Soulfusion

Cue Ian ....

I am seeking B&S issue nos. 1 - 12 (Inc.), 14, 22 - 23, 28 if anyone can assist Cheers Steve

Certainly seems so...

Is it not a little bit like covers; most are worse, some are good but nearly all lack the originality of the original!

Hi Mike I think there is a difference between the value of something and its worth. Both are subjective and earlier in the discussion I think you answered the question yourself earlier in this discussion. The value of something often will have an emotional attachment to it that its worth will not. So a record heard years ago that remind an individual of a specific time and place can be priceless. Nevertheless for someone that hears that same record for the first time and want it will likely just pay the current going price. Steve

Received both of the John Lias Soul Album books and Dave Rimmer's Rare Soul Bible for Xmas so got a lot to get through... plus I am still delving into and out of Richard Searling's book. On my list with my Christmas pennies are the Stuart Cosgrave "Soul Trilogy" books.

I am pretty certain that I have this album at home; will check later and let you know - unless you are already sorted... Steve

I shall probably be in the minority (as usual) but for me The O'Jays is the superior track but I am a bit of an O'Jays fanboy....

Discovered the west coast of Wales about 6 years ago and love it. Been fortunate with the weather whenever we have visited. Reminds me of 1980's Cornwall when it was still relatively uncommercialised. For those that know the area; funniest remark made to me when I first visited was Newport (not South Wales one) was nice but a bit too commercialised.

I believe that Stateside was a label imprint introduced by EMI to rival London American and cater for the growing UK taste for independent US label R&B tunes that were not being 'rinsed' by Pat Boone and the like. EMI picked up the US rights for Berry Gordy's labels (after several false dawns with other UK imprints) and with Dave Godin's persistence introduced the Tamla Motown label for those acts whilst continuing Stateside for non Motown US releases. Almost certainly there were no simultaneous releases back in the day as it could take 6 months to break a record in the US before it ever got heard in the UK. This was all pre-internet age and transatlantic phone calls was still relatively rare so information from the USA was very slow compared to today.

Somehow these two posts do not seem to coincide....

Reading a lot of the threads on this forum there appears to be a lot of passion displayed whenever the subject of original vinyl only events and wannabe DJ's crops up and there seems to be a link between the two. Did OVO come about because of the number of bootleg 7"s being played on the scene or to protect the scene from other formats (CD, mp3, download) being played? Records that have not been produced legally should not have a place on the scene and clearly in today's world it is easy to legally get hold of 'rare' soul that is properly licensed from copyright owners with royalties being paid to the correct people (good?) but, as a consequence, allows everyone and their Nan, in theory, to do a DJ set (bad?). However, simply having deep pockets to buy original vinyl does not automatically make you an effective DJ whereas barring people who may have the necessary DJ skills but not the financial fire power to purchase 'rare' original vinyl is maybe preventing the scene to evolve. There must be a place on the scene for legal reissues if a vinyl only policy is to be maintained if only to get rid of bootleg copies.

As mentioned by someone earlier "Motown" is the overarching name of a number of record labels based in Detroit owned by Berry Gordy whereas "Northern Soul" is a term coined by Dave Godin, whilst at Soul City in the late '60's, to differentiate the current music buying tastes of London and South East soulies and soulies from up north. At this time the northern buyers would almost certainly have been buying records from the Motown stable of labels and Motown, as others have stated, would have been played at The Twisted Wheel. As the '60's became the '70's the definition of Northern Soul evolved to describe a certain type of soul sound initially recorded in the 60's with a certain beat but which did not gain an official UK release at the time of its US release and was therefore unknown and so did not include more popular Motown sounds.

Recently picked up a copy of "Murderer's Home" which is an Alan Lomax field recording of various incarcerated prisoners at a Mississippi Penitentiary in 1947

And don't forget the Blues; Leadbelly famously had his prison sentence commuted because his playing abilities so impressed the warden.

Some great photos on here Steve. I guess that you have been asked this many times before but what equipment are you using to get such great wildlife pics? Steve

Another one that always get the hairs on my neck moving is Sam's original (and best) version of A Change Is Gonna Come.....

Hairs go up on the back of my neck everytime I hear that tune on the accompanying soundtrack album. By the way the Joan Osborne vocal on Broken Hearted from same album is immense and, in my opinion, betters the original. Steve

Sad new indeed RIP PY

The horn section, it grabbed the teenage me and has remained ever since. Even the simple harp raises the quality to your average blues tune. Real instrumentation on wax is timeless. Steve

Hi All Been lurking on here for a week or two now and thought it was about time I introduced myself. Sixties baby found black music through EW&F and The Crusaders at the tail end of the Seventies. Been a (general) DJ in the past and doing some (low end) vinyl trading at record fairs. Interested in most genres of black music, hence the moniker. Despite a general interest in 60's/70's soul through Stax, Chess, Atlantic, Motown and Philadelphia et all my understanding of Northern (the Scene moreso than the music) would benefit from some education. Looking forward to making a contribution. (Another) Steve