Pete S

Basically it's the history of Northern Soul in the 70's. This is what really happened. Grab a cuppa and hopefully enjoy this... NORTHERN SOUL IN THE MEDIA - "BLACK MUSIC" by Pete Smith Black Music magazine first hit the streets in December 1973, heralding itself as "the first complete black music magazine", probably in an attempt to distance itself from Blues & Soul which was ostensibly a soul/disco magazine. BM's intention was to cover the whole spectrum from blues to jazz, gospel to reggae, African music and other ethnic styles...and Northern Soul. In this article I'm going to look at BM's coverage of Northern Soul, not in an investigative way but more of a blow-by-blow account of each issue and it's content which hopefully will be of interest. It reads just like a diary of what was happening on the Northern Soul scene in 1974-75. Firstly, the soul chart of December 73 contained a handful of singles which had made their mark on the Northern scene including Robert Knight-Mountain top (also a UK top 10 crossover hit), the Isleys-Tell Me It's Just A Rumor and Jimmy James - A Man Like Me. At this time both the pop and soul scenes were being flooded with reissues of classic oldies and in-demand club sounds, a phenomenon which continued well into 1976 as you will see as this article progresses. Ian Levine is a name you can't escape from on the Northern scene and even today arguments persist as to the rights and wrongs of his musical policies. Levine shared top billing at the Blackpool Mecca with Colin Curtis, and when he wasn't spending thousands of pounds of inherited cash on obscure US soul 45's he was writing a column for Black Music entitled 'Hey MR.DJ". His first column began..."Southerners are biased towards the Northern Soul scene and it's 190 mph dancers. It's true that a record has to have a consistent, fast beat to be danced to in our clubs..but there are good and bad Northern dance records, and the ones I mention here are the ones that I feel are the very best around at the moment. Certain artists seem to come up with many brilliant dancers to their credit, whereas others seem to make just one. Singers such as J.J.Barnes, Patti Austin, Edward Hamilton and groups such as David & The Giants and the Ambers, are idolised as being leading exponents of Northern type soul records, just as James Brown, Lynn Collins, the Fatback Band and Jean Knight are leading exponents of funky music". A good link there as Levine then goes on to review some of his fave spins of the moment, kicking off with the pre-Fatback Band Gerry & Paul-Cat Walk (Fatback) plus the superb Linda Jones-Just Can't Live My Life (Loma), and a couple of hot tips in the form of Terrible Tom -We Were Made For Each Other (Maverick) and David & The Giants-Ten Miles High (Crazy Horse). Can anyone remember when those two weren't oldies? Levine mentions that the Giants other disc, Superlove, was in the top 5 Northern sounds right now, as is Otis Smith-Let Her Go. Finally in this first Levine column, a few records that the man himself is trying to track down: World Without Sunshine by Sandra Phillips (Broadway), What Can A Man Do by Harold Melvin (Arctic) and finally the great Freddie Chavez-They'll Never Know Why (Look). Black Music also provided an excellent guide to new Stateside product, much of which was available through semi-specialist shops in your local high street. One interesting release which I spotted in the 'Hot Stuff' section of BM 1 was the Montclairs-Hung Up On Your Love (Paula), which soon became the no.1 sound in the country. One of the most well respected voices on the soul scene, the legendary Dave Godin, was also a contributor to BM in it's early days. His first column was a kind of introductory 'what is soul' piece, but he also reviewed a few singles including Jerry Williams-If You Ask Me (Calla) which got a 4-star rating. There were a few pressings for sale in that first issue e.g. Rufus Lumley, Righteous Brothers Band, Shalimars, Kelly Bros, Dramatics etc. Apart from being big Torch sounds,these discs have a common link in that they were all pressed on Out Of The Past and could be obtained through the Torch-based International Soul Club who boasted a membership of '30,000 and growing weekly!' Onto Issue 2, January 1974, and. only one release of note in this months Hot Stuff, the Temprees version of At Last (We Produce) which was a big sound in 74. Levine gave mention to some real classics this month, viz. Gwen & Ray Build Your House On A Strong Foundation (Bee Bee), Janie Grant-My heart your heart (Parkway), Joe Hicks-Don't It Make You Feel Funky (AGC) and Leslie Uggam-Love Is A. Good Foundation (Sonday). Also mentioned: Chubby Checker- Looking At Tomorrow (Parkway), Ikettes-Beauty Is Just Skin Deep (Pompeii) and Mad Dog & The Pups-Why Did You Leave Me Girl (Magic City). Dave Godin took a trip to the Mecca and wrote an excellent piece, giving mentions to some of Colin Curtis' tips, including Johnny Caswell-You Don't Love Me Anymore (Decca), Susan Barrett-What's It Gonna Be (RCA), Wally Cox-This Man (Wand) and Freddie Chavez on Look. Two reviews, the superb George Blackwell-Can't Lose My Head (Smoke) and Gwen & Ray-Build. Finally, a tip from Dave for all would be Detroit collectors: "The letters ZTSC on a record is merely a Mattrix code for the manufacturer and are in no way indicative of the style of the record". Watch this space... Black Music of February 74 kicked off with a full page advert for Selectadisc, a Nottingham based record shop who were responsible for a lot of pressings, as well as running the Black Magic label. Selectadisc's top 10 sellers were the Gems, Sherrys, Didi Noel, Thelina Houston, Christine Cooper, Sweet 3, P.P.Arnold, Patti Austin and Tony Clarke-Landslide at no.l. The months new 45's included Ray Godfrey's 60's soundalike Candy Clown (Mercury) and a reissue of Jay & The Techniques-Baby Make Your Own Sweet Music. Levine's column mentions a couple of discs, Billy Joe Young-I've Got You On My Mind Again (Paula) and Hang My Head And Cry by The Big Guys (Warner Bros). Two albums tracks mentioned too, Thelina Houston-I ain't going nowhere and Robert Knight-Branded, which was eventually taken off the LP due to Northern demand. Dave Godin's column deals with pressings and the never-ending argument about their merits. Dave's opinion was that any-one who knows the people behind the bootlegging should report them to the BPI (which is exactly what did happen a few months later). Godin's significant sides this month are Roshell Andreson-Know What You're Doing (Sunburst), Big Maybelle-Don't Pass Me By (Rojac) and the extremely strange Crow-Your Autumn Of Tomorrow (Inner Ear), which eventually came out on Godin's own Right On label. Godin describes the Crow disc as "Full of latent passion and anger, this one is a certain killer-diller which is mean, signifying and black, and as righteous as it wants to be" Yeah right. Always sounds to me as if they're all on acid! Onto issue 4 of BM and a new regular feature entitled 1000 Giants of Black Music. This was an attempt at a sort of who's-who and was one of the best things to emerge from BM. Artists of interest to readers of this article who were featured in the first part of 1000 Giants, were Ernie Andrews, Lee Andrews, Barbara Acklin, Artistics and Darrell and Homer Banks. New UK releases included Robert Knight-Everlasting Love and the Lorelei-S.T.O.P. Selectadisc's new pressings included Melba Moore-Don't Cry, David & Giants- Ten Miles High, Watts 103rd St Band-Brown Sugar, Detroit Shakers (sic)-Help Me Find My Way and Magnificents-My Heart Is Calling. Talking of pressings, Levine's column began...'With the bootleggers pressing up my records before I've hardly had time to play them, it's becoming increasingly difficult to tip new sounds in my column without putting money in the pockets of these racketeers. He ends..."I shall try my hardest to keep the faith" (spot the cliche?). Once again, a good selection of records mentioned in this months Levine column; Van Dykes-Save My Love For A Rainy Day (Mala), Charles Mann- It's All Over (ABC), and Edward Hamilton-I'm Gonna Love You (Jameco). Also mentioned, Wlilbur Reynolds-Tenderizer (CB) & Shaine Hunter-Sweet Things (Aware), Jodi Mathis-Don't You Care Anymore (Capitol) and Bobby Taylor-There Are Roses Somewhere (Sunflower). Colin Curtis' big cover up of the month was Casino Brothers (aka Casanova 2)-We Got To Keep On. Recycled vinyl, tax and racism make up a rather heavy Dave Godin column, and only two reviews this month: James Bounty-Action Speaks Louder Than Words on Compass and Barbera Lewis-Don't Forget About Me (Atlantic). The International Soul Club pressed it's latest batch of biggies, using the shooting star design. These