Roburt

A related story ............... https://reading.acade...es_of_the_South EXTRACT -- Register quickly realized these dances were a potential gold mine. He spotted a black group called the Lemon Twisters at the Forest Inn, which was a Westside teen club from 8 p.m. until midnight, when it became an all-adult "bottle club"until 5 a.m. The Lemon Twisters were fronted by nineteen-year-old "Little Robert" Moore, a flamboyant singer in the James Brown/Jackie Wilson mode

I THINK I remember Record Mirror printing a specialist UK soul chart back in the 60's (pre B&S days). I think is was supplied by a London based record shop so wouldn't have been totally accurate for sales right across the UK (though prior to around 1968, there wasn't much of a north / south split in soul tastes).

Going back to a much earlier question on this thread .... Dave Godin had numerous (x 20) boxes of the issue (without drill holes) at Soul City shop from just after it was released in the US. So it can't be too rare on yellow issue without drill holes.

Thanks for those links .... most interesting. Now we have the great 2fer gospel CD from Ian Dewhirst, we need a similar release featuring the Chess / Checker gospel stuff.

A 'northern' guy who's still got 'all the goods' .................

My post was made very 'toungue in cheek' as the FEW on this thread just rubbish every post that displays a view different to theirs. Pete, your response was just SO PREDICTABLE. I really only put it up to ellicit your reply ...... think I'll give it a rest now as I don't want to be 'red carded'. In the end, we all just like what we like, I have never been a NS fan as such .... went to my 1st soul nite in 1964 & my 1st niter in 1966 ... back then it was just ALL SOUL and that's what shaped my taste. Now my main preference is for MS but can still like sumat I hear for the 1st time in a NS room. Though to be brutally honest, I'm usually just chatting with mates when I'm in a NS room, rather than actually listening to the music ... so I must 'miss' a load of great tracks.

All charts are'manipulated' or compiled using partial sales info (only major record shop sales, little or no specialist shop data), so all charts give only an indication of what's popular. Record companies would never release data on actual sales figures as then they had to account to the tax man & the artists themselves. PLUS, I still think the US method of including what is popular on the radio (& in clubs) has some merit as not everyone actually used to buy records but they still had their favorites. Of course, what the top 3 in any chart was is usually about right as the sales figures on the top few were so high compared to the rest that using data from say only 60% to 70% of outlets still gave the correct results.

WOW, the 60's only brigade don't like 70's soul tracks being played .............. ... stop the presses, we'll have to get that story in tomorrow's Daily Sport !! I'm afraid that anyone who would rather 60's pop tracks were getting played than great (funky / latin / southern soul / discofied / blaxplotation) loses all credibily with me. Surely when a night is a SOUL night, it should play soul .... not weak watery pop shite that's only up side is that people without taste can dance to it.

Seem to recall that I have a 'poppy' type UK (little label) 45 that features 2 Sandy Linzer tracks, one of which could well be "WWWMB". Santa Ponsa may be the label its on (or at least a bluey grey label).

Don't think this guy's career ever amounted to much .... He did keep plugging away for a few years though ..... ...... [media=]https://www.youtube.com/watch?v=P8x4mWzMt7M

Patrice isn't with Nolan this visit (I met her at Prestatyn & she has some fascinating tales to tell). I got the impression from Nolan that he would be travelling up to the UK nether regions (anywhere north of Yorkshire) on his own. Paul, I advised him when coming to meet you to travel by CrossCountry trains from Brum New St to Durham (is that your local main stn ?). He was going to ring you to sort out the details. Which was the Madchester group that cut an awful version of "Keep On Keepin On" for John Anderson & Richard Searling? ... & was that cut actually released after they started having pop hits ?

This lady (Annette Larkins) has led a full life .... ..and it seems that she is ageless (aren't all women !) ..... ... https://www.annettelarkins.com/biobiobio.html

Will the 45 be available from Amazon .... & when will it be issued ?

Nolan in full flight at the 100 Club ....

