis at that time and then went on to record on Brunswick.

DF Yes. Brunswick, that’s a long time since I heard that name. Yes, that was back in the late ‘60s or early ‘70s.

DB Yes, that’s about right. I think “Changing” came out in 1970.

DF 1970. Yes, I was 19 years old.

DB And then you did another Johnny Moore penned song, called “What Is This” and “Dolly Baby”.

DF No, Johnny Moore didn’t write “Dolly Baby”. Don Mancha wrote “Dolly”, he wrote “What Is This”. Now, Johnny Moore wrote a tune for me that has never been released, “Together”, that’s the name of it. I don’t understand why it was never released. I wish I had the tune, I recorded it.

DB Was that while you were in Chicago, before you went to California?

DF That was before I went to California.

DB Johnny Moore wrote “Now Is The Time For Love” and you had Part 1 and Part 11 on that, that was a long track. I believe Bernard Reed played on that.

DF Who? Bernard Reed the bass player, yes.

DB He played on that track. I think he co-wrote the track as well. I think the credits go to Johnny Moore and Bernard.

DF Ok. But they never released “Together”. I don’t understand what happened. I wish there was some way I could contact somebody who had these tracks.

DB All Johnny’s tracks I’m familiar with. He had very little left at home, a lot of his stuff got lost, and that track wasn’t amongst his stuff he still had. He was in the same situation as you, Darrow, when you move about you don’t always carry all your things with you.

DF You thought you did, but when you get where you’re going, you don’t see it.

DB What about the Jacklyn label? That was your father’s own label wasn’t it. Why did he decide to do his own label? Previously he had leased everything to New York, to Groovy.

DF Well, because money ideas came into his mind. He said, well, if the record companies can do it, why am I sending them something that I can do, you know. The record company said it was gonna take a lot of money to promote these records, maybe I need to lease first and give them some of the action, just so they can be released. I can ride with that and get some more information and some more money, then I’ll open up my own company and do my own promotion. Because he knew it took a lot of money.

DB Did he have any other business besides that?

DF Well, he had a production and publishing company, and a record company, That was about it,

DB He didn’t do anything else for a living? He didn’t have another job?

DF At first he was a car salesman, he sold Cadillacs. But after that, he just drifted into the music. He was listening to me, and he could hear me going further than just singing in the back room. And he just took a poke at it. He had faith in my voice and he knew I could sing just as good as anyone else out there. Let’s give it a try.

DB What about recording studios? Where did you cut most of the tracks?

DF In Chicago. It was at Universal Studios, and some other places too, I just don’t know the name of these studios. We went to different studios, we went to some in Detroit.

DB You cut some tracks in Detroit then? Cos Mike Terry arranged “What Good Am I Without You” on Jacklyn, 1967. I think that had a Detroit connection.

DF On a couple of occasions I can remember, I just don’t remember the names of the studios.

DB At least we know now that they weren’t all recorded in Chicago, some were done in Detroit.

DF Yes, and California. And then, after ‘79 I hooked up with a band called The Best Of Things. We did some demo copies, two tunes in particular, one is called “Crazy About You”, and the other one… these were demonstration copies. Folk were biting at them, and they wanted me to sign right away and I said aarrgghh! wait a minute, I gotta see some contract, I want to see what’s going on, you know. They gave me a contract, here it is right here, just sign it right here. And there I was, trying to read it, I’m trying to see, I tell you what, let me look this over, and see you in a couple of days. Couple of days? What’s going on here, why don’t you want to sign it right here.

DB You wanted to think it over before you signed it.

DF Yeah, I didn’t want to rush into it. I’d rather take my time. If you sign on the dotted line you might be signing your life away.

DB If you don’t read the small print! Those demos you cut with the band. Have you got any way of getting hold of those tracks.

DF No, I wish I could get them, I really do.

DB Where were they cut?

DF In California with The Best of Friends. We did some beautiful shows, man. Some exciting shows.

DB Would Zane Grey have those?

DF No, he didn’t know anything about them.

DB That was after your association with Ray Charles?

DF Right. See, it was a different situation altogether.

DB But you actually cut demos.

DF Yes. They was demonstration copies, we wanted to present them to record companies. That’s what I wanted to do.