included Nolan Chance, Patti Young, Jerry Williams, Ben Aiken, Mel Williams Vel-Vets, Steinways and Frankie & The Classicals. These are slightly rarer than the earlier white label OOTP releases. The ISC was busted very soon after this batch of pressings went on sale. April 74's Black Music editorial was the first to concern itself with Northern soul: "Britain's notorious Northern Soul scene is getting so much publicity these days that you'd almost think they were MAKING the music up there!" It then goes on to pour scorn on the bootleggers and adds "As you groove to that rare Northern sound, does it make you feel good to think that the guy who poured his soul into it may be penniless and forgotten?" To be honest I couldn't give a toss, all I'm doing is dancing to a record in a disco. This months Levine goodies: Watts 103rd St Band-Joker (Warner Bros), Art Wheeler-That's How Much I Love You (Cee Jam), Madeleine Wilson-Dial L For Lonely (Sanar), Storm-Sweet Happiness (Sunflower), Frank Beverly-Tomorrow May Be Your Day (Gregar), Petals-Windows Of Your Heart (Mercury), Lada Edmund Jr- La Rue (Decea) and Chips-Mixed Up Shook Up Girl (Philips). This months 1000 Giants included J.J.Barnes, H.B.Barnum, Chris Bartley, Big Maybelle, Bobby Bland, Otis Blackwell and James Brown. This months new US releases included Melvin Bliss-Reward (Sunburst) which was played, plus quite a few names from the past including What More Do You Want man, Gene Toones billed as Gene Toone (the king of the Screamers) on She's My Girl (Thuinley). In the UK, Chess rush-released Tony Clarkels Landslide to stop Selectadisc making a killing from their pressing, and Motown issued the Contours-Baby Hit And Run due to demand. As a footnote to Dave Godin's comments in BM 2 concerning the ZTSC mattrix, Fax 'n Info now publishes the following information.: "Further research shows ZTSC to be a fairly good method for dating the release of certain records, and determining the origins of discs with these numbers". Black Music 7 (June 1974) was a real biggie for Northern 'fans' - a seven page investigation of the scene. This is a massive piece which would take literally pages to analyze in full, but basically it's a guide to what the scene is, who the people are, the djls, what sort of discs are played, the venues, the bootleggers and the artists themselves. Journalist Tony Cummings pays a visit to Newcastle Tiffanies where he describes Sam's set as "A downer" and adds "Many kids don't share my aversion for the Ventures and hicoughing pop discs which sound like the Nashville Scene (sic)'' (in other words, Sam only plays pop music). There's a guide to whos-who on, the Northern scene which makes interesting reading: Keith Minshull - "A rather unimpressive dj who encourages the market for pressings"; Pep-"Occasionally mixing a little too much pop into the dancing soul brew, he is respected and influential"; Kev Roberts-'His influence is considerable"; Richard Searling-'Seems to play mainly discs supplied by bootlegger Simon Soussan" (oh really??); Russ Winstanley- 'The most likeable of the Wiean crew" and finally Soul Sam "The joker in the pack, playing streams of unknown pop records which just happen to have the right beat". For me though, the most interesting part of this 7-page feature was the inclusion of the countrys top 5 sounds for each years from 1967 onwards. The top 5 was listed, often complimented by sarcastic comments. This is how those top 5's from yesteryear looked: 1967 - Tony Clarke--Entertainer (Chess), Bobby Sheen-Dr.Love (Capitol), Little Hank-Mr Bang Bang Man (London/monument), Shirley Ellis-Soul Time (CBS), Major Lance-Ain.lt No Soul (Columbia) 1968 - Chubby Checker-Dischotheque (Cameo Parkway), Poets-She Blew A Good Thing (London), Flamingos - Boogaloo Party (Philips) ("An inane, mechanical stomper"), Contours-Misunderstanding (Tamla Motown), Bobby Freeman-C'Mon Swim (Pye Int) 1969 - Invitations-What's Wrong With Me Baby (Stateside), Tami Lynn-Gonna Run Away From You (Atlantic), Tams-Hey Girl Don't Bother Me (HMV), Earl Van Dyke- 6 By 6 (Tamla Motown), O'Jays-I Dig Your Act (Stateside) ("A dull stylised disc") 1970 - Alexander Patton - A lil lovin sometimes (Capitol), Leon Haywood-Baby Reconsider (Fat Fish), Bob Brady-More more more (Chariot), Bob Wilson-All Turned On (Ric Tic) ("Boring Detroit instrumental"), Ad Libs-Nothing, Worse Than Bein Alone (Share) 1971 - Prophets-I Got The Fever (Mercury), Sandi Sheldon-You're Gonna Make Me Love You (0keh), Richard Temple-Beatin rhythm (Mirwood), Bobby Hebb-Love love love (Philips), Hoagy Lands-Next In Line (Stateside) 1972 - Sam & Kitty-I Got Something Good (4 Bros)("Repetitive, boring and obscure Chicago dancer"), Chubby Checker-Just Don't Know (Cameo Parkway), Lenis Guess-Just Ask Me (SPQR), Soul Twins-quick Change Artist (Karen), Archie Bell & The Drells-Here I Go Again (Atlantic) ' 1973 - Tony Clarke-Landslide (Chess) Damita Jo-I'll Save The Last Dance For You (Ranwood), Tempos-Countdown (Canterbury), Gems-I'll Be There (Riverside), Invitations-Skiing In The Snow (Dynovovoice) 1974 - Joe Hicks-Don't It Make You Feel funky (AGC), Salvadors-Stick By Me Baby (Wise World), Watts 103rd St Band-Joker (WB), Maurice Chestnut-Too Darn Soulful (Renfro), Louise Lewis-We Oo I'll Let It Be You (Skyway) It's interesting to note that up until 1972 practically everything being played was on UK issue. BY 1975 the dj's obviously realised that to discover really new, unknown discs, they'd have to look to the original source, the USA. Finally in BM's article on the Northern scene, we have another Wigan slag-off as our roving reporter visits Blackpool Mecca and describes the punters as "the connoisseurs of the Northern scene" and of their counterparts says "the black bombing, bootleg playing, dull brained brothers from Wigan". It's strange how Tony Cummings keeps contradicting himself in this piece. On one hand he's praising the Mecca for it's policy of "no white stompers allowed" but then slags off almost every record he hears: Chris Jackson-Since There's No Doubt "Pleasant but just like a thousand others": Lydia Marcelle-Its Not Like You 'A Supremes ripoff". And to end the piece, one last dig at the Wigan Casino: "My brother heard them play the pressing of Eddie Foster at Wigan, bloody pressers ripping off the artists". Question is, how did he know they were playing the pressing??? Anyway, meanwhile back at the rest of BM 7, Selectadisc had a new full page advert with Butch Baker at number one with The Joker (Jocker?), along with new bootlegs of Moses Smith, Sandra Phillips, Audio Arts Strings, Fred Smith Golden World Strings (Total Eclipse) and Dana Valery. I should think that something happened to the Dana Valery pressings on Pussycat as I had to pay £4 for one in 75 and sold it at Wigan in 76 for £6! A lot of money back then. New releases this month included Jimmy Conwell-Cigarette Ashes, Contours-Do You Love Me and Frankie & The Classicals-What Shall I Do on a new label called Pye Disco Demand. Over in the States, completely unnoticed in the Hot Stuff section was a new release on GSF by the Anderson Brothers entitled I Can See Him Loving You. Twelve months later it was big everywhere, impossible to find, and remains a classic today. The 1000 Giants of Black Music this month included Chubby Checker, Tony Clarke, the C.O.D.s, Contours and Lou Courtney. Wigan Casino printed their first allnighter advert in this issue: "Visit the Heart Of Soul and listen to the countrys best sounds like Danny Wagner, Dena Barnes, Richard Temple, Shirttails, Al Wilson, Furys, Casualeers etc ' plus lots of SECRET SOUNDS!" Ian Levine's column this month featured newies like Sam Ward-Sister Lee (Groove City), Jr.Walker-I ain't going nowhere (Motown), Sheila Anthony- Livin' In Love (Buttercup), Sweet Three-Big Lovers Come In Small Packages (Decca), Remarkables-I can't Give Up (Audio Arts), BK Marcus-Does She Care About Me (Gamble), Johnny Baker-Shy Guy (Fog City) and two versions of No Matter What You Do To Me, one by the LaVettes (Philips), the other by the Sherrons (DCP). So, June 74's, Black Music is certainly one to look out for, the best thus far. July 1974 kicked off with readers letters debating the same subjects which Northern soulies argue over today, i.e. pressings, venues and drugs. A Mr.R. Winstanley of Wigan wrote to say that he was being unfairly treated and that 'Wigan Casino never play backing tracks with the vocals taken off (So what about the Mirwood Orch, Mirwood Horns, Mirwood Strings etc?). New releases this time were the Fuzz-I'm So Glad on Pye and a couple of re-recordings by Major Lance on Contempo. The Inter-City Soul Club had just been formed and they took out a full page advert inviting people to join the club and gain