Barry

Frankie Knuckles over quote: But it ain't, is it really....in truth 'House Music' is the Chicago based/Euro involved fusion of styles....all the vocal NY stuff that we (Our scene) deem acceptable (Why? as it's formula that hasn't changed since we were babbies) is simply a quantised, sequenced continution of the stuff we grew up with and are familiar with. Fair do's - the studio orchestra is out the door but what do we still have - melody, brass, keyboards, hi hats and sweet black vocals....just Disco. Todays nighter played House Music is no different to Vicki Sue Robinson. Word!!

On Fraternity required - I shouldn't put this as I hate it when others do - but I had to sell mine and desperately want one back.

Tiffs rings a bell, maybe Malc....Christ! I can't believe I can't remember the venue.

Thanks for the response Malc. All I'm trying to say - that is in my limited view of the NS scene over the last ten years (I've never stopped buying btw), and I know it stands in a different corner these days, due to many factors, is that when I have turned out on occassion, it seems a little over dependant on tracks that are dependant on your years....and not smack in the face dancers....of course I understand that the body of the scene is getting on a bit...but I can't, in my humble opinion that is see this scene dragging in the much vaunted new blood. I like so may others grew up on The Invitations, The Vibrations, Williams & Watson etc but tracks in the vein of Creative Source, King Tutt, Brainstorm, The Nite-Liters, Willi J & Co da di da cut the mustard to me as a 16 year old. Are DJ's sets open to this kind of dancefloor 'fire' these days?

Does stuff such as Theryl, S'Janay, Bobby Jonz, Clausel, Frank Washington, Demetrius etc, you know, that 12" indie period ever get played out these days?

As if echoing my question, my CD has just decided to play an old Brian Rae Wigan play - Herbie Mann's - 'Waterbed'. May not be seen as Northern in certain quarters but certainly an All-Nighter play that swung me.

I'm asking a question here that can only be answered by the older lot I think - but - are there any nighters that play Northern, be that oldies or newies/modern, in a way that you could see kids wanting to be a part? We all know quality Soul, yes - but I think what I'm trying to say is that when we were lads and lasses, it was the uptempo, urgent sounds that appealed. There are obviously ways that a set can encompass certain records and still leave the listener on edge. We've all been there. Are there any nighters offering this today? It has to be exciting to entice youth surely? Long in the tooth searing soul understanding and a lifetime of pain follows the sweat based dancefloor excertions that youth allows you? Are the more energy sapping , danceable Modern 70's/80's Northern releases the key to the longevity of the scene? Please don't go on the age old 60's defensive thing, the Willie Mitchells, Roscoe & Friends and a myriad of others will argue that for you...but are tracks like the aforementioned used correctly anymore? Northern appear to have at last understood quality, whatever the tempo, does the scene have the bollocks to understand that its music seems to be glazing over in a haze of quality hip-acceptable swayers?

Karl, thanks, you're a Diamond.

Does anyone have a Discography of Charm City? Cheers

I'll not go into mine, although Jimmy Ruffin stands out . This may be a sparse post, so just in case and on the flip - any lovely memories of artistes at nighters. I still have Martha Reeves lipstick on a tissue (not sure where it was anymore, maybe Leicester '83-ish and Chuck Jacksons autograph on my Pink Slip (?) - Morecambe '84, when he did a Tommy Cooper through the curtains). Anymore?

Just an excuse to bring up his Rotherham classic - 'Very Last Drop'. Love Bobby.

Many Modern left fielders played there also, anyone remember the brief dancefloor smash that was Harvey Mason's ' -'How Does It Feel'? - a definate Parr Hall Biggie!! Anyone remember a young lad climbing into their motor whilst they were waiting for it to open and asking them to 'talk about football'? I'd been out with Brian Rae and a few other cohorts in Crewe?Stafford (??) that night and spent an hour rubbing my face into the dewy grass on the park opposite - as to clear my battered head. Apologies for the purile content, but worth a shot ay?