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DB We’ll play a few of these tracks and see if anything else comes back in your mind while we play them.

(playing tracks)

“Pain” — we’ve talked about that so we’ll move on.

“My Judgement Day” Playing

DB You wrote this as well?

DF No Maurice Simpkin wrote it.

“My Young Misery” playing

DF Ted Daniels wrote this song and I wrote the music.

DB And that didn’t do as well as “Pain” did it?

DF No, “Pain”, that was the one. But this tune, it’s a good tune. They remembered that when I appeared in New York.

DB They love it in England as well.

“Gotta Know Why” playing
DB That was the flip.

“Gotta Draw The Line” playing

DB Did you know the Three Degrees actually recorded this?

DF Did they, wow, I never heard that.

DB On their Swan label out of Philadelphia.

DF Ok

DB That song was written by Richard Barrett, presumably for the Three Degrees, it was released in 1965.

“That Certain Little Something” playing

DB After this track your father decided to produce records on Jacklyn rather than go to New York.

DF Yes

“What Have I Got Now” playing

DB Who wrote this Darrow?

DF Maurice Simpkins

DB He was doing most of your writing at that time?

DF He was an excellent writer. Not only would he rhyme the last word in every sentence, but sometimes he would rhyme the front, the middle and the last, you know, he would rhyme the words in the story.

DB Well, a lot of these songs have deep stories, deep meanings. We were surprised at the way you sung these songs, you were so young at the time, about the circumstances of love affairs and things, yet you were only 14. You hadn’t really lived the experiences at that time.

DF Well, some of them I could relate to. And I think he was trying to write based around some of my experiences. And then some of them were something he had experienced, you know.

“Sitting There That Night” playing

DF This is me on the guitar. I played guitar solo on this. I was singing and I was 14 and a half when I recorded it. That was one of the first tunes, right along with “Pain”. I recorded that the first year I started recording.

DB So that was kept back and released later on. I think you actually used it as a flip side on some others. A lot of people think this is one of your best tracks.

DF Really? I didn’t know that.

DB Bob Pruter, who I’ve been talking to today, when I mentioned Darrow Fletcher, he mentioned this track as one of his favourites. He’s lived in Chicago all of his life and thought this was one of your best tracks.

DF My father wrote that, I put the music to it. And I practised and practised on the guitar until I got my solo, till I got it right, the way I wanted it to be, then I recorded it.

DB Did you play any other instruments?

DF I played drums, I sang and played drums and stuff at shows and school.

DB The guitar solo just sounds like Curtis Mayfield playing.

DF I know, that’s what I was trying to do. I used to love to listen to him.

“Infatuation” playing.

DB You were 17 at that time?

“Little Girl” playing

DF That’s the B side. Just to fill in.

DB That would be recorded here, in Chicago? Sounds like a Chicago record.

“What Good Am I Without You” playing

DB That’s Detroit.

DF It’s real nice.

DB Don Mancha co wrote the track?

DF Don Mancha wrote it. Mike Terry arranged it. Mike was a horn player, arranger and producer. He played on a lot of Detroit tracks and Motown.

“Hope For Love” playing (unissued at the time)

DF This is the tune she took, Pat Bush, the A&R woman, to Ray Charles.

DB So what sort of date would this be? Just before you went to California.

DF Yes. It was recorded in Chicago.

DB Was it recorded in Chicago, around the time your songs were being leased to MCA?

DF I recorded it before I went to California.

“The Way Of A Man” playing

DF This is also before I went to California.

DB I would imagine now we’ve got a situation where your father tried to do the label himself, wasn’t getting the distribution he would have liked, so he started leasing things out again.

DF He wanted to let somebody deal with it that does it every day. That would give him more time to learn more about the business. He didn’t want to spend too much money on something he didn’t really know too much about.

“Those Hanging Heartaches” playing .

DB 1969 now. Who’s involved in this one?

DF Maurice Simpkins. Again.

DB Is Maurice about or has he passed away?

DF No, he’s still here that I know of, but it’s a long time since I talked to him. The guy used to be about 450lbs, but now, the last time I saw him, he had lost a lot of weight. He looks better.

DB How long ago was that?