many advantages such as discounts on records and other items which were vital to the Northern soul fan such as key rings, scarves and electrical goods! Can you imagine wearing a Wigan Casino scarf?? The ICSC kicked off at the 67 Club in Temple Street, Wolverhampton, but that place was such a dump that it's hardly surprising that the venue was sparsely attended. Dave Godin reviewed discs by Bobby Foster, Patterson Singers, Garnet Mimins, Vonettes,,Holland & Dozier and Dean Parrish's I'm On My Way ("Yet to find widespread acclaim" said Godin. Very soon after, Jonathan King issued the disc on his UK Records label (and Hoagy Lands too if I remember correctly). At this time, EVERY label was trying to jump on the Northern Soul bandwagon, even the majors like EMI, RCA, CBS etc. where rummaging through their dusty vaults in an attempt to do what Pye did with Wayne Gibson. Over in the USA, new releases included Tyrone Davis-What Goes Up (Dakar) and the soon-to-be- huge Ladies Choice by Boby Franklin (Fee). Carl Davis, the Dells and Nella Dodds featured in 1000 Giants this month, while Ian Levine recommended that we check out the following sounds: Bobbettes-Tighten Up Your Own Home (Mayhew), Montclairs-Hung Up On Your Love (Paula), Conie Clark-My Sugar Baby (Joker), Herbs-Never Never Will I Fall In Love (Smoke) (incidentally, this was one of three big sounds currently being played oh the Smoke label, the others being George Blackwell and the Exsaveyons), Fay Ross-Faith hope & charity (Round), Pat Powdrill-Together Forever (Downey), Ithicas-Gonna Fix You Good (Fee Bee), Towanda Barnes-You Don't Mean It (A&M), Freddie Hughes-My Baby Came Back (Wee) and finally Ray Paige-Ain't No Soul (RCA). August 1974 now, and first off is an advertisement for Track Records 'Allsorts' compilations, the only one of which is of interest to anyone interested in black music being Liquorice Allsorts which contained tracks from the Debonairs and Sandpebbles along others. 1000 Giants included the Dramatics, Dynamics, Earl Jean, Elgins, Shirley Ellis, Esquires and Exciters. Ian Levine's Hey MR.DJ column had now become the Rare Soul column (and was soon to become the Northern Soul column), and soon became an excuse for Levine to waffle on about obscure 70's releases which no-one had ever heard, would ever hear or would even want to hear. However, one goodie this month was Dean Courtney-(Love) You Just Can't Walk Away (MGM) which wasn't played at Wigan until 1977 (unless they tried in 74 but gave up with it?). Other sounds reviewed were Aldora Britton-No Cookies In My Bag (Decca), Pam Colquitt-It's Gotta Be Love (Jacklyn), Detroit Soul Masters-Stirrin' Up Some Soul (Jacklyn)(is this a real record or was Levine making it up - he says that he is 'yet to hear it'), Dean Courtney- We Have A Good Thing (RCA) and Lenny Williams-I Couldn't Find Nobody (Fantasy). The letters page was handed over to Northern fans to have their say about the recent 7-page special. Several well known names replied including Russ, Les Cokell, Sam and (the great) Alan Rhodes. Winstanley accused the magazine of starting a feud between Wigan and the Blackpool Mecca. Cokell completely agreed with everything that was said, apart from the fact that neither venue was as good as the Wheel (well he would say that wouldn't he?). Sam reckoned that he only played Hawaii 5-0 at Newcastle as a joke, and Vicki Thorpe from Stamford said she was apalled that Sam had been treated in such a way, after all she'd been to many "discos" where Sam had played and had never heard him spin a pop record! It was an extremely intense and angry debate, and it leads me to think that the whole thing was plotted right from the start to cause maximum interest in the scene which would in turn get the punters buying the rapidly increasing number of Northern singles being issued on UK labels. Plus the fact that probably 75% of BM's readership were those who bought it just for the Northern pages, in the same way that a lot of people buy Echoes these days. There was also the fact that a lot of 'soul' journalists and dj's went on to act as advisors for the cash-in companies. Very little on the new release front except for Universal Mind-Something Fishy Going On (Red Coach) in the US and the Incredibles-There Is Nothing Else To Say (ContempoRaries) in the UK. Dave Godin. congratulated Pye on their first three Disco Demand singles, and paid a visit to Wigan Casino. His verdict: sounds played were variable but of a high standard, the DJ's delivered the goods and the best points were 'a soul laden atmosphere and intense enthusiasm. Worst point - lethal slippery toilet floor! Dave went on to give a very good and honest review of a night at the,Casino, exactly what it is and why it exists. NORTHERN SOUL - BLACK MUSIC MAGAZINE Onto September 1974 now, and a great letter from Alf Billingham of Cleveland: "Russ Winstanley states that soul people would complain if pressings were to STOP.. Russ obviously doesn't credit soul fans with any principles and integrity if he thinks this is so. He argues that because an artist like J.J.Barnes received little financial reward from Ric-Tic then the bootleggers are justified in pressing records. It just doesn't wash Russ". Pye Disco Demand had got off to a great start, with the soul chart showing the Casualeers at 14, Jerry Williams at 15, Frankie & The Classicals at 25 and the Fuzz, at 32. All good stuff, but beware the Javells! The Rare Soul column was disappointing with reviews of Donnie Brookes-Satisfaction Guaranteed (Decca) (which didn’t go big til the Stafford era!) Koffie-Stay Here With Me (Bell), Towanda Barnes-You Don't Mean It (A&M) and a spotlight on the De-Val label. Very little in this months Hot Stuff apart from Brother To Brother-In The Bottle (Turbo), but there were quite a few new UK releases including the Casualeers,("Is it soul? Is it pop? Is it any good?" what sort of review is that BM?), Soul Brothers Six-Thank You Baby ("Paunchy aggression"), Little Johnny Blair-Momma’s Gone and Blilly Butler-.Right Track. IOOO Giants included the Fantastics, Fascinations, Flamingos, Formations,. Bobby Freeman, the Fuzz, Mamie Galore and Kenny Gamble. Sounds Around Records (who?) of Nottingham were sel iiig copies of Jo Ann. Kiiig--Let Them Love And Be Loved (Fairmount), Case Of Tyme-Manifesto (Legend), Larry Atkins-Ain't That Love Enough (Romark) and the Soulful Hounds-Why Did You Leave Me Girl (Magic -City), while Groove City Records (a.k.a. Soul Bowl) had Bobby Foster, Nat Wright and Arnold Bryant at 70p each. Dave Godin took a trip up to Wolverhampton to check out the Inter City SC gig at the Club 67. He complained about the prices (20p for a cheese sandwich!) and the poor atmosphere, but was impressed by the enthusiasm of some of the younger members. (N.B.What Dave didn't know was the fact that the 67 Club was in the middle of Wolverhamptons’ red light district and was very rough, that's why I never went!). Godin also reviewed Popcorn Wylie’s Rosemary What Happened (Karen) and somehow managed to draw an analog with African music of thousands of years ago, and also Big Maybelles version of ? & The Mysterions 96 Tears (Rojac). Onto Black Music 11, November 74, and another disappointing Ian Levine column with reviews of obscure discs by Jackie Montre El, Mary Alice McCall, Jimmy Hudson, Cleveland Eaton and Spice (not the UK outfit) plus a look at the Ambers. A few new UK releases this month, notably another winner from Pye in the shape of Al Wilson-Help Me plus Robert Knights Branded and a remake of Right Track by Major Lance. Apart from a rather low-key Dave Godin column dealing with UK companies cashing in and bastardising Northern Soul music, and a DJ profile of John Vincent (easily the best dj at Wigan around 76), there's little else in this issue to concern readers, although there’s a good interview with Gloria Jones who reveals that she sang backing vocals on Brenda Holloway’s Classic Every Little Bit Hurts with Brenda’s sister Patrice helping out, that Sandy Wynns real name is Edna Wright and Gloria herself sang backing on Touch Of Venus.Wot, no Tainted Love? New pressings on the market included Steve Karmen-Breakaway, Tony & Tyrone.