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    Mitzi Ross - I'll Do More For You Baby

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  1. 'fandango' made me chuckle.....thanks...
  2. You can in a 'live' situation I think. Harder on video and films, in these cases, the music is dubbed over afterwards and rarely are the dancers in synch with the music and it is often a different track, (or due to the edit a number of tracks) they were dancing too.
  3. Not sure what you mean, the NS film had no instructor(s) teaching steps, it was a monthly gathering where people danced and exchanged through observation. It pretty much developed like observing on the scene, inviting older dancers in so that the younger ones could absorb, ask questions and create and develop. No one stood at the front teaching steps. More importantly, the film was trying to show a historical period (in the 70's) a few set years in time and a specific historical setting, trying to present a certain tiny moment in the scenes history. Therefore the dancers were given indicators of what generally happened and what didn't in that period, but this was only from the perspective of those in the room and other viewers people who went to Wigan might have had very different experiences. In fact this was shown when some people tried to claim the film showed too much drug use and that it didn't represent what happened...well for many of us it presented exactly what happened. The film never claimed to be Northern souls past, present and future and was focussed on one major venue. It was, like any historical film, attempting to represent a few short years in history.
  4. Couldn't resist the urge......but within me responding to Rhino's last line with these tracks, I also think the music demonstrates just a tiny part of the breadth of Northern Soul and there lies the debate. I think it's the claims of authenticity within the scene that are problematic. You can even see it on this thread with people pontificating about 'proper dancing'. I recently tried to have this debate with a woman running an Instagram 'Northern Soul Dance Course', reminding her that she cannot claim to teach 'Northern Soul dancing' but merely her way of dancing to Northern Soul (which is fine and more specific and honest). She deleted my questions/comments because they threatened her income stream. People love to claim authenticity within Northern Soul and it is usually via the Casino-centric lens, be it dancing, music or dress styles. But, I argue that it is a much wider debate/experience and, personally, I resist the dominant projection of the Casino years as emblematic of the scene. Really it depends on a point of view, but that point of view is bound within the existence/experience of multiple-venues, records, artists, DJ's, dancers and movements and, in recents decades, countries.
  5. Soul Source music video feature announcement - Music video just added to our in house soul video feature .... Name: Black Pumas - Full Performance (Live on KEXP) Category: Artists Concerts/Interviews Date Added: 08/01/20 Submitter: paul-s Video Description: For me these are an incredibly soulful new group, so wanted to share......Would like to hear peoples thoughts on them. Enjoy watch now... PLAY VIDEO: Black Pumas - Full Performance (Live on KEXP) Soul Source Soul Music Video Feature
  6. For me these are an incredibly soulful new group, so wanted to share......Enjoy
  7. No, not everybody wore them and they were worn (by those who did) only for a brief period. The sad fact is that the historico-pastiche scene goers, (a lot of returnees included in that bracket) try to claim Northern soul past, present and future using this re-imagined look as an identifier/motif for a scene that spans five decades. The lazy media love to present this clownish look too, as it is easier than historical research and very easily caricatured and ridiculed. It's the narrow Casino-centric lens being applied once again, as if that was all the scene ever was and will be. The same happens with the music and so called top 500's, World Northern Soul Dance Championships or whatever. It's linked to the industry of Northern Soul, it reifies it for commercial/economic reasons and is not representative of Northern Soul's rich and nuanced history: which includes music, venues, fashion styles, dancing styles and more. In Chapter 16 of this book I write about, amongst other things, the Casino-centric lens and its mis-use : and interestingly enough, I start with an anecdote about playing Jonathan Capree in 2005 at Middleton all-nighter...
  8. Well, for me, knowing who was playing what dates back to the 70's when I went to particular events just to hear a particular tune(s). In order to do that you needed to know who was playing what. At DDA I once had a couple travel a very long way to hear Chick Carlton....they knew who was playing what in oder to do that and hear a very rare 45.
  9. Yes, I agree mate. Just, on the odd occasion, its just too blatant and ridiculous and I had a bit of spare time to write about it. Plus the thread turned up info about the singer that I was not aware of, so worth it!
  10. Hi Mike, I picked it up of Steve Smith (I think thats his name, Gloucester way) at a different event (the specifics elude me though). I was djing there and as soon as I put it on the turntable that night it packed the floor. Enjoying this thread/debate and thanks for the info about the singer which I didn't know. At one stage I thought he may be blue eyed as the B side is not very good (to my ears) and I also heard another release by Jonathan Capree that was poor and a bit country sounding as I remember (again to my ears).
  11. Im not on here much anymore (phew I hear some say). But, I just saw this and it inspired me to set the record straight (no pun intended.) Now, I really like and respect Sean, he's a top bloke. But this is all so inaccurate. It was myself and Mik Parry who owned the first two copies of this rarity in the UK and were breaking/playing it at many venues from 2004/5 onwards. It was a Soul or Nothing and DDA standard and played out a lot by myself at many venues, including at bigger nighters like Middleton, Rugby, Lifeline etc. I sold mine to Flanny many years ago. Got mine for £300 as I remember. This type of historical appropriation happens a lot on the soul scene and also happened with John Harris & the Soul Sayers which I was playing out a lot around the same time (also a DDA staple) and when there was only me doing that in the UK (I had gone all the way to OZ to trade a copy for Bernetia Miller). Have top 2020!
  12. I totally agree with Tatchell....honours are just a naff establishment trying to own and legitimise people and movements......Benjamin Zephaniah refused his on grounds that it was more representative of a VBE (victim of the British Empire) ..........opening up a great date here for all the jingoists who miss the old colonies I guess....well debate is always nice...... By the way, Godin, a political activist his entire life and a vocal one at that, would have outright refused any award from the Empire....
  13. Bloody hell, do people not known the difference between an original, intricate, complex professional production and an amateur dramatic re-staging? My original production took years to build and stage correctly in order to portray what I remembered and felt. The text was just an off -shoot written form weeks of improvisations by incredible professional actors like Sally Carmen. Mick Martin was never there, it was me. My production used a giant screen and original footage of Wigan Casino, edited transition shots and 52 track as a cut up narrative device........I sometimes despair at peoples lack of understanding at the mammoth effort staging something like the original 2003 -2006 'Once Upon A Time in Wigan' stage play took or Elaines film. I actually lost my flat on the second tour of Wigan because of being ripped off by so many people, producers, playwrights, or venues not promoting properly,like Blackpool Grand. Still, I donate regret it. Elaine made massive sacrifices to make the film too! The original play was Urban Expansions 'Once Upon A Time in Wigan' directed by Paul Sadot. Anything following that is an attempt at cashing in or an amateur mess around with Martin's dislocated script and Binstanley advising. Without the original director who generated the scenes through improvisation and recall, the play is always going to fall short and soul-less. best Paul-S

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