Its over to Ella Washington's Lil' Sis (Audrey Royal) now ...............

Like Robb, I got into the music years before NS was 'invented'. Back at the start it was 45's on UK Stateside (incl Motown), Atlantic (incl Stax), Sue and the like that got me hooked. Sam & Dave + Otis Redding tracks figured large in those days, soon to be followed by stuff like "Harlem Shuffle", "Determination", "Jump Back" & the original versions of tracks that Jimmy James, Alan Bown, the Who, Small Faces & Geno were doing. But then, back in the 60's, all the UK chart & beat groups were covering soul songs .... you just had to go looking for the 'real version' when you heard a soulful type track by a UK artist / outfit.

Went to see Nolan & Stone Foundation at the 100 Club last night & they put on a really good show (2 from Stone Foundation, then 9&1/2 with Nolan up front & the group backing him up). A couple of good 'cover song' choices included in the set ("Somebody, Somewhere" & "Gimme Little Sign" wiich were both well received). It was "Keep On ..." & "If I Could Only Be Sure" that set the crowd alight though. Seemed to be a decent turn out for them but I had to dash off as they finished to get public transport home, so no idea what things were like after the live show finished. Chatted with Nolan (& Neil from Stone Foundation). Nolan is definitely enjoying himself on this visit, cutting a track with the Stone Foundation guys seemed to give him a buzz (& its already out on a 45). In my chat with Nolan, he definitely recalls Johhny G Watson playing on one of his sessions and thinks himself that it was "If I Could Only Be Sure" ... could have been another session though .... as he said himself, its a lot of years ago & the memory is fading.

Another Miami based female soul singer; Ella Washington .... ........ plus support acts ............

Are you going along to the 100 Cub tonight Tony ? I'm almost sure to be there as I want to say Hi to Nolan and have a chat with a guy out of Stone Foundation.

It would be good to ask him about his work with Rick James, I'm sure funk & Motown fans would be interested in that aspect of his career. ALSO, ask him who's idea it was that his 45's were released under so many different artist names .... seems a strange decision for a guy tryng to build a career to have people think his records were by 3/4 different people.

