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About Windlesoul

  • Birthday 11/01/1968

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  • Top Soul Sound
    Roy Hamilton: Heartaches hurry on by

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  1. More copies just arrived at A Nickel And A Nail of this evergreen Detroit reference book Groovesville USA: Detroit soul and R&B Index by Keith Rylatt. Pick your copy up now! Follow the link: https://a-nickel-and-a-nail.myshopify.com/collections/books/products/groovesville-usa-the-detroit-soul-r-b-index-keith-rylatt Cheers Mark.
  2. Hi folks, congratulations to Howard Earnshaw and co. for the ongoing success of Soul Up North! Issue 100 out now and available from A Nickel And A Nail - follow the link https://a-nickel-and-a-nail.myshopify.com/collections/fanzines-magazines/products/soul-up-north-issue-100-february-2019
  3. Windlesoul

    Cash McCall SORTED

    Cash McCall - I’m in danger / SOS - Chess SORTED Easy one, both sides and labels ex. or better please, cheers pm.
  4. Windlesoul

    Salt and pepper & the cheques

    Err guys, the Cheques story and how it links to Salt and Pepper is in one of my books, I posted the chapter up on my website here. Should answer most of your questions on the Cheques side. https://a-nickel-and-a-nail.myshopify.com/blogs/news/deeper-the-cheques-e-mark-windle
  5. "Without My Girl" : The Chashers chapter / short bio, from the book "It's Better to Cry" now up here. Follow the link: https://a-nickel-and-a-nail.myshopify.com/blogs/news/without-my-girl-the-chashers-story-e-mark-windle Mark.
  6. Windlesoul

    US 60's Garage bands

    I covered the Chashers story here... http://southernsoulcollector.blogspot.com/2013/10/the-chashers.html
  7. Windlesoul

    US 60's Garage bands

    For the last two years I've been working closely with Nelson (right up to his passing) on the Tempests story, along with Van Coble and other members. New book is due out late spring / early summer.
  8. Windlesoul

    US 60's Garage bands

    From the book: By the 1950s kids (black and white) were listening and dancing to national bands who played blues orientated race music and doo-wop. Artists like The Clovers and Clyde McPhatter were popular. Arthur ‘Guitar Boogie’ Smith was a household name in the Carolinas. He was a talented country composer, guitar player, fiddler and radio presenter (and the original writer of the “Duelling Banjos” instrumental which was re-recorded and used on the 1972 film Deliverance). Arthur became successful after the Second World War with his Calling Carolina radio show and the Arthur Smith Show on the Charlotte NC WBTV channel. In the mid to late 1950s through his talent hunt search, he discovered doo-wop acts such as The Embers, Harry Deal & the Galaxies and Maurice Williams who would later go on to become big beach names of the sixties and beyond. Other TV shows also followed suit, particularly around NC, as a showcase for teenage music and dance talent. Motown, soul and R&B had arrived by the 1960s and could be heard all over the south east from radio stations with geographically wide broadcasting capabilities, both inland and along the coastal areas. These fresh sounds were an immediate hit with local high school and college students as well as vacationing teenagers and many local bands picked up on this. Students played a major political role in the civil rights movement as discussed earlier, but also had a role in developing and supporting the 1960s beach music scene. Southern college and university fraternities by the 1960s had become social living communities notorious for drinking, sex and partying hard. The emerging sound of soul appealed to black and white students alike. Local bands, usually made up of high school or college students, were frequently hired to play at frat parties and high school proms and made their bread and butter in this way. It is not surprising then that many groups, including those discussed here, were a ‘live act’ or revue first and foremost, and vinyl recordings were sparse. “We were all what you might call middle-class white - our neighbourhoods looked like Beaver Cleaver’s of the 1960s” says Nat Speir, founder member of Bob Meyer and the Rivieras. “But we were always very aware of the race issue and the sensitivity of our black acquaintances. We talked a good bit to Curtis and The Impressions about this when worked with them - but things were usually so rushed there was little time for that in most situations. Some of my friends’ parents became heroes to me by inviting four young black men from the Bedford-Stuyvesant project in New York to come and spend a summer with us in our homes, sponsored by an ecumenical group. They were singers too - fancying themselves as younger Little Anthony and the Imperials or The Manhattans. We gigged together for about four months and we all learned a great deal. Yes there were many tricky situations with these guys and with some of the national acts. But booking agents protected the groups somewhat. They wanted to make money. Also Charlotte was never like Mississippi. It was usually cool in Charlotte, or Greensboro, or Columbia - not everywhere was though in the early to mid 60s. The larger cities and towns were segregated in many ways of course. But the "the deal" with the south east was that there were many ways we did interact. Middle class whites wanted black music. Some find this hard to understand. Why would the Charlotte Country Club Deb Ball want Hank Ballard instead of The Beach Boys for their entertainment? But I was right there every chance I got. I heard and got to know many soul and R&B acts in those places. On my turf of course. I doubt I would have been welcome on their’s. And that's fair.”  When further refining the term 'beach music' in the context of the 1960s, a reasonable approach may be to reserve beach music for local and national acts (black and white) that particularly had a whole or partial R&B / soul repertoire along the coastal areas of the Carolinas at the time, or were big hits on the beach then. But even this is an over-simplistic view. As Greg Haynes’ work demonstrates, a myriad of teenage garage bands existed well outside of the Carolinas, who were aware of the emerging appeal and accessibility of the ‘new’ black sound of R&B and soul to a white audience, particularly on the beach resorts. Some tapped into this, even though their own individual musical approach may previously have been more mainstream pop orientated. A few bands briefly explored soul, some stuck with it, and others started with the specific intention of providing this music. Many bands and vocal groups were actually based inland. With the exception of the Wilmington NC-based group The Generation, or Ron Moody’s outfit from Richmond VA, all the acts described in this book were from areas which lie anywhere between 150 to 500 miles from the coast. Key R&B radio stations broadcast throughout the whole of the south east, ensuring access for teenagers even in remote locations. Inland pools and lake pavilions with jukeboxes were dotted throughout the Carolinas, which offered a ‘substitute beach’ environment where teenagers could swim and listen to music. Take as an example the Williams Lake rural resort near Fayetteville NC, which was originally built during the Second World War and continued to be a popular venue throughout the 1960s. Bob Collins and the Fabulous Five played there in Easter ’65. Other bands included The Monzas, The Aqua Lads, Gene Barbour and the Cavaliers, Maurice Williams and the Zodiacs, and national acts like Jackie Wilson, Barbara Lewis, Eddie Floyd and Mary Wells. That said, many inland bands also regularly travelled hundreds of miles (despite the dangers outlined by Nat Speir earlier) to play gigs at the coastal resorts. Long running groups like The Embers, Harry Deal and the Galaxies and Maurice Williams and the Zodiacs travelled extensively to both coastal and inland venues.
  9. Windlesoul