DF Maybe about 4 years ago. I don’t know if he’s at the same place or what.

DB That was in Chicago.

DF Yes right here in Chicago.

“I Think I’m Gonna Write A Song” playing

DF Don Mancha wrote this.

DB This one got leased to Congress, another part of MCA.

“When Love Calls” playing

DB Johnny Moore wrote this. Who’s playing piano?

DF Johnny was playing. Yes.

DB I thought so! Was this cut at Universal? I know Johnny did a lot of work at Universal.

DF Yes.

DB Did you cut anything at Paul Serrano’s PS studio?

DF I seem to remember that name. I don’t know if it was his studio or not, but I remember recording. It’s a long time ago. I was a child, I was a teenager. Maybe 16, 17, 18.

“Changing By The Minute” playing

DF You remember Zane Grey, he wrote the song. This was his very first song, I taught him how to write.

DB You must have made a good job of it, cos he made a career out of it.

DF Oh yes. He told me, I would never forget you. You’re the reason for me being in the music. He showed me a tune and sung something that he wrote. I had confidence in him. I said, we get the strong points and hold that, the others throw away and add to the strong points. I said you get the credit cos it’s your song. Every time you look at it think of what you can do to strengthen it and make it as strong as you can make it. Len Ron Hanks, his partner, laid down the music. He plays piano.

DB Tom Tom did some arrangements, he did some strings and stuff on there.

DF Horns, the strings. He arranged the whole thing.

DB It’s a great tune.

DF When we started doing that song with Zane and Len Ron we were bouncing off the walls. We were bouncing off the walls. We were excited, like popcorn in a hot skillet.

DB Well the first time I ever heard that track I was excited. Just hearing the track, years ago.

DF Zane couldn’t keep still in the studio. I said you ok man? Man, man, he says, come on man, let’s do this. It was exciting, yeah.

DB Did it sell well in Chicago?

DF In Chicago it did great. Well as a matter of fact “When Love Calls” was what they released, right, and then some DJ was listening to the other side and he said I’m gonna play this other side. And next thing you know folks were requesting it, and the more you play a tune, the more people hear it, the more it start growing on them.

DB Then they want to buy it for the flip side.

DF Yes. The next thing you know it was an A and A side. A and A. Now here in Chicago, it took off.

DB It’s a shame it didn’t do more out of the city. But it’s a great tune, cherished by many soul record collectors today all over the world.

“What is This” playing

DB Another Johnny Moore track. I can remember, Johnny reminiscing about cutting this track, he really liked the song.

“It’s No Mistake” playing

DF This tune was never released because it wasn’t produced right. Too much echo and stuff. Ray Charles did that on purpose because he didn’t want anyone to steal that song. This was during the time when he wasn’t finished mixing it. He wanted to make sure if anybody heard it they couldn’t bootleg it. The mistakes weren’t really mistakes, he put them in there.

DB Then he must have finished it, and went ahead and put the track out on a 45 and sold it nationally.

DF But I don’t understand why.

DB I also like the flip side.

DF Joel Webster wrote that, Mabel John’s son. Joel became staff producer with the company as well as a performer and composer. He produced this, my first session for the company with Ray supervising.

DB Did you sing this on the show in New York?

DF No, I didn’t do that one. They requested the tunes that they wanted me to sing, so that’s what I did. It’s always important to know what the public wants to hear.

DB If you were in UK again you would definitely have to sing that one. That’s got a real big following. It’s an anthem.

“Rising Cost Of Love” playing

DB I played this and the flip “Honey Can I” to Syl Johnson last night. He thought they were both great songs.

DF I can’t understand why they didn’t do anything with them.

DB Both were leased out to Atlantic. It’s still stated that it was a Crossover production when it was released on the Atlantic label.

DF I didn’t know they had been released, I cut those songs for the album. I’m wondering if they are still selling.

DB You can’t get hold of those tracks on the original label. The record was deleted years ago, it’s a real collectors piece now. Very few copies must have been pressed at the time, 1979 I think, with very limited distribution.

DF I don’t know what’s going on in England cos I’m not out there, it seems to me that this record should still be selling right now. These tracks were for an album that we cut in LA.

DB “Rising” - has been released on a various artists CD album with other Atlantic tracks.