Here's the main part of a piece I wrote on Nolan some years back ...... ..... perhaps the 'gaps' in the info here would be a good place to start when putting together questions to ask him ....... Nolan was born in 1949 in Los Angeles and his family soon realised he possessed real talent as a singer. He started to write songs when only 6 years old (his first successful composition being "I Like What You Give"). Initially, he developed his singing skills in church before developing them further in school. He quickly developed a strong love of all aspects / types of music, learning to play the viola and falling in love with the piano at the age of 12. At 15, he performed for the first time in a night club, this being at the Players Ring Theater in Westwood, California. He followed this was a performance at the Hullabaloo Club at the Aquarius Theater and then secured a gig at De Paul's Club in Hollywood whilst still only 17. After graduating from Los Angeles High School, Nolan attended Los Angeles City College where he started singing in a madrigal group together with Gabriel Mekler's sister. Israeli born Gabriel Mekler was mainly working as a record producer for ABC-Dunhill at that time and was known for his work with the likes of 3 Dog Night, Janis Joplin and Steppenwolf. Via his sister, Nolan was introduced to Gabriel Mekler and an audition was arranged. At the time, Nolan was only singing classical music but he selected Donovan's hit song "Sunshine Superman" as his audition piece. Even though Nolan classes his performance as being lame, Gabriel heard a potential soul singer in him and insisted he start listening to recordings by the likes of Otis Redding and the Rolling Stones to become more familiar with the style of singing. Nolan followed his instructions for the next 2 years and by 1969, the pair were ready to start recording. Time was booked at Wally Heider's Studio in Hollywood and with the likes of Jimmy Carl Black, Roy Estrada and Lowell George (ex of the Mothers of Invention) handing the backing, at least 10 tracks were laid down. The majority of the songs cut were written by Nolan himself but a cover of a Stax number ("Iron Out The Rough Spots"; written by Booker T Jones / Steve Cropper / David Porter) was included to give the proposed album stronger R&B credentials. One of the songs, his "What Would You Do If I Did That To You" would later enjoy much success when covered by Steppenwolf. Another artist who linked up with Mekler at that time (1970) was Rick James. Due of this connection, Nolan & Rick ended up undertaking some performances together. These shows taking place at the Troubadour in LA and at the Corral nightclub in the Los Angeles hills. Gabriel Mekler decided to start his own record labels and place Nolan's material on these. Thus in 1971 he opened Vulture & Lizard Records, based on Sunset Boulevard in LA. Other artists he signed to the label and wrote for / produced included the likes of Clydie King and Paul Humphrey & the Cool Aid Chemists. Paul Humprey's 1st single on Lizard climbed straight up the charts and so Nolan was recruited to work with his outfit. Nolan wrote the song "Funky LA" which Paul and his group cut. When this was released as the A side of his follow-up 45, it also made it into the top 50 of the national soul charts in August 71. By that time Nolan's own 'No Apologies' album had been released (Lizard # 20102) and this created enough interest for additional tracks to be cut for proposed single release. Thus, his first 45, "I Like What You Give" (Lizard # 1008), was released early in summer 1971. This quickly started to garner radio plays and soon broke out across the USA, making its entry on the national soul chart in July. The cut would remain on the national chart for 8 weeks, climbing to reach No. 40. Nolan had also cut a reggae style track and it was decided this had chart potential. "Groovin Out On Life" when released on the Vulture label (# 5002) under the name Frederick II, shot straight onto the charts in Nov 71(peaking at # 25 & spending 10 weeks in all on the national chart). Within days of "Groovin Out On Life" entering the charts, "Keep On Keepin On" (written by Nolan and Richard Flowers) was released as a single on Lizard (# 1010). Under the name N. F. Porter, this also became an instant national soul hit in December, making the top 40 and spending 7 weeks on chart. Lizard / Vulture Records releases enjoyed a lot of commercial success, but the company was having to grow too fast and the people running it didn't have the same goals. The problems it faced became too great and the labels were closed down. Before the company folded, Nolan went into the Sound Factory studio and cut some new tracks, one of these being a song titled "If I Could Only Be Sure", on which Johnny Guitar Watson played. With Mekler's help, Nolan was signed to a deal with ABC Records and the tracks to fill a 2nd album were assembled (some of his earlier 45 & LP cuts being re-used). "If I Could Only Be Sure" was released on a single (ABC # 11343) and this entered the charts in February 73 where it stayed for 8 weeks reaching # 29. The success of this single and his ABC album resulted in both being released in the UK (the single forming Probe # 580). In the US, ABC lifted "Ooh Baby" off the album to form a follow up single but this failed to chart. Nolan wasn't to cut any more tracks for ABC. He did however, in conjunction with Gabriel Mekler, work on tracks for Billy Preston and Wilton Felder. Although his solo recording career had ended, Nolan continued working in LA nightclubs as a musician / comedian. He also performed in clubs across the States and in such overseas locations as Singapore, China, and Bali.

This track is just pure NS heaven .... anyone on the scene who don't like this just 'ain't got no soul in their old shoes'. Only pity is that it seems any remaining 'spare' copies of the 45 went to the tip when the label owner's kids cleared their late parents house out.

Another Mary Hylor related post (see post 95 for the 1st one) ..... Late 69 & she was supporting Johnny Adams at the Continental .. ..... they even included a photo of her on the show ad .....

Never thought I'd ever say this ..... but the Willie Wright track above MIGHT even top Curtis M's original. WW's take on the song is so different it almost becomes another song altogether. Just LOVE LOVE LOVE the flute in it & his voice is so gritty .... .... a real gem that I'd love to be played out a whole lot more (beats 99% of Wigan Stompers into the ground).

Anuda one for a show featuring J P Robinson (this one's for a revue he was a part of) ...