-Please Operator, Coasters-Crazy Baby (which had recently been massive covered as Freddie Jones-My hearts wide open), Laura Greene-Moonlight, music & you, and Spiral Starecase-More Today Than Yesterday. Groove City were selling originals of the Gems, Bobbettes, Mighty Shane and United Four at 75p each.But, if you wanted to be the trendiest guy on the block you could buy a Soul Star t-shirt of JJ Barnes, Marvin Gaye or Northern Soul (wonder what he looks like?) in either white, canary or turquoise, all with a fashionable scoop-neck! On the venue front it was a very busy time. The Northern Soul Club based in Whitchurch were running a Soul Train - literally I mean - picking up at Crewe, Stoke, Wolverhampton and Birmingham and ending up in Reading for an all-dayer. Anii Peebles was live at Newcastle Tiffanies, Sale Mecca had Levine and Curtis and there were ICSC gigs at Walsall, Sheffield, Malvern and Bristol. Top sounds at Wigan Casino in November 1974 were Eddie & Ernie, Fabulous Blades, Dena Barnes, Joey Dee, Detroit Soul and Michael & Ray- mond. Issue l2, November 74, kicks off with another Mr.Angry type letter from David Cole of Cleveland...".The Northern Soul scene is the most insincere, pretentious scene in the whole of British music. The constant one-upmanship which seems so rife when someone has found a rarity and the fact that discs are covered up so no-one else will latch onto them is to me appalling. No TRUE soul lover would do such a thing. The enjoyment of soul music is something to be shared as any genuine soul lover who found a new or rare sound would want to turn as many people onto it as possible. (Yes, but the whole reason that discs were covered up in those days was because no sooner had they been uncovered that they were bootlegged, and consequently dropped from the playlists. However, the points made in David Cole’s letter do apply nowadays though because dj’s cover-up simply to have sole ownership of the rarest sounds even though there’s practically no chance of the sound being bootlegged). The letter continues.."I’ve been to Northern clubs and I've been sickened by the sight of a high percentage of kids (and I do mean 'kids') doped up to the eyeballs on any kind of pills they can get their hands on. Could it be that those pills make the Northern sounds so palatable, as to my non-stoned ears 90% of Northern raves are nothing but badly produced soundalikes". What a dickhead! Everybody knows you don't get "doped" or 'stoned' at all nighters - you get smashed or blocked! Anyway, some hot new sounds out in the States this month included Alpaca Phase III-I Like To,Party (Atlantic), Bill Harris-Uptown Saturday Night (Warner Bros) and the great Hundred Pounds Of Pain by Lenny Welch (Mainstream) which was massive 12 months later. Levine's Rare Soul column looked at noted singer/ producer/composer/arranger George Kerr, and a group called the Icemen. New UK releases included the VelVets-I’ve Gotta Find Me Somebody ("A nondescript girl group") and the Exciters lacklustre remake of Blowing Up My Mind ("A good disc"). Selectadisc's top pressings were Roy Hamilton-Crackin' Up, Elsie Strong -Just Ask Me and the Adventurers-Easy Baby, while 1000 Giants featured Marvin Gaye, Berry Gordy Jr, Rex Garvin, Glories, Earl Grant, Dobie Gray and Garland Green. This months Dave Godin.column dealt with the controversy surrounding' the Javells-Goodbye Nothing To Say which Pye had been circulating to Northern jocks on white labels under the pretence that they were a black group from US Roulette Records, when in fact they were white session musicians. There's also a Godin report on the Aquarius Soul Club in Retford where the big sounds included Dee Dee Sharp~What Kind Of Lady, Bobby McCLure-You Got Me Baby, Lester Lanin-Dizzy and Jo Ann King-Let Them Love. Onto the venues and there were Northern nights at Oswestry, Newcastle, Bristol, Southampton, Shrewsbury and what looks like it must have been a goodie in Bournemouth with sounds like Del Larks, Velvet Satins, Master 4, Dena Barnes and Little Rose Little. December 74 now, issue 13, and BM's first anniversary. As far as the N.Soul afficionado was concerned the magazine had been, on the whole, excellent and there was no reason to feel that this large-scale coverage couldn't continue. However, midway through 1975 the Soul bubble burst and Northern Soul was back underground again. The record companies lost interest, and so did Black Music. That was to come however. The anniversary issue kicked off with yet another this-is-crap-no-it's-not debate and who said what to who letters page. Two Northern sounds released this month, Ila Van's Can't Help Loving That Man (with controversy over the word "that" being printed as "dat" in a very condescending manner) and Danny White’s Cracked Up Over You on MCA. Roy Hamilton featured in 1000 Giants, and Selectadisc’s hot new pressings included Mylestones, G1oria Jones, Sounds Of Lane, Carl Henderson, Dirty Hearts and Gypsies. Godin deals with the politics of the scene but apart from that there’s very little in this for the Northern crowd. However, in January 1975 things hot up, beginning with round three of Godin vs Pye in which our hero reveals that soul fans were polled to see which monster sound they'd like to be released on Pye. They picked Wally Cox, but this turned out to be the worst seller of the lot (which was hardly surprising considering A) it has already been pressed, and B) it's rubbish). Malc Burton from Doncaster writes to complain about bias towards kids on.the scene, something which happened an awful lot in those days and something I had to put up with myself (I was 15 in 75) but now, thankfully, age isn't important. This months new releases included Bettye Swann's Make Me Yours, and the unfortunate Footsee, soon to appear on Top Of The Pops with a supporting cast of dancers fron Wolverhampton and Dudley (including Jethro). Anyone got a video of it? In the USA, Snoopy Dean's Shake & Bump and King Sporty's Music Maker were released, both becoming big sounds. Levine was back with his rare soul column, becoming more and more 70's orientated all the time, but the real meat of this months issue was another Northern Soul 'expose' entitled 'Northern Soul Revisited'. Once again, Tony Cummings was the intrepid reporter. Today he would probably be classed as a Sun reporter. The feature is basically yet another Wigan slag-off: "Spinning kids moving to the sounds spun by Richard Searling ... Lenny Williams-I Couldn't Find Nobody, Nancy Wilsons The End Of Our Love, Gloria Jones-Tainted Love, all discs first spun at the Blackpool Mecca and all now firm favourites". So, in the very first sentence, Cummings insinuates that Wigan simply plays Blackpools cast-offs. He then goes on to describe the soul fans desire to dance to discs such as Soussans home-made instrumental versions of Devil With The Blue Dress etc., which sets, the tone for the whole article, which is that Blackpool is IT, Wigan is where the divs go. Cut to an interview with bootlegger supreme Simon Soussan. For the younger readers who may not remember Soussan, he is the guy responsible for the bootlegs on the Soul Galore label, many of which were performed by the man himself and did the reputation of the material played at Wigan an awful lot of harm. Having said that, Soul Galore also released a few crackers such as Doni Burdicks Bari Track, Jimmy Mack-My World Is On Fire. To his credit, Soussan also managed to get hold of Randy Wood, owner of the legendary Mirwood Label, who gave all his masters to him resulting in previously unheard instrumentals of the Furys, Jackie Lee, Olympics and Belles. But it was the custom made discs that were the bone of contention here, and Selecta-, disc were eventually busted for selling Soussan's product. Russ Winstanley... "We are not going pop at, the Casino, but we are determined to keep playing the fast type of records which Northern Soul has always been, about. It's the places like Blackpool which are selling out, they are playing slower, funkier types of records which aren't. true Northern Soul. We are trying to keep the Northern Soul scene truly Northern.". If you think rationally about it, Russ was right because although the Mecca did keep finding great sounds like the M.V..P.'s and Lou Edwards, their musical policies took them away from 'real' Northern Soul and into a new scene built around the likes of Doctor Buzzard, Brass Construction and their ilk. In years to come when people think back and discuss Northern Soul - as we are doing now - it will be Wigan that remains fondest in the memory simply because of what the Mecca eventually became. And before anyone asks yes I did attend both venues (though I must admit, I only went to the Mecca once as opposed to Wigan more or less every week). But staying with the article in question, there's a nice piece concerning 'Soul Supply' mainman Kev Roberts which basically says that while Russ is raking in £150 per spot, Kev gets a measly £15 and is banned from playing Mecca stuff such as Boby Franklin and Snoopy Dean. It also adds that Kev has a more dubious sideline - Emidiscs. (My first was Lou Pride b/w Reggie Garner - what was yours?) Enter Ian Levine to add his two pence worth... "Half the clubs and disc jockeys and kids follow Wigan, in other words