Chalky

Been a week since I last contributed.... three superb northern tracks.... James Bounty - Action Speaks Louder Than Words - Compass Citations - To Win The Race Keep The Faith - Ballad Jean Wells - With My Love And What You've Got - Calla mid tempo dancer Neil Brown - If By Chance - Chart Sound and slowing it down a touch more the immortal Brothers of Soul with Hurry Don't Linger - Boo Sorry if any of these been previously mentioned by me or anyone else

it is according to the notes with the clip... https://www.instrumentalwomen.com/page22.html

looks like it was specially staged for a Televison show, here's the info with the clip.....fookin awesome clip too all the info >>>HERE<<< too Insightful — May 12, 2009 — Given the fact that Motown had not been conducting Live sessions with the vocalists and instrumentalists recording at the same time since at least 1963, this session was clearly staged for the CBS News cameras that were doing a brief piece called The Motown Sound. Pictured in the studio are songwriters Lamont Dozier (Standing on the steps at the back of the studio), Brian Holland (The guy who cuts in on the band), Ivy Jo Hunter (Does the countdown), Russ Terrana (The engineer standing up), James Jamerson on Bass, Earl Van Dyke on piano, Bobbye Hall on congas, and from left to right on guitars Robert White, Joe Messina and Eddie Willis. The arranger, wearing headphones and conducting the band, is William Witherspoon. To the best of my knowledge this incredibly rare piece of film is the only one of two pieces of footage ever shot at a session inside the studio known as the Snakepit. Thanks to their fine-tuned choreography — and even finer harmonies — the Temptations became the definitive male vocal group of the 1960s; one of Motown's most elastic acts, they tackled both lush pop and politically charged funk with equal flair, and weathered a steady stream of changes in personnel and consumer tastes with rare dignity and grace. The Temptations' initial five-man lineup formed in Detroit in 1961 as a merger of two local vocal groups, the Primes and the Distants. Baritone Otis Williams, Elbridge (aka El, or Al) Bryant, and bass vocalist Melvin Franklin were longtime veterans of the Detroit music scene when they joined together in the Distants, who in 1959 recorded the single "Come On" for the local Northern label. Around the same time, the Primes, a trio comprised of tenor Eddie Kendricks, Paul Williams (no relation to Otis), and Kell Osborne, relocated to the Motor City from their native Alabama; they quickly found success locally, and their manager even put together a girl group counterpart dubbed the Primettes. (Later, three of the Primettes — Diana Ross, Mary Wilson and Florence Ballard — formed the Supremes).

One of the greatest soul singers EVER!!! Dave Thorley has been in touch with and seen Tommy recently in hospital or care home after his stroke. Bit of a bio from wikipedia... Tommy Tate (b. September 29, 1944, in Homestead, FL USA) is a singer, drummer, and songwriter Florida born, Mississippi raised Tommy Tate has been called "America's best kept secret" and "The greatest singer you've never heard". An almost cult like figure in Deep and Southern Soul circles, Tate started drumming and singing in small clubs in the Jackson, MS area. Tate's break came when he joined the state's most popular band at the time, Tim Whitsett and The Imperial Show Band, an all White band that played Universities in the Southeastern United States and with several records released on major labels under their belt. After Tate joined up, the band successfully toured the United States and Canada. In the 1960s, many records were pirated overseas unbeknownst to the artist. This was the case with several of Tim Whitsett's records. "Northern Soul" circles in Northern Britain specialized in discovering and playing rare soul records. Whitsett's records are now high priced collectables, and of course some feature Tate, including "The Whole World Is The Same" (Musicor 1340), and the group's only cover released on record "Stand By Me" (Big Ten 1003). Tate also recorded singles for Verve as "Tommy Yates" and for Atco as "Andy Chapman". Tate thought the latter was intended to be a demo and was unaware of the release. In 1970, after the breakup of the band, Whitsett and Tate signed on as songwriters at Stax Records, and Tate roomed with legendary songsmith Mack Rice who suggested Tate as new lead singer of The NightingalesOllie Hoskins had left the group. The company issued two singles on the Tate led Nightingales. as Also during this, Tate was one of only two artists signed to Koko Records, which was distributed by Stax. Although he made the top 30 on the R&B charts with "School of Life" (Koko 2112), he became "the forgotten man" when label mate Luther Ingram scored big with "If Loving You Is Wrong (I Don't Wanna Be Right)". Tate's signing with Koko would prove to be disastrous as label head Johnny Baylor would have a virtual stranglehold on Tate's career for years to come. Tate; however, did find a lot of success in the 1980s as one of the most productive songwriters for the Jackson based Malaco Records. Even legends Johnnie Taylor and Tate hero Bobby "Blue" Bland would copy Tate's phrasing and style on his songs including Taylor's "Everything's Out in the Open" and Bland's "Midnight Run" and "Get Your Money Where You Spend Your Time". Luther Ingram, Otis Clay, and Malaco Records' Little Milton have each recorded several Tommy Tate compositions. He had two CDs issued exclusively in Japan in 1992 and 1996. These were preceded by the Tim Whitsett produced Love Me Now on Whitsett's Urgent! Records in 1990, Tate's only American album release. The set included songs from the pens of Carson Whitsett (four, including one co-written with former Stax artist Frederick Knight), "Sir" Mack Rice, and a cover of William Bell's "I Forgot to Be Your Lover", and received steady air play in the South. In 2005, Grapevine released a CD entitled Troubled Waters: Deep Soul from the Deep South. Two of the disc's highlights were Tim Whitsett's "Get It Over Anyway" and the Tate and Carson Whitsett collaboration "Hold On" (later recorded by James Carr) both performed by Tommy Tate. After being initially released in Japan, Soulscape Records put out worldwide Hold On: The Jackson Sessions Rare and Unreleased which featured Tate in his prime, mostly backed by The Imperial Show Band. Tate, having suffered a stroke, is no longer active.

