Nickinstoke
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Everything posted by Nickinstoke
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From a UK point of view, a pub conversation raised a similar question about the artist with soul releases on the most UK labels. We came up with 19 labels for Donnie Elbert: Parlophone, Sue, CBS, Polydor, New Wave, Deram, London, Avco, Epic, Mojo, Jay Boy, RCA, Bradley’s, DJM, Klik, All Platinum, Echo, Sugar Hill, Outta Sight. If you include the Joe Boy release that is credited to him, you can get to 20. Does anyone beat Donnie?
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Returning to the original question, I’d also plump for “Call on me”. Other tracks I remember being played on import in the 60s (Earl van Dyke’s “6x6” and “I can’t help myself”, “From the teacher to the preacher”, “Out on the floor”, “Playgirl’s love”, “You ought to be in Heaven”, “Soul a gogo” among them) were all released a few years later than “Call on me”.
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There’s a much earlier UK cover of “Call on me”, by Jimmy Lloyd, released on Phillips in 1963. That’s 2 years before the Vocalion release of Bobby Bland’s LP, so perhaps the Duke 45 was getting heard somewhere in the UK in ‘62/63.
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Apologies if this has been done to death, but one of my favourite bits of trivia is that Spooky was lead singer of the Dutch band “Swinging Soul Machine”, hence the title of their instrumental, “Spooky’s day off”
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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This was the second issue (or third, if you count the”Your Chess Requests” EP). “The entertainer” was one of the holy grails when I started collecting soul records in 1968, and this reissue reflects that demand.
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‘62, Stateside 64 Pye International
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There was a whole lot of reissues in 1968, aimed at the emerging soul scene. Fascinations, Edwin Starr, Jamo Thomas, Gene Chandler, Bob Kuban and several TMGs, leading people to sell the originals cheaply.
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Velvelettes on TMG 595 was early ‘67
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https://www.bbc.co.uk/sounds/play/m001bkr3 This was an interesting listen. Michael Lizzmore makes a brief appearance
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Very sad news. Steve was a lovely fellow
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Their original version of Benny Mahan’s “She knows how” might be considered as Northern
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Nice article in today’s Guardian https://www.theguardian.com/music/2022/aug/09/lamont-dozier-foreman-motown-hit-factory?CMP=Share_iOSApp_Other
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Nick was a well-known collector in the Stoke area, I often used to see him late 70s / early 80s. He’d call round my flat with a pile of great records I’d never heard, and I always put a few on my wants list. I remember first hearing the Dynells from Nick, and buying it from Soul Bowl for £1.50 soon after. Those were the days! He moved to Merseyside soon after, and I lost touch, sadly
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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It’s the same with the A side, “Ol’ Man River” - they’re both missing the backing vocals you get on the “Teaches Old Standards New Tricks” LP. Like you, I prefer the more sparse UK 45 version. I wonder if it was deliberate or a long-forgotten cock-up?
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Nick Marshall brings you an evening of classic soul and Motown. Fully licensed bar with real ale. Talc-friendly dance floor.
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How about “The only way is up”, co- written by George Jackson, or Gonzalez “Haven’t stopped dancing yet”, co- written by Gloria Jones?