stomp stomp dancers - some of which are pop records; and half follow the Mecca and are into rare, uptempo but black soul". Ian Levine now makes a living producing hi-NRG records for gay clubs. Well, we're in early 1975 and the top Mecca sounds are King Sporty, Boby Franklin and the Perception Strings. The epitomy of the Northern Soul sound I don't think so. On the other hand.they're playing stuff like James Fountain and Life, great records but still 70's releases. Thus ends Blackpool Mecca’s involvement in Northern Soul. The big split took place in February 1975 and the scene would never be the same again. Onto our next issue of BM, and there's no let-up in the media coverage of Northern Soul. "How far have we really come from the bad old days of rip-off and plagiarism when the only 'Northern Soul' records to make a big impact on the pop chart are by second rate British acts, while the black originators remain in obscurity'' protests the editorial in BM 15. Two pages are devoted to readers letters concerning the expose in the previous issue. Martin Clark of Sheffield accuses Tony Cummings of deliberately starting a feud between Blackpool and Wigan. John Maddock of Nottingham accuses Russ Winstanley of playing only sounds that he likes himself. A certain Dave Evison pleads for the return of the harmony that’s always surrounded the scene, and John Vincent corrects several innacuracies which make last months article look very silly indeed. Alan Rhodes protests at being called a 'second rate dj (i.e. anyone who isn't Winstanley, Levine or Cuirtis) and Ian 'Frank' Dewhurst puts forward the cases for both venues. The months new UK singles included a belated release for Snoopy Dean’s Shake And Bump, a reissue of Jackie Lee’s The Duck (why?) and Sister Sledge’s pop dancer Love Don’t Go Through No Changes On Me, while in the States there were new releases by Graham Central Station – Feel the need in me, Margo Thunder-Expresway To Your Heart Thunder-Expressway To Your Heart, and one of the biggest sounds of the years newies, Paul Humphrey's Cochise. 1000 Giants Of Black Music featured Leon Haywood, Hesitations, Donald Height and Monk Higgins. Sanantha’s in Sheffield was now running regulars all-nighters, and there were dayers in Coalville and Nottingham. Current big sounds were Mandrill, Billy Prophet, Gary Lewis, and Eddie & Ernie. New pressings from Selectadisc this month included Laura Greene, Los Canarios and Soussans Love Sitars. March 75 kicked off with a letter from an angry young lady from Birmingham who pleaded that Northern Soul shou1d be kicked out of the magazine because 'the people at Wigan and the Mecca are a bunch of hypocrites and false prophets whose only aim is to exploit black artists". There were several new singles this month in the UK including Eddie & Ernie, Lada Edmund Jr, Sons Of Moses, Steve Karnen, Rex Garvin and Jimmy Breedlove. There was an interesting piece on Frankie Crocker's Ton Of Dynamite (my second Emidisc,by the way b/w I'm Your Pimp-Skullsnaps) in which the real truth behind the disc is told i.e. Crocker sings on the A side whereas Dynamite is in fact by Lonnie Youngblood with Willie & The Mighty Magnificents. Soul Sam wrote in to call BM's recent N.Soul feature 'biased drivel' while Ian Levine actually reviewed some decent records in his 'Sounds' column including 'Harold Melvin, Topics, Marvin Holmes, Modern Redcaps and George Clinton. Just out in the States, Prince Johnny 'Robinson-That Girl Is Rated X, and Gwen Owens-You Better Watch Out, while in the UK Selectadisc had pressings of Rita Dacosta, Wombat, Carstairs, AI Wilson and Dean Courtney. The next issue April 1975 had a batch of replies to last months 'hypocrites' slur, but more importantly it carried the first ever advertisement for 'three button high waisted cord baggies with 30 inch bottoms’! Two of the worst records ever played on the scene came out on Pye, the Fugitives-Human Jungle and the diabolical Kenny Bernard-What Love Brings. Disco Demand's Solid Soul Sensat- ions album was reviewed this month and received a three star rating, and Ron Holden, Holidays, Cissie Houston and Eddic Holman were among this month giants. The newly established 'Northern Soul' page featured Johnny Bragg and Lada Edmund Jr, and also had an interview with Kenny Bernard whose best quote was "I saw Wayne Gibson on Top Of The Pops and i thought, man, wouldn't it be great if 1 could get an oldie release like that...and now I have". Tough luck Ken, should've tried to get CBS to reissue Pity My Feet. Ian Levine described Diane Jenkns’ Towaway Zone (Creative Funk) as "the record to end all records", and also reviewed Robby Lawson-Burning Sensation (Kyser), Stingers--I Refuse to Be Lonely (Stax), plus 70's stuff from Johnny Robinson, the Virtues and LTG Exchange. Hot stuff saw new releases from Na Allen-Open The Door To Your Heart and the dreadful Mare Copage double sider Who Can I Turn To/Will It Be Me, Plus Bataan's instrumental of The Bottle. Again there were no shortage of soul do’s, with places such as Burnley Circulation Club, the fondly remembered Halesowe Tiffs, Derby Cleos, Yate Sterling Suite (with dj 'King Kojak’) and a dayer at Leicester with Paul Rudzitis at the decks. Onto May 1975 and BM 18, and this months Selectadisc specials showcased their new Black Magic label, kicking off with a double sider' from Paula Rousell/ Bob Relf, and the infamous Sharonettes-Papa Ooh Mow Mow. If you thought those were bad, this month also saw the release of Wigan’s Ovation's Skiing In The Snow, and I had the misfortune to see them play live at a Northern night at W'ton Civic at the time. Levine was there that night, I wonder what he made of them? There were loads of new singles this month including Mitch Ryder, Dean Courtney, Devonnes, J.J.Barnes, Sax Of Soul-Sea Cruise (I bought that one!) and the nausiating Sliced Tomatoes by Sounds Of Lancashire. Disco Demand had a busy month because they also released the album Great Disco Demands, a compil- ation of some, of their singles. New singles in the US included Major Harris’ After Loving You and Lily Fields-Love Has So Many Meanings. The Northern Soul Page carried an interview with 'Cochise’man Paul Humphrey, and Ian Levine Amazed everyone by writing another good column with reviews of Holly Maxwell, Symphonics, Al Gardner, Tony Hester, Little Dooley and finally The Trip by Dave Mitchell and the Sceamers of which Levine wrote.."If only Wigan could get their hands on this". (Which they did almost immediately). June 1975's new releases: and this was bad; a disco version of Dance Dance Dance by a group called Liquid Smoke on Roulette, plus an answer version to Prince Johhny Robinson in the shape of Ann Byers’ This Man Is Rated X. There was also the latest abberation from Disco Demand with the Sha-Na-Nettes version of Just Like Romeo & Juliet and a newie/oldie from the Exciters with Love You Baby. Sandra Phillips, whose disc World Without Sunshine had been huge a few months earlier, was featured in the Northern Soul column, along with the 'other’ George Clinton of Please Don't Run fame. Levine's choices this month were the brilliant I’m Spellbound by Tamiko Jones (Golden World), Leroy Britton- You're Never Too Young (Sound), Jimmy Mack-My World Is On Fire (Palmer), Free Form Experimentt-There Will Be Light (Inner Ear-same label as The Crow), plus the Anderson Brothers-I Can See Him Loving You (GSF), Melvin Carter-Midnight Brew (Trip Universal) ex Johnny Jackson Experience-Let's Shing A Ling At The GoGo cover up; and finally Ernest Mosley's Stubborn Heart (La Cindy). Hot Stuff carried a review of a current biggie, the Brothers-Are You Ready For This (RCA) and described it as "a couple of fragments of tape salvaged from the Sigma Sound waste bin". Also out in the States was a similar sounding instrumental effort by 3rd Time Around-Soon Everything Will Be Alright (Denine). More letters concerning BM’s anti-Northern attitude kicked off issue 20 (July 75). Dane Smith from Northants: "Why do you not include sounds like the Philly Devotions, Johnny C, Capitols and Deon Jackson under the Northern section of your new releases? Is it because you like these records? And why include records like Sounds Of Lancashire when you darn well know that we Northern Soul freaks don't dance or listen to such crap?" Good point, and oddly enough this months singles were given much better reviews. The Temprees-At Last was "Marvellously swaggering", Jimmy James ’Help Yourself 'belts along", Tony & Tyrone-PIease Operator was "lovely, noisy, tinny, vintage mid-60’s soul.", Lorraine Chandler-Love You Baby was Black Magics best yet (not too difficult a task) and Gene Latter's Sign On The Dotted Line was "Among the best of it's type". Tony Cummings