soulfulsaint

Here is the Label Discography of DC International courtesy of https://www.dcsoulrecordings.com/index.php?...;s=recordlabels Producer R Jose Williams. DCI 3001 Skip Mahoney and the Casuals - Your Funny Moods (LP) DCI 5001 The Summits - Let Me Love You Again / It Takes Two (1973) DCI 5002 Mark Jackson - Baby / ? DCI 5003 Skip Mahoney and the Casuals - Your Funny Moods / Struggling Man DCI 5004 The Summits - Sleepwalking / I'll Never Say No DCI 5004 The Summits - Sleepwalking / Sleepwalking (promo) DCI 5005 ? DCI 5006 ? DCI 5007 Skip Mahoney and the Casuals - Seems Like (The Love We Had Is Dead and Gone) / Town Called No-Where 102 Marcelle Joseph Long Distance Love Affair / Resistance To Change (1975) Any one that can update the missing items please contact the website -its great and so to is the fliker photo page

I'll have a go. The music I love is the music of urban black America but the way it has been listened too, danced too and consumed in Europe differs enormously from place to place. Northern Soul was significantly different from the commerical soul that dominated most southern UK cities in the '70s, Belgian Popcorn is clearly a million miles from Belgian techno, and the mixing of music styles in the scooter scene of Europe is different from the more purist soul scenes of the north. I could bore forever on this. Maybe the biggest geographic difference of all was Detroit and Memphis, two great cities co-existing but creating very different sounds, Motown drifting away from R&B and Memphis sticking to it. Simplistic in part but true. So I would argue that geography is important although clearly not as important as 'soul' itself

I think that's enitirely possible and there's no doubt it would divide opinion but so did the Mecca and Cleethorpes and Stafford, divided opinion around the core of great rare soul is the heartbeat of the scene not its death. Bring it on.

I'm also struck by the commitment on the US funk-soul scene where people are generally younger and where the depth of awareness of local releases from 60s and '70s is remarkable. Just for example Washington DC area sites and Ohio area are listed below. https://www.dcsoulrecordings.com/index.php https://www.ohiosoulrecordings.com/p.htm

...not the first ring you've compromised if I remember the toilets at the Mecca...ah those were the days when modern versus sixties could start a war...

Looking for a mint copy of 'Ive Started So I'll Finish' by Magnus and the Masterminds (Black Chair) Will pay up to £400 for your's Rod. Pure modern heaven.

In his current auction-list John asks for further information on the obscure Indianapoiis soul-funk band, Jazzie Cazzie and the Eight Sounds. Jazzie Cazzie were formerly a local Indiana soul group, The Diplomats who changed their name to Diplomatics to avoid confusion with the DC group of the same name. They took the name form a famous basketball player of the early '60s the Chicago-born 'Jazzie Cazzie' Russell who was a star player at the University of Michigan where coincidentally he lived near Ollie McLaughlin's home, the base for Karen Records. He later joined the New York Nicks One of Jazzie' Cazzie's former band members Rodney Stepp has written the following: "My fondest memory of the Diplomats (we had to change our name to the Diplomatics for our LAMP release due to a group in the Washington DC area) is our love for music. We came together to win a talent show at School # 17 in Indianapolis, thus beginning our childhood dreams. The Diplomats began with Jerry "Boing-Boing" Miller (guitar, 14), Rodney Vorhis (bass, 14), Bobby Gayhart (drums, 11), and myself, Rodney Stepp (acoustic piano, 13). We went on to add two new members - Richard Gamble (sax, 14) and Robert Maurice Taylor (trumpet, 14). In 1969, Jerry Miller and Rodney Vorhis took advantage of an opportunity to play with The Spinners. Jerry returned after a brief 6 months. Miles "Butch" Loyd joined the band and collaborated with me to write "Hum-Bug," based around a dance from the time. Thanks in part to Herb Miller from LAMP Records, who believed in us and recorded this tune, "Hum-Bug" was an instant hit in Indianapolis. It was also the only song recorded by this group of band members (though we later reformed as Jazzie Cazzie and The Eight Sounds, and released one 45 on the Knaptown label). Throughout, we maintained a flavor similar to the Bar Kays. To this day, Jerry's guitar solo on "Hum-Bug" reminds me of Steve Cropper." For more info see https://www.stonesthrow.com/nowagain/artists/diplomatics.htm

Mixed Emotions 'Gold of My LIfe/Can You Feel the Funk (Rock-Way) One side 'modern northern oldie' b/w street funk

Great record and to see Eddie Parker and Pat Stanton in the same thread - quality.

Hope you get well soon Russ - take care. Stuart

Scotland at 9.03% is about exactly right as a percentage of total UK population. Surprised I thought the north and midlands would easily outvote Scotland per head of population. Must be all the Hibees.