DF People gotta hear something more than once. For some maybe one time but they probably played all the other tunes, might have played mine once or twice over a few months. I need some concentrated airplay.

DB The thing that worries me is when people release your tracks on a various artists’ compilation, you don’t get the exposure you need, you’re just one artist amongst a mixture of all the others. You need an album of your own, all your products, which is what I was trying to do. You need a Darrow Fletcher full story album out, then people will listen to your stuff.

DF And after all that’s gone, that albums finished, I haven’t any more material, other than me recording something fresh. That’s what I would really like to do, record something fresh. But something’s gonna work out, Zane has a studio and he’s thinking seriously about recording something fresh with me. He’s always wanted to do that but I was always involved in something else and he couldn’t really get to me yet. I told him I wanted to start singing gospel, but I don’t know what’s gonna happen yet. But I’m think I’ll end up recording in his studio.

“Honey Can I” playing

DF That’s the tune I should have released, this tune right here, I know it man.

DB If I do a radio show or I DJ at a dance, I always play that track. One of my favourite tracks.

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Soul Man Darrow came up in the time when albums were not the typical format of soul music. Yes, we had LPs in 1966, but the concept of a soul album was still just a gleam in the eye of folks like Isaac Hayes and Marvin Gaye. Although Darrow had had an active career with many singles to his name, he never made an album.
Well! That’s not strictly true is it. As we can gather from this interview, he may not have released an album but he certainly made one, and was working on a second. When Darrow was recording with Ray Charles’s newly formed Crossover records, he was concentrating on completion of his first Crossover album. The studio work was actually finished in 1975; it would seem that artwork and sleeve notes by Ray Charles and packaging were completed, and the final album was due for release early the following year, But no release ever materialised, and the album was presumably shelved for some reason in the RPM Studios in LA. It seems, according to Darrow, that a few staff demos were produced, he once had a copy and friend Mabel John had one. Unknown to Darrow, some of the tracks planned for the album were, in fact, released by Crossover in the mid ‘70s and others by the Atlantic group in ‘78/79.

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Whilst I was in Chicago interviewing Darrow, he showed me a contract he had signed with Kent records here in the UK. That was back in 2006, at the time of his appearance at the Cleethorpes weekender. He was concerned that, to his knowledge, nothing much had been released and asked me to find out what was going on, and try to push things along.

Over the years Kent records have re-issued seven of Darrow tracks on their compilation CDs and vinyl singles, but each are on separate compilations that would not particularly lift Darrow’s profile. But guess what!

After 37 years in the can, the guys at Kent have got hold of the Crossover album masters and are going to release it on CD. The CD release will contain all the issued Crossover tracks, and wait for it — no less than nine mouth watering previously un-issued recordings that were planned for Darrow’s album back in 1975.

Stand out tracks, amongst others, are “Love Is My Secret Weapon”, “How Can You Live Without Love”, and “What Are We Gonna Do About This Mess” and for those of you who wonder what the elusive Atco track “Let’s Get Together” sounds like, that’s included too. Every track is from a master tape, several mixed down from the 24 track multis.

For good measure, Kent are later releasing a CD featuring all of Darrow’s ‘60s output. Darrow’s ‘70s CD will be released at the end of September this year and his ‘60s CD follows early next year. At long last, Darrow will have his anthology out there, spread across two CDs, something he’s been waiting for, for a very long time.

If that isn’t enough, Darrow is coming over to the UK in November this year to do three concerts and promote his CD releases. So come on guys, get yourselves to at least one of these concerts and thank Darrow for all the wonderful soulful music he has created for our enjoyment over the years. Darrow will also be selling his new Kent CD and 45, at a special price, so get a signed copy and save a few bob.

Thurs Nov 1st, 8pm - 2am @ The 100 Club - Darrow Fletcher is playing live with backing band for the celebration of 30 years of Kent Records. DJs Ady Croasdell, Tony Rounce and more. Tickets £18.00 will go on sale at the 33rd Anniversary allnighter on September 29th, and by post from Oct 1st (details will be announced in September). www.6ts.info

Nov 2nd. — 4th at the Scottish Soulful Weekender at the superb 3 star Cairndale Hotel in Dumfries. Darrow Fletcher is playing live on Saturday Night with backing band. Full details are available at www.scottishsoulfulweekender.com

Darrow will be supported at both these concerts by a great backing band — Push.