wrote a short biography of Lorraine Chandler for the Northern Soul column, and Ian Levine reviewed some obscure newies with the exception of George Benson-Supership and Diane Jenkins-I Need You. The Other Levine sounds were by Crossfire, Barrett Strong, Cortez Greer, Chris Campbel1 and Kevin Drinkard. Feature of the month however was a special on Van.McCoy, then currently high in the charts with the excruciating Hustle. The article mentioned his work with many Northern favourites including Chuck Jackson, Shirelles, Drifters, Jay & The Americans, Barbara Lewis, Sweet Things, Spellbinders, Sandi Sheldon, Chris Bartley, Jackie Wilson and Brenda & The Tabulations. Incidentally, did you know that the lead singer from the Sweet Things, Francine Baker, teamed up with another Northern favourite Herb Ward to become Peaches & Herb? You did? Oh well. August 1975 kicked off with a full page ad for three new UK Capitol releases from Earl Wright ("Back in the shops due to fantastic public demand" - it had never been in the UK shops before!), Jodi Mathis and. the Reflections. Top sounds pressed by/for Selectadise were Don Thomas, Nanette Workman, Capreez Ede Robin and Debbie Fleming. Black Magic released their next two singles, Dobie Gray-Out On The Floor and another Soussan recording, the abysmal Runaway by the Chantelles. Of the aforementioned Capitol releases, Thumb A Ride was described as "put together in five minutes by a bunch of tired West Coast session men". This was in stereo and slightly remixed. Jodi Mathis’ Don't You Care Anymore was pressed with the slowie b-side "mama"as the A-side! Chuck Jackson's brilliant Chains Of Love was described as "painfully dated and lacking in grace and subtlety" but Maxine Brown’s One In A Million, T.D.Valentine-Love Trap, and the Cooperettes-Shing A Ling all got surprisingly unbiased reviews. The Fabulous Blades-Jerk Baby Jerk and Lenis Guess-Just Ask Me also got belated UK releases. Over in the States there were Northern spins for new releases by Esther Phillips-What A difference, Boogie Man Orchestra-Lady Lady Lady, Eric Mercury-Pours When It Rains, and the Superlatives-I Still Love You (that's what it says here anyway, August 75’s Hot Stuff lists the Superlatives on Uptite as a new release. Maybe it was a legitimate repressing?) Bob Relf and George Benson featured in Northern Soul this month, and Levine's new spins were as follows: Tobi Bowe-Groovy Feeling (Patheway), Vessie Simmons-Shiftless Shady (Simco), David Lenyard-It Could Have Been You (Flying Eagles), Black Truth Band-Butter Nut (Black Truth), Nat Fross-Too Many Skeletons In The Closet (How Big) (cover-up I think), Creative Funk-Moving World (Creative Funk), Famous Chromes-Teach Me (Drive), Jessie Fisher-You’re Not Loving A Beginner (Way Out), and finally Scott Brothers-We Like Girls (Zachron). Certainly looks as if Levine had decided to almost 100% 70's newies by this time. The Yate allnighters were well established by this time, primarily run by the Inter City Soul Club who also had gigs going in Newquay, Leeds Cats Whiskers and Leicester Palais. In September 1975 Dave Godin launched his Right On label and kicked it off with a couple of goodies, the Jelly Beans-You Don't Mean Me No Good and the Crow- Your Autumn Of Tomorrow, a record which was unfortunately too far ahead of it's time in 1975 to be massive but has certainly grown in stature over the years - due for revival maybe? Major Lance's Live At The Torch was released and Black Music described it as "the ultimate insanity" but awarded it two stars for "important historical value". Doni Burdick, Dave Mitchell and Ollie Jackson were all pressed this month, while Rita Dacosta got a belated UK release on Contempo. There was a mild controversy over the new single by comedy trio the Goodies, the chorus of which went something like 'Black pudding Bertha, she's the queen of Northern Soul" - it had come to this! The Mecca playlist around this time included Mistura-Life Is A Song Worth Singing, Loletta Holloway-The World Don't Owe You Nothin’, Conquistadors-Sadness and Madness, 35th Street Gang-I Spy, Tax Free- Love Has Gone, Ballads-Lovin You Isn't Enough and Wade Flemons-Jeanette. Over at the Casino however, they were spinning Frankie Crocker-Ton Of Dynamite, World Column-So Is The Sun, Jeanette Harper-Put Me In Your Pocket, Willie Mitchell-Champion, Jades-I’m Where It's At, 8th Avenue Band-Whole Thing and even Billy Woods-Let Me Make You Happy. Tony Cummings reported on Black Magic act the Sharonettes and asked "exactly who are they" Well, first reports (from Simon Soussan actually) said that the Sharonettes comprised a 17 year old Soussan discovery named Paula Roussell, plus Northern heroines Patrice Holloway and Clydie King, with Sherlie Matthews thrown in for good measure. It eventually transpired that the group really consisted of Sherlie Matthews, a girl called Becky Lewis and Carolyn Willis, whose That Beat And Rhythm had been a hit for Soussan using the old Cigarette Ashes backing track. Both Sharonettes discs, Papa Ooh Mow Mow and Going To A Go Go, made the UK charts. BM October.1975, and new releases from the States which got plays on the scene were Revelation-Get Ready For This, and the Men From Macon-Salvation. In the UK, releases included Jackie Lee-Shotgun & The Duck, Mike Post-Afternoon Of The Rhino, Mr.Floods Party-Compared To What, RB Freeman-I’m Shaft and Debbie Fleming-Long Gone. Ian Levine's tips included True Pages Of Life-Truth And Love (Creative Funk), Val Palmer-Back In My Arrns Again (Twin Hits), Rising Sun- You're Never Too Old To Learn (Kingston), Jaywalkers-Can’t Live Without You (Swan), Carlena Williams-I Won’t Be Completely Happy (Erica), Joseph Moore-I Still Can't Get 'You (Marvlus), Jimmy Burns-I Really Love You (Erica)(which didn't go big til late 77) and Shelley Fisher-Girl I Love You (Dalya. The latest batch of Soul Galore releases featured Gloria Parker, Jimmy Mack and Keanya Collins. September 1975 saw Wigan Casino’s second anniversary take place, with guest stars Tommy Hunt, the Chi-Lites and Otis Leavill booked to appear . Northern Soul - After The Goldrush was the title of BM’s final big expose on the world of N.Soul, written basically because all the fuss from January's piece had died down, and no doubt circulation had fallen! First off, the customary visit to the Casino, and the first put-down: "Rail workers from Crewe, packers from Preston, steel workers from Sheffield and factory hands from Burnley.. suggesting that everyone who attends Wigan is a thick manual worker. No doubt there are a few brain surgeons dancing at the Mecca meanwhile. After the usual white stomper slag-offs and drug references, there is a lengthy piece concerning tailor-made Northern sounds, and the relative merits of Soussan, Pye, Spark and Ian Levine. No prizes for guessing who comes out smelling of roses! Now it's over to the Mecca where Cummings explains just why Blackpool had to switch to obscure new releases rather than keep plodding along with the old type sounds, but then totally blows the piece by quoting the latest Mecca biggie as being the Idle Few -People That's Why (a cover of a PJ proby LP track). Cleethorpes is next on the agenda, and the place actually gets a good write-up, maybe because it provides a happy medium between Blackpool and Wigan. Biggest sounds over on the East Coast were Danny Monday-Baby Without You (Modern) , Five & A Penny-You Don’t Know Where Your Interest Lies (UK Polydor), Rodger Collins-You Sexy Sugar Plum (Fantasy) and Len Jewell-All My Good Lovin’(Pzazz). The Inter City Soul Club held a soul convention in Blackpool, spread over three days. For £29.50 you got hotel accommodation, a soul exhibition (?), and a soul dance night, followed by a five-a-side football competition the next morning and a soul forum with guest speakers Mary Chapman (Cleethorpes organiser), Dave Godin, Andy Peebles and Tony fucking Cummings. At 8'o’clock, a soul concert featuring the Armada Orchestra, Chris Bartley, Fantastic Four, Tamiko Jones, Bessic Banks, Otis Leavill, Sam Nesbitt, Oliver Sain and Ultra Funk (in other words, the Contempo roadshow). Did all this actually take place, I can't remember. If any reader attended this weekender maybe they could write in and tell us what it was like. Here's one for you: did you that Little Dooley of You Better Be Ready fame was the same guy who did Game Players as Dooley Silverspoon? Just one of the interesting facts in BM October 75. Very little new product released in the UK this month: Johnny Williams – You’re Something Kinda Mellow, Sisters Love-Learning To Trust My Man and Tommy Hunt’s cover version of Cracking Up Over You. In the States There was Barnaby Bye – Can’t Live This Way, Anacostia-All I Need and the