soulfulsaint

Another current example would be 'Gotta Wipe Away The Teardrops' the flip of Ollie Jackson's 'The Day My Heart Stood Still.' Think I still prefer 'Heart' but it does beg the question what impact a played 'B' side influences price too. Steinways, Larry Atkins etc etc?

Just been listening to 'Isn't She a Pretty Girl' the 'B' Side of Ronnie McNeir's 'Sitting in My Class' (Deto287) I'd forgotton how good it is. Strikes me that many 'B' sides are now being discovered. A collector's thread of great flip sides please?

Great Gear - There is a fantastic sixties image of the Parliaments featuring pompadour haircuts and sharp suits, everytime I see the pic it makes me smile. George Clinton looks cool - much better than in Funkadelic days. Have you a favourite picture or picture disc featuring great gear? NB. Message to moderators. I am using the word gear in its Cilla Black sense e.g. "Fab Gear Man", as opposed to its alternative northern soul meaning e.g."Fab gear man, I've just chewed by bottom lip off... " You know what I mean - so no bomber-jacket jokes please.

I would vote for a more transparent system but wouldn't want the site to become too safe or anodyne. Take bootlegs for example they are a reality on the scene whether we like it or not so they have to be discussed whether its nostalgia (Soul Sounds) or discussing the authenticity of a rarity (Heartaches and Pain, for example). I have been stitched up by a soul-sourcer and I ended up in papers but its mot going to stop me enjoying my hobby and passion for soul. People will have a range of views they just have to stick to comments that are within the law and avoid anything harmful. Keep it energetic.

thanks for that Dave very useful.

Yes, fair point Dan. I merely wanted to point out that Darrell was not entirely innocent. As a soul forum we are predisposed to side with the soul singer, I just wanted to ensure that the cuckolded cop got his moment too. But as previous posts point out there is evidence that they were both at it. Personally I'm committed to the Frank Gallagher school of morality Shameless.

I have sent you an e-mail Derek - cheers Stuart

Not a single reply not even from a welsh nationalist disgraceful. Who cares about Charlotte Church, Gavin Henson and Glyn from Big Brother - this guy is a Detroit sixties soul man and he's from Wales. I'll trade any info for my Max Boyce LPs.

Paul asks a really important question here. Right back to the Mecca days there has been a strand of thinking that if you 'clear the floor' your are somehow avant-garde and ahead of the crowd. You are pioneering records which the cognoscenti of collectors get but the mass of dancers don't. Its an elitist idea. I remember the Producer of 'Panorama' saying that she didn't care if only ten people watched her programme as long as it was the right ten people. That strikes me as a snobbish and exclusive attitude the political equivelant of deliberately 'clearing the floor'. I think DJs should feel pressure to be popular and pioneering. Those that only play the established and the predicatble are not being pioneering, however much people may like oldies. Those that only want to play the unheard and the unknown are not always being popular and should adapt their sets accordingly. I like DJs that can surprise and satisfy their audience.

Not often I come to the defence of the cops but Darrell had been knobbing the cop's girlfriend, and the cop was off-duty when he shot him. It wasn't the fuzz plural but a cop singular. I say this accepting that the rest of the Detroit police were too busy shooting other nameless black citizens at the height of the worst police violence in US history. Great singer great story - wish someone would right his biography.

Must say I often leave shows now with a measure of disappointmnet. In reverse order the last acts I;'ve seen were Betty Lavette who was still very good, the O'Jays who I thought were a major disappointment, Temptations a third-rate cabaret act and a pale subsititue for the orignals and Bobby Womack who was remarkable. Its now a risk business. Liek Rachel I often prefer the recordings. Daptones agree with all that's been said.

Paul - You already know that I have great respect for the show, the script and the investment you have put into it. Stick in there. Feel pride more than anger. All the best Stuart Cosgrove

John Rhys was a significant figure in the Detroit sixties scene, and played on several 'northern hits'. He also brought out 'Nothing But Love' on Impact. I have read that he was originally from Wales. Does anyone have any good info on him - anyone from the North Wales scene perhaps? I have read snippets on SoulfulDetroit but nothing of much substance. Any info gratefully received.