After that hectic weekend, Darrow will take a few days off before taking the stage again in good old West Yorkshire. Before returning home to Chicago

Saturday Nov 10th 9pm - 3am at the Wilton - Wheatsheaf Conference & Banqueting Complex in Castleford, home for almost 20 years of the famed Wilton Allnighters.

The Wilton guys Mouse & Boxy are staging their second Soulful Sessions Night, and are so proud to have Darrow performing to specially made backing tracks, some made from the original master tapes: a selection of his ‘70s songs from the CD and a few ‘60s classics at the venue.

DJ support from Arthur Fenn — Mike Charlton — Gary Walsh, and residents Boxy & Mouse, should make a cracking night. So come on guys, if you can’t travel to London or Scotland, then here’s your chance to see Darrow for the very first time in Yorkshire.

Advance tickets £12.00 will be on sale at our next allnighter on the 21st September and are now available online by Paypal & Credit Card at the Wheatsheaf website http://www.wheatsheaf.com/allnighter or £15.00 otd.

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DARROW FLETCHER’S DISCOGRAPHY

Groovy 3001 — The Pain Gets A Little Deeper / My Judgement /Day — 1966
Groovy 3004 — My Young Misery / I Gotta Know Why — 1966
Groovy 3007 — Gotta Draw The Line / I Gotta Know Why — 1966
Groovy 3009 — That Certain Little Something / My Judgement Day — 1966
Jacklyn 1002 — What Have I Got Now / Sitting There That Night — 1966
Jacklyn 1003 — Infatuation / Little Girl — 1967
Jacklyn 1006 — What Good Am I Without You / Little Girl — 1967
Revue 11008 — The Way Of A Man / I Like The Way I Feel — 1968
Revue 11023 — Gonna Keep Loving You / We Can’t Go On This Way — 1968
Revue 11035 — Those Hanging Heartaches / Sitting There That Night — 1969
Congress 6011 — I Think I’m Gonna Write A Song / Sitting There That Night — 1970
Uni 55244 — When Love Calls / Changing By The Minute — 1970
Uni 55270 — What Is This / Dolly Baby — 1971
Genna 1002 — Now Is The Time For Love Part 1 / Part 2 — 1971
Crossover 980 — Try Something New / It’s No Mistake — 1975
Crossover 983 — We’ve Got An Understanding / This Time I’ll Be The Fool — 1976
Atco 7083 — Improve / Let’s Get Together — 1978
Atlantic 3600 — Rising Cost Of Love / Honey, Can I —1979
Kent CD 310 — Hope For Love — 2009 (UK)
Kent Select 024 — No Limit / What Good Am I Without You — 2012 (UK)

David & Val Box 2011/12

Special thank you to Darrow Fletcher for taking the time to do this interview.
Acknowledgements, as always, to Robert Pruter “Chicago Soul”, and Adrian Croasdell, Ace Records,

click to view in full

By Boxy in Articles · August 28, 201212 yr

Performing live across the UK over September and October is US singer Yvonne Vernee.

Yvonne was the lead singer of a group called the Donays who recorded for Correc-tone where she alos recorded solo recording the Northern favourite from late Wigan early Stafford era "Does He Love Me Anymore".

As a solo artist she recorded for Sonbert the massive Northern 45 "Just Like You Did Me".

She then went onto replace Saundra Mallett in the reformed Elgins.

The Elgins show with lead singer Yvonne Vernee
September 2012
Friday 14th - Bury
Saturday 15th - Gloucester allnighter
Sunday16th - Doncaster

Friday 21st - Kings hall stoke signal radio
Saturday 22nd - Kings hall Blackburn
sunday 23rd - Rolls Royce Derby

friday 28th - Cannock Civic
Saturday 29th - New Century Radcliffe allnighter
Sunday 30th - Basingstoke

October -
Friday 5th - Warwick soul Night Nelson Club
Saturday 6th - Northampton arena

TBC
Sunday 14th Liverpool

I will update over the next few days with info on tickets

any promoters interested in 12th and 13th October please PM for Details .

