Steve G

Oh really? - let me post up a few links to a few other threads you've been missing out on Find it very odd that someone into soul wouldn't like "The Drifter" - it's an all time great......but then I hear all about Bobby Goldsboro, Holly St James and stuff like "I'm shaking" or whatever it's called, and it all makes sense why some might get so upset....... To me "The Drifter" is an all time great of this genre, and it's nothing to do with telling you what you should like.

Great soul record. I am more and more convinced that some on here don't actually like soul music at all

yes it's so. Obviously earlier / local etc so not quite as "polished up" as the RCA version.........nice light blue label too.....Steve

It is different (I have both), strings more prominent on RCA.....Steve

Most soulful -is a tie: Little Milton (Oxon) Soulbury (Beds)

....and were your originals what we term "Trophy records*" Pete? If not it seems no one would want them! *Trophy records defined as "Top 200 rarities" on every wants list you ever see

The local US issue (before RCA) is easily the rarest by a long way.

Nah reckon the musicians were the same.......they all played on each others records

The story goes that when Spyro Gyra had their hit on RCA, they had to ditch the Barbara St Clair records quick, and sold them all to John A.

Is that Spyro Gyra "moonlighting" as well?

Yes the left over soul bowl stock of 'em. Think Moerer has one up now for $1,000, like the one last month

Craig Moerer still has copies of the original if anyone still wants an original. MartinR&B man?

There is another book that is a very good read on this as well - I have it somewhere......again references Morris Levy, the payola, Neil Bogart and his 'excesses at Casablance etc, and how the mob were shipping lorries full of records back and forth the country and claiming sales (this is where some of the daft sales figures you see come from), and of course the guy that ran Calla with his JAMF Production Company (Jive Ass Mother F**ker). Great read, but not all soul.

I am not putting the film down, just having a larf.....in the same way as the film producers had a larf with the guy cycling to Wigan on a chopper bike.......now that is funny! I've just thought of another sub plot....he cycles through the mean streets of Wolverhampton, with locals throwing rocks at him etc, but then gets a puncture on the Stafford Road, and has to be taken back home by the police.

Many a true word spoken in jest Pikeys dog. The reason there are so few copies of Tommy Ridgeley on "International City" is that the label owner used most of the press run which didn't sell as target practice for his kids air rifles........they'd put copies of the record up and shoot at it like others would with coke tins.........true story.

Settling scores via dance offs...... funny......Hey we could have some fun with this West Side story theme Andrew I've just written a NEW press edit especially for the US market............... Two 'gangs' vying for control of the mean streets of northern England - one from the North West side called the "Jets" who were centred around the mean streets of the Wigan area and who met up in a disused gambling den called "The Casino" every Saturday night. "The Jets" were notorious for their acrobatic dancing, spinning, flips and high kicks - and trademark sweaty vests.....And then..... from the "East Side" there were the "Sharks" who hung round the "Clethorpes Pier" area, and who were notorious for their fast footwork and dancing on the spot - later embraced and popularised by Michael Flattley and his "River Dance".......when these two gangs clashed in mid 70's working class Britain the results were explosive! A tale of drugs, discos, girls and dance-offs. Not to be missed.

I have thousands of records stored horizontally (i.e on top of each other) and haven't seen any evidence of warping......plenty of evidence of the piles falling over especially when the reverb from the speakers causes the piles to virbate and then topple.

Well it was an obvious one to revive I guess, as it's got that jangly rhythm that is in vogue now and it's quite catchy too.

It's been going through something of a revival recently....

TK in the US were often 45.

Not really Col - many a DJ has been caught out with a "Pinky & Perky" BTW haven't seen you out and about lately?

think the answer was that when 12s came out there was no rule, like LPs are 33, and 7s and 45. With a 12 this rule didn't apply and some treated them like an album, others like a 45. I don't theink the answer is anything more elaborate than that.

It's white isn't it.....like a 60s garage band. Not my bag either.

This would have been from their buddah period when they were child stars I guess,,,,,,,,preferred them when they grew up into proper singers .....Steve

Yeah interesting I played the 2009 version of this at a 60s night (just being a rebel in charge of the decks ), and quite a lot of people danced to it. Classic tune. One of the worst Wigan moments for me was hearing The Seeds "Pushing too hard". If I could have got a refund on me train ticket that night I would have. Heart of Soul indeed! But then again I have always hated the pop and always thought it was the lazy DJs that had to resort to it because they didn't have decent records to play. But people on this thread shouldn't be surprised that chart stuff crossed over or that contemporary stuff was played on the scene. You have to put these things in context. The northern scene always played new releases back in the day, and the very oldest records were only ten - fifteen years old. Many were less than ten years old. So a Motown 66 record played in 77 was 11 years old. Phillip Mitchell and things like that weren't far off being new releases when they were first played. The equivelent today would be a scene where the very oldest record played was from 1998 and the majority of the playlist was from Y2K. In that context it makes perfect sense that the northern scene embraced some of the better new releases. I remember the Flaming Emeralds played as a new release and being massive and also Flame N king, Ronnie Love, Anthony White and Eddie Holman (Salsoul), and of course Carol Anderson a couple of years later. Any one of those could have got into the charts with the right distribution and a bit of luck (such as a feature on a radio station or a bit of a push from the Mob). And this was long before the first officially recognised 'onslaught' of modern in 1979/80 (when Richard got the new releases from Soul Bowl - Wil Collins, Pages, Roy Dawson, Larry Houston etc.). So why do people seem to be surprised at what got played at Wigan etc? The scene was never just been an endless stomperfest and think that some people might not realise that.