Miracles- Love Machine. On the pressings front, Terry Jackson Soul of Leicester had copies, or one copy as the case may be, of Robbie Lawson, candi Staton, Flower Shoppe, Three Degrees, Bunny Sigler and Al Foster band. On the fashion front, no soulie was without his three button, high waist, side pocket 30" Karma Ghia cords along with bowling shirt and leather bomber jacket. I know - I was that soulie. Well it’s now December 1975 and we come to the last Black Music to be featured in this article. In fact, this issue is perhaps the most interesting to record collectors as it contains a discography of every Northern sound currently available at that time in the UK. According to the uncredited writer of the feature all of the following discs were played on the scene At some time: 5000 Volts-I’m on fire, Chantelles – Runaway, Offenbach-Judy In Disguise, Northern Soul Inc-Something Keeps Calling Me Back, Jezzabells-Tainted Love, Spix'n’Spax-Follow The Leader, Etta Thomas-Just Ask Me, and many more of the same calibre. Here’s the pick of the reviews: Shakers-One Wonderful Moment(''Dire stomp stomp"), Jackie Lee-Temptation Walk ("The epitome of Northern Soul"), Graham Bonney-Supergirl ("Thoroughly obnoxious pop disc" - here, here), Earl Wright – Thumb A Ride ("Repetitive, mindless"),Lada Edmund Jr-La Rue ("Absurdly stereotyped"), Sons Of Moses-Soul Symphony ("Inept"), Danny White-Cracked Up Over You (''Primitive''), Mr. Floods Party-Compared To What ("Dull instrumental"). That just goes to show how well they listened to these records, the fact that Compared To What is a vocal track! The list goes on anyway. Just think though, in December 1975 you could have gone into any major record shop and picked up records of quality by Sapphires, Soul Brothers Six, Dobie Gray, Hoagy Lands, Williams & Watson, Major Lance, Sheila Anthony, Dean Courtney, Ila Van, Yvonne Baker, Incredibles, Bettye Swann, Dean Parrish, Homer Banks, Poets, Bunny Sigler, Lada Edmund, Jerry Williams, and on and on and on. It certainly was an exciting time to be discovering Northern Soul as I well remember, with new records to hear every week, new venues and new friends. I hope you've enjoyed reading about the monthly life of the Northern Soul scene in 1974-75. Anyone wanting to use this article on a webpage or in any other format is quite welcome to do so as long as they credit me for writing it ok! Thanks for reading! Pete Pete Smith Published Date: 1999/10/28 18:50:00

Yet another "oldie" Pete Smith from the 90s Here's a bit from Pete Smith , regarding a letter that was sent to him a few years back. Interesting stuff for those who used to think legal re-issues helped the artists Dear Pete, My name is Lorraine Silver of "Lost summer love" fame. Hopefully your eyes have lit up with instant recognition!! Ive just read your article in Richard Domars fanzine and just had to write to you failing to obtain any phone number from GPO. My story goes like this; believe it or not I knew absolutely nothing about my Northern Soul success with Lost Summer Love until last year. I made it along with another track called "The Happy Faces" in 65 when I was just 13 years old. I got a recording contract from Pye Records by making a do it yourself plastic disc in Woolworths and walking round to the studios with it. From that I got a contract. The records were expected to do really well at the time but they didnt. End of story...well although I got loads of publicity at the time being only 13 and all that, the records werent hits. Ive always kept on singing. I still sing with two girls and we do the cabaret circuit. It wasnt until last year when a friend of mine spotted my name in Blues & Soul magazine under the Northern Soul page. Some DJ from warrington had listed my record as one of the greats of the Wigan Casino era. When I saw this I almost passed out. At the time I didnt know too much about Northern Soul (although now I obviously do). My personal taste is soul i.e. Anita Baker etc. I started investigating and suddenly realised I had loads of royalties owing to me as when it was re-released on Casino Classics in the late 70s it sold 34,000 copies! I knew absolutely nothing at all of this. I then rang up the newspapers and various took up the story. I also got on LWTs news with the story. As you can imagine Ive gained lots of contacts during the past year and Im really keen o learn more about my record. My Dad flipped when I told him people were paying up to £40 for an original copy. I would love to know any more details about it at all if you can help me. Also does it appear on any of the Wigan Casino tapes you mentioned in your article? I now do P.A.s around Essex for a N.Soul DJ I got to know and the kids are now playing The Happy Faces in the clubs. It was never re-released. Ive sent a tape of it to Richard Domar as hes never heard it. (Pat Brady wrote an article about it in Echoes) When convenient Id love to hear from you, you can phone me on .......... Looking forward to hearing from you, regards Lorraine Silver I did speak to her a couple of times and sent her a tape with her record being played at Wigan, she was very nice. But what about those Casino Classics people then eh? Wonder who lined their pockets with Lorraines royalties? Next week...Pete Smith talks to Muriel Day

first on soul source in 90s The northern scene mentioned in this review is now up in the video section Thanks to Pete Smith of Planet Records( see links for details) who before he bought a modem used to produce a good northern fanzine full of good stuff like this review. Here's a excellent review of one (if not the) of the few films with a reference to Northern. Blue Juice should be on the cheap shelves of your video hire shops. get your popcorn and settle down........ BLUE JUICE Firstly, let me assure you that BEATIN' RHYTHM (the mag he used to publish and a damned good read it was to) hasn't turned into "Empire'', but Blue Juice is a smashing little British film that no-one seems to have heard of - and it has the added attraction of being the first movie, to my knowledge, to include Northern Soul as part of it's sub-plot. The film is based around the surfing scene in Cornwall, where Chloe (Catherine zeta Jones) is the proprietor of a ramshackle cafe whose patrons seem to be exclusively surf -type dudes. Her boyfriend is J.C. (Sean Pertwee), who is a surfing legend in those parts and who can't bring himself to make a commitment to our Cath. The first part of the film sets the scene, introducing us to various bit-part characters and their surfing antics, all of whom speak in hushed tones about "the boneyard" - a death trap surf break which only J.C has rode and lived to tell the tale. Anyway, the film starts to get into gear when three of J.C.'s old mates from London arrive for a few days break. Josh Tambini (Steven Mackintosh) is a record producer involved in the rave scene, though one suspects that this belies his roots; Dean (Trainspotting's Ewan McGregor) is a typical stereotype rover, long hair, goatee, bobble hat permanently stuck on his head, and always dropping E's; and Terry, a fairly idiotic fat guy, engaged to be married who didn't even want to come on the trip. I don't want to give a synopsis of the whole film, so here are the good bits. Dean has slipped Jerry a mickey finn E cocktail, so Terry is tripping and wandering around a large hotel. As Josh and Dean try to calm Terry down, Josh hears a bass sound coming from the room above. He decides to investigate and we see him walk through two large wooden doors into a small ballroom where the sound of Sam Dees' Lonely For You Baby is belting out of the speakers. Now, being totally unprepared for this when I saw the film for the first time, talk about drop me bacon sandwich! Shivers up the spine and all that, a fantastic moment. Anyway, Josh strides over to the record decks where a young half cash girl, Junior (Colette Brown), is being told by the hotel manager, obviously responsible for booking the hotel's entertainment, "I like it, I really do, but I'm sorry, it's not what the kids are into anymore". Josh approaches the disconsolate Junior and does a bit of anoraking; "Sam Dees, Lonely For You Baby, 1968. Er, the label...SSS International". "Does this look like a mastermind audition" replies Junior. Josh looks through Junior's 50 single box; "Hey, Time Will Pass You By, they used to end The Casino with this". "Uh-uh" says Junior "They used to end The Casino with I'm On My Way'. Josh gets patronising; "Look I was there when you were still wetting nappies and it finished Time Will Pass You By, I'm On My Way and Long After Tonight Is Over" (sic). Junior is now interested. "You went to The Casino? ''Number 497" says Josh, taking out a blue membership