The Elgins show with Lead singer Yvonne Vernee performing all the classics

Heaven Must of sent you
Put yourself in My Place
Darling Baby
Don't wait around
Stay in my Lonely Arms
My Love for your love

And of course the awesome Northern track .. " Just like You Did Me "

and an exclusive for Radcliffe Only ........... " Does He Love me Anymore "

all shows will be subject to change as we don't want to perform the same show tracks at each venue.

By Chalky in Event News · August 24, 201212 yr

SAVING THE TWISTED WHEEL

As a representative of the, Save The Twisted Wheel campaign & the club's current promoter Pete Roberts.
I can now tell you after discussions with the developers, Richard Goodwin their commercial Director.
Richard has kindly agreed to secure the building fabric,fixtures & fittings of the club for the purpose of preservation.
Richard will also assist usin its removal if only in part, namely, The Stage room and surrounding structure,
if possible so it can be preserved for prosperity.
Richard has giving his verbal undertaking to the whole planning committee of Manchester city council in the public arena an
confirmed by email to allconcerned parties
The purpose of this is so we can approach various local authority body's of Manchester in the aim to have part of the
club kept in the form of a Museum to Blues & Soul.

This would be a tribute to the artists who played at the club, many rising to world recognition, through a time of great change in their own country and in the UK. Also the Soul music that was first played in the club giving rise to The Northern Soul movement.
The Twisted Wheel club in Manchester is known as the birth place of Soul in the UK making this a truly Iconic Club, through out the world.
I'm sure you would all agree, that to lose this piece of musical and cultural history, would be a crying shame if some sort of legacy was not preserved to commemorate the place that gave birth to the Northern Soul movement as it is commonly known today almost 50 years later.

So what must happen next for this to take place.
A plan as to what should happen to the building fabric,fixtures & fittings,
No one can or will make any personal gain by claim to any part of the club or its building fabric,fixtures or fittings.
All decisions will be made without prejudices and for aims set out as a result of the meeting with Livia Ltd the current owner.
All further discussions with any other party must guarantee that all saved building fabric,fixtures & fittings are put to the purpose in which they were meant as stated above.
All that is retained for prosperity, from being practically possible to save, should be on the advice of a Structural Engineer.
This advice would be as a result of an on site meeting prior to demolition of the buildings of 4/6 Whitworth St Manchester.
The removal and transportation would be carried out by the developer,as offered and within the timescale set out to carry out this work.
A program of works would have to be put forward to comply with CDM regulations.
Whatever is to be removed from the site for prosperity,would be documented and have to be safely transported and contained,
until such time a new location has been approved by the trustees of the club.

The developers have given their corporate backing to this proposal and will engage with Manchester city council as an ongoing
part of their development within the city.

On behalf of the save The Twisted Wheel club campaign.

Many thanks to Soul Source and all who have given their support in this matter.

Gerry Stewart aka Irish

By Irish Spinner in News Archives · August 22, 201212 yr

Want the chance to play along side name such as Ian Levine, Gilles Peterson, Bob Jefferies & Kenny Mac at this years Scottish Soul Weekender???

Due to high demand our open deck room slots filled up within the first week, so not to disappoint anyone we have decided to give away wildcard DJ slots. We are offering sets in either of our 3 rooms -

To enter you simply complete the Goldmine application form when you purchase your ticket - The draw, which we are doing a via a live link will be drawn in October.

Here is a description of our 3 main rooms and our link to our website where you can purchase your tickets, see our promo video and organise travel and accommodation >>>

http://scottishsoulfulweekender.com/

Room 1 - Shrine Room >>
Where things can bounce from Mecca sounds to northern, from rare disco to Boogaloo and funk in an instant. (Gilles Peterson / Ian Levine / Snowboy)

Room 2 - Blue Room >>
Disco edits, new disko, rare groove and classic vocal house from the early days of the garage scene. (Greg Wilson / MSDE / The Kat DJ's)

Room 3 - Pressure Point >>
caters for the mo' jackin' and deeper side of house with great vocal sounds thrown in for good measure. (Tony Humpries / DJ SPEN)

click to zoom

By Guest in Event News · August 15, 201212 yr

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