Ha ha, thank God for a concurrent reply, Sheila and her Degree's played The Carlton in Warrington BITD (my 18th birthday as it happened) and afterwards was quite scary to say the least, especially when pressed for info on her Northern output. Nice one Harry. I saw an interview once with her and her husband at the time, an rough n tumble Army officer...and he was obviously too frightened to say a word.

In reply, of course there were tracks kept to one side for the lads, yes, I shouldn't have left that out if my response, foolish of me - I hope you grasped the general point of my above post though, which was that recognising quality and breaking same on the dancefloor are two completely different things. Simply, for the quality of output alone it has to be Richard. Disclaimer: This is only my view, aimed at people with my view alone.

The piano and drum pattern of which, David Morales robbed, when releasing 'his The Face' production with Juliet Roberts. He cheekily claimed the publishing rights to the arrangement, when it was basically an edit of Rare Pleasure's backing! But then, that's why he has a lovely NYC apartment on Central park innit?

That was a lovely post about Rotherham (Dug out of Google btw). Apart from the nights that I spent playing cards in the back room with some of the above mentioned, the only problem I had with Rotherham was the night me and Richard walked from Sheffield (in the snow - in mocassins), down the dual carriage-way, only to have the Bizzies pick us up and drop us back in Sheffiled - to start again - whereupon we got to the door (sunny, cold morning) at 6.45am - and they still charged us £2.00 to get in.....no more fuel in the tank, we then had to thumb it home. Christ, we had it hard!

Importing records and therefore making tracks available to top end jocks (which in reality didn't happen, at the time as John's lists were invariably open to all who had the sense to put their money where their soul was - but I think (hope) you catch my drift) and having the knackers to play said unplayed, untried records first time out, is a completely different thread. John is inextricably entwined within this scenes history, no doubt, but I remember Charles Johnson being £4....I don't think it would have been that price after it was broken, dancefloor side - do you? Big balls were required (not really, if you understood quality), but still, you had to show and tell.

On a personal note - she's a right b*st*rd, allegedley.

Anyone can throw shed loads of pasta at a wall can't they, but at the end of the day it comes down to wether it was edible or not doesn't it? Searling!!

Mike, call you this week mate - apologies. Thank for the list and CD lads btW!

I'm sure you know the track.. " I don't want no-one who don't love me, Who keep on dishin' out misery! You don't want no-one who don't treat you right [sho-Nuff] She gotta give you lovin' every night now! You an' your new love 'Keep On, Keepin' On!' I know that loving feeling is gone, Yeah! Too late, Too late, Too late Baby now! Too late - Whoohooooh!!" Beat that with a bat!?

Whatever you paid for that record is irrelevant, it is as you say a beautiful track - I see it regularly for about £8-£10 - probably a pound dearer than a Wombats CD (???)... really! "I know that something is wrong baby, I can feel the vibe! Let's forgive and forget honey - and give-a-love another try!" It always had the ability to hush a dancefloor - it drew whoever was on that dancefloor together - the inspired delivery that Larry Houston made of that song, I feel (and forget Northern Soul here, let's talk music) was unsurpassed. I'm feeling particularly starry eyed tonight, but I make no apologies for my views on a track that should be deemed as a Top Ten Northen Soul dancefloor shaper. Proof that Modern/Newies brought another....relevant, emotional angle to peoples mindset as they danced.

Am I allowed to disagree on the grounds of the amount that were pressed? Major label, pressed in its thousands, a tenner, tops, I'd say.

I just love the sentiments of this threads pure integrity. Keeping it real - Pikeys Dog.

I don't come across very well on here do I? Mark, lovely record - but in my eyes not worth the money it goes for - a subjective view, yes, but aren't I allowed that view without a prod from yourself? Or was the whole point of your post aimed at pointing out you also have a copy?