Off work ill with chronic sinusitis so yes too much time. But Sam singing plodding disco'. Where's Steve G when you need him

that's the stuff Simon hope your trip to Scanadnavia was a hit, have you posted the track-list anywhere?

I've just spent a very happy half-hour playing both sides of Ronnie McNeir 'Sitting In My Class' (Deto) This record has always been a fave, it has fond memories, a great opening and is near flawless '60s soul. But the 'B' side 'Isn't She a Pretty Girl' keeps getting better with every play, maybe its changed tempo over the years, but I think I like it better, even although I feel I am betraying a great record. So help me out of this mess by suggesting stellar 'A' sides where you think the 'B' side is better. Could be Ollie Jackson, or whatever but must be a big 'A' side to really soothe my guilt.

Now we are talking my language.. Brechtian agitprop when the singer steps out of his naturalised role to communicate a message directly to the audience - Gil Scott-Heron's 'The Bottle.' Or the Stanislavskian-system, where the singer creates a believable emotional character inside a naturalised world by drawing on a fund of emotions from previous experience eg. Sam Dees 'Fragile Handle With Care.' Love them both. Not so sure about James Coit's 'Black Power - leans towards Brecht but it's crap. Any other obscure theatre references please call. Agree with Shane - Casino Cafe is not for me - nostalgic melodrama - but if I was in Wigan I'd go out of hypocritical curioisty.

No never seen the 'valuable' TMGs and suspect - as you say - that they may have been manufactured by EMI in UK and exported to Ireland, where different import/export regulations were in place. Here's another Irish/Tamla mystery. An Irish-rebel folk group called The Abbey Tavern singers became a novely hit in Canada, and signed to Arc, Gordy bought the US rights and according to VIP release sheets brought out an album on the band, which included several republican rebel songs? Kevin New on Soul Source has tracked down the Canadian releases for me, but I have never seen a VIP copy of the Abbey Tavern Singers. Did it get released? And if so was Berry Gordy inadvertently supporting the IRA?

Snap but with great female vocals taking the lead - Ty Karim, Rozetta Johnson, Carol Anderson, Linda Jones, Lolleatta Holloway, Patti Labelle etc. Rare helps too, mega-rare really helps. But that's shallow and I'm ashamed of myself.

Agreed I was also jealous of the guy that owned it, John Abbey, who married Tamiko Jones of 'Spellbound' fame. Not sure if it was sexual allure or Ric Tic demos that got me excited, I was young then.

I have a fairly good collection of 7" demo sugarhill the radio releases - maybe able to help you with the 12" poor tracks PM if you want. stuart

They were usually done in collusion with the big DJs and aimed at those fans (or midweek DJs) who wanted a big record before it was more widely availabe, either by UK release or mass bootleg. They didn't last long and of course no artists' royalty was paid, so a rip off in every sense of the word, although they are a bit of NS history and in a warped kind of way they have become 'collectable.' Many were based on the the old EPs - 4 tracks on one disc. Handwriting was usually awful and spelling not perfect. Tut Tut.

Used to 'cut out' DJ playlists and set about collecting the list, hated cover-ups because they scuppered that. Was in Ann Arbor working last month and went passed Ollie McLaughlin's old house so jealous of an Ollie collection. But would say Motown white demos are always something I bag, even if it is a 'hit' record. Have a decent Shrine pile even although its a bit of a cliche but that started with wanting a big DC soul collection so it fits in. Never been a total compleatist tho. Wouldn't buy an expensive record I don't like just to make up a set.

Last time I was through Detroit, old man May was using John Manship's Guide on a pound-for-dollar basis, so the prices were well below book-price, but higher they would have been in the past. I suspect the funk collector's in US have also helped the general inflation as much as the guides themselves. Also think the Detroit shops are less fussy about condition, Peoples barely had a minter in stock, a lot of the records were in quite poor condition.

The local Detroit newspaper 'Detroit News' carried a feature on rare records: https://www.detnews.com/apps/pbcs.dll/artic...ENT01/708040395

I've always had an obsessive personality and so have always collected. If I was honest some passion has gone and my work has taken me away from the full-blown obsession (of a certifiable kind) the passion I felt at say Wigan, Mecca, Stafford early 100 Club etc. But the music has a lifetime grip and never goes. I have always had a very deep affinity for rare nothern and for modern and refuse to get boxed into either camp. One thing that is really nocticeable and comes through is the very passion of the R&B scene. As Davie suggests its a 'dynamic' scene and if you are young, new or simply restless for more, its an energetic scene that has a lot in common with the spirit of northern 1970-78. So still passionate, refuse to give up, and scared to go to Davie's R&B nights is Scotland cause I know I'd get sucked into another obsession.

I agree sunny probably that summer 'redefined' the music. Added to that Dave's point that the number of copies that eventually came on to the northern/rare soul scene was fewer than previous Revilot releases, increasing the 'possessiveness' that collectors have always felt for this record.