jets - i was born with it -

It was Mossy I think who started the Fania label of the week. We will use the label another week but things were already sorted for this week

Three rooms with running water.

some superb info in this weeks label of the week. If you can't learn something here something wrong. Keep the scans and sound files coming

for information on the full player in the info panel bottom right "embed" another box will open highlight and copy and paste the relevant bit of text....

Richard, on the full player bottom right under the balck screen, says embed, click on this and copy and paste the link. Family Plann - Come On Lets Do The Breakdown -

Jimmy Norman sez "Its Me", will that do

whatever the inaccuracies (and the vast majority of films use artistic licence) from what I've seen it looked ok and I'll reserve judgement until I have seen it. I did cringe when I saw the break dancing but I can see the film for what it is, a drama with northern soul as a backdrop. Its not as though its a history of northern soul is it. Anyway, I'll wait until i've seen the film before passing judgement. And as for the clapping in the film it can't be any worse than at a venue these days, its terrible. And as for Magic Carpet Ride, is the unissued Derek Martin the original? It is after all a Teddy Randazzo production?

Lifeline Allnighter: One Off Venue Move For June 26 View full article

Graham, go into the All About Soul forum and look at the cheap as chips topic enough recommendations in their to keep you happy for a long time. Everyone cheap too.

what I said was my own personal view (I am allowed one) and nothing to do with moderation. The mods haven't got involved I did on a personal level. The so called tongue in cheek comments weren't needed, no one knows the overheads, how many needed through the door to cover their costs etc and why there is a tenner price difference and in the scheme of things does it matter, £30 is cheap for three days entertainment. The tongue in cheek comments from more than one, had one meaning, anyone could see that and anyone with any knowledge of this forum knew exactly where the topic was heading. There was no need to say one does it solely for the money and the other to cover their costs, load of crap IMHO, both do it for the same reason. off to work!!

Blue Rock the label of this week, we start the new one every Sunday.

that is still cheap for NYE, club scene would be £50+

It s bloody cheap IMHO. The soul scene have been a bunch of tight gits for years Tenner for an allnighter and still some moan. You wouldn't get a night out in a club for ten hours for a pound an hour. Bet it would cost double that in a top dance club? The cost to the average punter has hardly gone up for years, especially soul nights, we seem to want everything on the cheap. Just had a google, Ministry Of Sound, £13 10.30 till 6.30 the cheapest, many other nights at £15 and £20. Would a soulie pay £20 for an allnighter?

not being funny either Joan, I don't know one promoter who runs a venue to make a loss....whether they are a business or not. I don't see any of these who are happy to simply cover costs donate all the profits to charity. Like I said this topic after just a few posts was beginning to turn into a slag off Kev Roberts topic......don't think we done that one before There's plenty on here and on the wider scene who make a living out of the soul scene, I don't see them get a constant slagging off!

I understand Bob asked a general question and nothing against that but it was IMO heading to a slagging off of one promoter with some of the comments made, with comments like one does it to make loadsa money and inferring that's all he does it for and that the other does it to simply cover their costs, I suppose any profit will go to charity?

When it simply becomes a medium for slagging off a promoter all the time. What I said was my own personal opinion, nothing to do with being a moderator. The topic was after just a few posts turning into a slagging off of one promoter and hailing the others as saviours of the peoples scene, that to me isn't a discussion.

that's not the label on the record. plenty of US acetates such as RCA that look like above too. That track on the you tube clip was "stolen" at the rocket when Gavin taped the sets of the DJs without permission.