card. He continues looking at the records. "Hey a real stomper, Ozzie Sands' Price Of Pain. I sampled this". "You're Josh Taimbini?" asks Junior. "Don't treat me like a superstar" replies big head. (Keep this sampling business in mind, readers). Josh goes on to tell Junior about his three top ten hits (including Techno Toyland and Techno Techno Techno). Junior asks Josh to come to her Northern Soul do later that evening; "You've got to come tonight Josh. I know so many people who would kill to meet you". Cut to later that evening. Terry is still tripping and has gone missing, so the others are out looking for him. Josh walks up to a small dance hall in the town, and as he approaches, the spoken intro of Roscoe Shelton's You're The Dream can be heard, breaking into uptempo the second that Josh opens the doors. This is a brilliant shot. He's confronted by around 25 Northern dancers - proper dancers I mean, not extras pretending to dance, including one very acrobatic guy (there's always an acrobat around when the cameras are out). Junior is at the decks, and while cueing up the next record she looks up and spots Josh. She fades the record out and says ''Ladies and gentlemen, let me introduce you to Josh Tambini". Shot of the main door with a bolt going across it. Josh turns round to see what the noise is, and as he does, the dancers form a semi circle around him and close in (a bit like the ending of Tod Browning's Freaks, if anyone knows what I'm on about). "Look what's this about" asks a flustered looking Josh. "It's about soul.. replies Junior, "A thing that you've forgotten. You know this record?"' Junior spins Ozzie Sands - Price Of Pain (not a real record obviously, a tailor made stomper actually performed by Edwin Starr). The dancers nod approvingly. "Ozzie Sands - Price Of Pain" answers Josh car "Yeah. And what did you do with it?" accuses Junior. We then hear an appalling dance track using Ozzie's voice. The onlookers shake their heads in disbelief "Look it's not my fault. The market changed'' whines Josh, as a chair is produced and Josh is sat in it, integration style. Josh squirms and apologizes, in his own way, while Junior tells him that "It's not about money or clothes or guest lists". She spins Price Of Pain again, and the dancers hit the floor including the chastised Josh who goes for it big-time. Some lovely shots of fancy footwork here, though we never see Josh in long shot - a stunt dance bought in maybe! And that's more or less it for the Northern Soul content. There are all sorts of plots and sub-plots going on, like Dean attempting to surf the boneyard and J.C. saving his life, Ferret becoming a new man after his drug-enduced freak out, and J.C. and Chloe finally getting things sorted. The final twist come at the very end of the film. A black guy, back to the camera, is in a real studio belting out a version of Primal Scream's Moving On Up. He turns to face the camera and the producers in the studio, who include Josh and Junior. The singer is Edwin Starr. "How was that" he asks. "Ozzie that was beautiful says Josh, looking on in admiration. "Straight into the techno mix" says Junior, leaving Ozzie and Josh looking bemused. "Do we have to?" asks the born again soulie Josh. "Gotta pay the bills", replies Junior. Wry smiles all round. The action that I've just recounted here only lasts for about ten minutes of the films running time, but I can't remember a major movie ever mentioning Northern Soul or giving references to the scene before, but not only does Blue Juice do this, it also does it properly. They even had a Northern Soul advisor in Lee Vowles, who I don't know but obviously knows his stuff. Prehaps Steven Mackintosh (Josh) fluffed his lines in his "three before eight" speech Blue Juice played the cinemas early last year for about a week, and came out on video in around Spring of this year. It should be available at your local video rental shop, and it's 90 minutes very well spent should you decide to rent it. There you go, good stuff, no wonder Barry Norman moved to Sky.

President label info by Pete Smith 1997 PRESIDENT A lesser known but very long-lasting record label, President began in 1967 and was still issueing records in the late 80's in one form or another. Although not exclusively a soul label, President was pretty on the ball when it came to discotheque demand and you'll find many classics here. The label was owned by Ed Kassner and was the parent label to Jayboy, issuing material from, by the looks of things, mainly West Coast labels, although there was a good supply of records leased from Chicago labels such as Mar-V-Lus. In line with many of the labels looked at in this book most of the releases can be picked up for a few pounds whereas one particular record is very hard to locate. More on that later. The label was yellow with a large logo at the top, with black lettering. Demos use the same label but with a large red A. Another President affiliated label, Joy, issued many of the singles listed here on their Keep The Faith series of albums in the early 70's. Here are some discs to look out for: 109 Johnny Wyatt - This Thing Called Love. Fabulous dancer from L.A. which was a monster in the early 70's. 118 Jimmy Robins - I Can't Please You. A real mystery record. This is nigh on impossible to find on UK President, whereas almost every other release is very common. In the mid-80's, President still had several copies in their warehouse and were offering them at 750 each. What happened next isn't known, but the record suddenly became popular and all but disappeared. Copies have been seen on sale at over £100, but this is a ridculous price. As for the record, it's a stunning, gritty Chicago dancer and comes highly recommended by just about everyone. 136 Young Folk - Lonely Girl. This discography contains many records with prices running into three figures which, in all honesty, are awful - just very rare. At the other end of the spectrum there are many records which are relatively cheap and easy to find but which are absolutely brilliant. This is one of them. Immaculate girl vocal from the One-Der-Ful label out of Chicago (where it was also released with the artist given as Miss Madeline), this must surely be the best cheapie of the lot. 139 Barry White - All In The Run Of A Day. Barry's first UK release and a fairly hard to find beat ballad which is growing in popularity. 317 Darlettes - Lost. A sublime Van McCoy production which, while not being out and out Northern Soul, still possesses enough of the right ingredients to make it a popular choice for beat ballad fans. PT WITCHES & the WARLOCK Behind locked doors / 5/6 108 VIOLA WILLS I got love / Lost without the love of my guy 5/6 109 JOHNNY WYATT This thing called love / To whom it may concern 6/10 110 PAT HERVEY &THE TIARAS Can't get you out of my mind / Givin' in 5/6 115 ALVIN CASH No deposits, no returns / The philly freeze 5/6 118 JIMMY ROBINS I can't please you / I made it over 60/75 119 ALVIN CASH Alvin's boogaloo / Let's do some good timing 4/5 120 FELICE TAYLOR It may be winter outside / Winter again 4/5 123 CASINOS I still love you / Then you can tell me goodbye 5/6 124 TWO OF CLUBS Walk tall like a man / So blue is fall 5/6 129 ALVIN CASH Doin' the Ali shuffle / Feel so good 3/4 136 YOUNG FOLK Lonely girl / Joey 6/8 139 BARRY WHITE All in the run of a day / Don't take your love from me 10/12 142 LONNIE MACK Snow on the mountain / Save your money 5/6 147 ALVIN CASH The charge / Different strokes for different folks 4/5 148 OTIS CLAY Show place / That's how it is 6/8 150 VIOLA WILLS Together forever / Don't kiss me hello 5/6 154 VIOLA WILLS Anytime / You're out of my mind 5/6 155 FELICE TAYLOR I feel love comin' on / Comin' on again 4/5 171 WILLIE PARKER I live the life I love / You got your finger in my eye 3/4 193 FELICE TAYLOR I can feel your love (coming down on me) / Captured by your love 4/5 215 BETTY EVERETT Getting mighty crowded / It's in his kiss 3/4 221 WATSON T. BROWNE Crying all night / I close my eyes 4/5 232 TERRY LINDSEY It's over / One day up one day down 5/6 234 GENE CHANDLER Stand by me / Duke of earl 2/3 253 BETTY EVERETT You're no good / Hands off 3/4 263 BILLY PRESTON Billy's bag / Goldfinger 3/4 311 BELLES Don't pretend / Words can't explain 5/7 317 DARLETTES Lost / Sweet kind of loneliness 6/8 322 WILSON PICKETT I can't stop / Down to my last heartbreak 4/5 351 ALVIN CASH Twine time / Twine awhile 4/5 372 BETTY EVERETT Trouble over the weekend / The shoe don't fit 5/6 373 DONTELLS In your heart (you know I'm right) / Nothing but nothing 5/6 382 DU-ETTES Every beat of my heart / Sugar daddy 5/6 398 DU-ETTES Please forgive me / Lonely days 4/5 399 SHARPEES Tired of being lonely / Just to please you 5/6