Yes I saw it as well, definitely sneered at the northern scene. Don't know if you watched it to the end but they also seemed to imply England could win the world cup. Bizarre bulletin? What next Bill Gates on welfare.

..Over the last few weeks I have had the misfortune to watch so-called celebrity football matches - people well past their best performing in front of undiscriminatiing audiences, often for 'a good cause'. Any comparisons here with the soul scene? ..I am not really a fan of the those events that dig up old names from the past and invite them to perform live. I accept for some its great nostalgia. I accept there can be a buzz if it all works well. Nothing wrong with being in the same room as a great from the scene's heydays. Nothing wrong with a memorbale photo either. But are they good enough, can they still hack it and are they better than the records they made famous? Maybe we are too polite to the past and tolerate acts that are not up to it now. It could be argued that live shows turn the scene in on itself, and are just another excuse for nostalgia and promotional greed. Important Heritage or Old Tat? - You decide?

Interesting dilemma John. I'm anti-bootleg but very much pro-history so agree with what you say. I would be intrigued to see how much they went for. Like other posters I remember them in Ralphs with the protective steel rod through the middles preventing theft. Since they were knowingly sold as bootlges this is a great example of thieves protecting themselves from theft. But now they are very much 'scene history' and maybe we need to look at the issiue anew. Rather than be pursist its worth thinking where else the same issue applies certainly in art and design there are imitations and copies which now fetch big money irrespective of their 'provenence.' I'm always intrigued by the arguments that flow from this. One is about copyright the other about reward to the original artists. The scene has double-standards on both counts. If you take the OKEH logo, that has been ripped-off shamelessly across 40 years on badges, tee-shirts and flyers without any embarrasement, despite it being copyright protected. It has frequently been used by purists without any sense of shame. As regards the reward to original artists, we all trade old rare records and none of us - unless there is a very virtuous person out there - sells a rarity then tracks down the artist. So I suspect you probably would get 'blasted' by some but the whiff of hypocrisy would be in the air.

Not so many takers for this one James. So for its worth 1 and 4 are my favourites. 'Funky Train' by The Poets Of Rhythm is a good train-funk sound. JB's 'Monorail' springs to mind. Think that was answer to BT Express. Talking of JB I felt Vocalist of Black Lightening came close at times, maybe even parody of a king. Not sure about the coruscating rock guitar on 400 Years of What but jazz impro sax was great. Too much like Black Rock Coalition album track for me. Transfer is closest to Mecca northern bit like Del Rays Incorporated - but a bit wandering at times. Good stuff all in all. How rare? Keep posting funky fours and don't let the barstools grind you down.

I know you do this to wind up old dudes Paul and persoanlly I love the pose. But your wind up this time is not as daft as some of them are saying. Its already happended. Shalimar's first hit, was mixed by northern collector Simon Soussan, the name was taken from the Shalimars (Verve) and the music all uptempo motown etc. Its a naff idea but someone's already done it. Keep winding us up. It makes me smile.

Agree with Chalky there's no doubt Ty Karim is the singer. Test for me is always 75% of the way through a record. Listen to 'Lighten Up', 'Natural' and indeed the flipside 'Help Me Get That Feelin' Back Again,' which is still the most 'conventional' northern track. Ty Karim's voice comes through on all three. Its almost as if she gets bored with being a good soul singer and decides to be a great one. Its a slight shreek and its trade mark Ty. Brilliant.

Sad news for all reggae fans, skins and soulies with a soft spot for West Indian music. RIP

Don't forget this is now a 'world classic' - being a record that is seen as Wigan's big closer almost every rare soul fan has heard of it. I think the ad-men would call it a 'hero-brand'. Its now very hard to get don't be surprised if it goes up further .

Quite partial to Linda Perry's 'Its All In the Back of Me Now' from 1974.

Gwen Owens and Hot's 'Solo Porque Soy Culpable' - 'Just Because I'm Guilty' is a Spanish vocal on Argentinean Atlantic. English language original was on Big Tree.

'I Got What You Need' classic soul classic memories. I heard Richard play it on his radio show and he credited its discovery to a guy I remmeber from Rochdale called Ally Craigen, a Mecca regular. Ally emmigrated to Australia and I've never heard from him since. He once played basketball for England Schools. Any OZ fans heard of him?