    US 60's Garage bands

    Whilst not exclusively about garage bands, my book “Its Better to Cry” attempted to discuss the phenomenon of Carolina / Va white bands specifically in the context of those ‘adopted’ by the northern soul scene, some mentioned here like the Chashers etc. The definition of the garage band term is fraught with the same potential for ambiguity as northern, beach music etc. and is probably most traditionally associated with late 60s psyche, though that wasnt the whole story. But then folk get too hung up on pigeon holing. If I can dig out a word file on to give a flavour of the history in the southeast states through the 60s and how these guys embraced the soul phenomenon I’ll post up.
  10. Windlesoul

    Books of The Year 2018?

    Some great titles here and actually reflect some of my bookstore’s best sellers in 2018. I’ve also been really impressed with some fresh ideas and ongoing soul artist biographical and scene related works-in-progress which various individuals have contacted me about over the last year, hopefully some of these seeing fruition in 2019 / 2020. If any other potential or actual self publishers need a general chat to bounce ideas about or bit of support to promote their projects just let me know.
  11. The Spidells and Exotics band story now up loaded to A Nickel And A Nail: https://a-nickel-and-a-nail.myshopify.com/blogs/news/the-spidells-and-the-exotics-band-e-mark-windle
  12. Berkshire Seven story now up on the bookstore website https://a-nickel-and-a-nail.myshopify.com/blogs/news/stop-and-start-over-the-berkshire-seven-e-mark-windle Cheers Mark
  13. Windlesoul

    Melba Moore - The Magic Touch

    Melba Moore - The Magic Touch - Kent 6Ts Anniversary Special excellent condition £200 Postage UK £7 Special Delivery, £9 Europe Track and Sign, Elsewhere £12. PayPal only please.
  14. Windlesoul

    The Embers story

    The biography of the Embers now up on the site at A Nickel And A Nail https://a-nickel-and-a-nail.myshopify.com/blogs/news/first-time-the-embers-story-e-mark-windle Enjoy Mark.
  15. Windlesoul

    The Neptunes, Hal Hardy and P.W. Cannon Story

    Got a couple of both of the PW Cannon 45s if anyone fancies one


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