Amsterdam Russ

Another thread here from not so long ago asking the same question...

Belgium is one of the original signatories of the Berne Convention, so one would have thought its laws would be pretty tight in terms of protecting the rights of owners. It did make amendments to its copyright laws in the mid-90s. so prior to then there could well have been perfectly legal to bring works - even those originating from other countries - into the public domain after just 25 years. If so, I imagine every other country participating in the Convention would have been clamouring for this 'loophole' to be closed! Would be nice to have this 25 year thing clarified though.

For me it would probably have to be Linda Jones - Just can't live my life. Got this on tape years ago and I remember playing it on my Walkman on the way to work over and over again. When the song finished, I'd hit the rewind button and listen to it again never tiring of it. Eventually I got a copy on 45 from Rob Wigley and just couldn't wait for it to arrive. It seemed like an eternity before it came through the letter box and when it did, tragedy struck. I'd had it sent registered post - I really wanted to make sure it arrived safely, so desperate was I for it. However, it then occurred to me that the postman had just popped it through the letter box - he hadn't asked for a signature. Picking the packet up from the mat, I then saw that there was no registered mail sticker on it. In fact, it looked as if it had been ripped off. Worse, there was an ominous crease across the length of the cardboard packaging. Opening it up, my heart sank. The record was in two pieces. The money was eventually refunded by the Post Office and I got another copy of the 45 at some point. The broken record has been stuck to a record box since then (although it's been in four pieces for years). However, I'll never forget the mixture of anticipation, excitement and then tragic disappointment on that day and in many respects the emotional roller coaster ride of that day contains even now something of an essence of this thing we call 'Northern Soul'. After all, apart from love, what else can lift you so high and then drop you to such depths? It's the very heart of 'soul' itself and as Linda still cries out, "I just can't live my life without you..."

Where do you get the 25 year cut-off point from Robb? The almost universally-accepted Berne Convention provides protection in excess of this period before entering the public domain, and Belgium (along with the rest of the EU) acknowledges this framework. Also, as a member of the Berne Convention, one would expect Belgium to support the laws of the country of origin of the work. Just curious...

I like the fact that on the left hand side of the label it says "A ZIJDE"! That's A SIDE in Dutch/Flemish

Which is exactly why the 'sweet' side was offered up by the seller, not the 'dancer'.

Well, I won the record and received it in the post just before lunch. To me it looks like a boot. It's pressed on lightweight styrene, there's no stamp in the deadwax and the label text isn't as crisp as some of the w/d's that can be seen on Popsike. The sound quality on both sides however, is great. By the way, loads of the copies on Popsike appear to be this same pressing. If it is a boot a lot of people have paid a lot of money over the years for it! I've already been in touch with the seller and he offered me a full refund immediately. The guy is a general record dealer and doesn't specialise in Northern Soul. He runs a sizeable stall in one the country's largest indoor markets. I've bought from him before, so have no reason to think he's trying to pull a fast one. He says he bought a small Northern collection recently and this is what he's selling on ebay right now. He's disappointed because what was sold to him as an original may not be at all. What's interesting is that he tells me that the former owner says he bought all of these, including the Roy Roberts, between the years 1970 and 1978. Could this have been booted back then?

I had the distinction of meeting Lou in the loo at the 100 Club prior to his performance there one night way back when. We didn't shake hands... Another one bites the dust.

That's really appreciated, Bob. First off, I'm going to enquire with the RSRF. Not only might they be able to help in identifying the tracks and provide some general background on the studios, but I reckon they might well appreciate having scans of the disc for their archives. I'll report back with an update...

Ok, thanks guys. I've learned that groups to record there included: Five Chances (United) Sonny Til's Orioles (Vee Jay) The Magnificents (Vee Jay) Artie Wilkins & the Palms (States) Danderliers/Moroccos/Lefty Bates Band (United) Dates range from between 1953 to 56. As far as I can tell, the studios were located at 25 East Jackson before moving to the address given earlier. Based on the date range, it would appear that the studios were quite short-lived. Illogically, I'd expected it to be a studio of long-standing with a rich vein of history running through the 60s R&B and soul music scenes. Perhaps that was just wishful thinking on my part. My prime motivation for asking is that I've just got hold of an incredible double-sided acetate from Boulevard Studios with two absolutely stonking R&B tracks on them. Even better, the acetate is in a sublime condition. The brilliantly detailed Red Saunders Research Foundation (https://hubcap.clemso...mpber/rsrf.html) doesn't appear to have any mention of the two cuts, but the tracks are of such quality that they must have been released. Perhaps I'll make contact with the foundation (of which Robert Pruter is a member), and see if they can help in identifying them. If not, then they'll have a couple of mystery tracks to slot into their discographies of early Chicago R&B. Moderators - as this appears to have no connection to the soul genre, please do feel free to move this thread to some dark corner of a forum somewhere if it's thought best.

I'm trying to find out some background information about Boulevard Studios, 632 North Dearborn St, Chicago. The building at the address was home to the Chicago Historical Society. In fact, the building was designed with them in mind by architect Henry Ives Cobb in 1896. The society moved from there in 1932 and at some point parts of the building were converted into a recording studio. Today, it's a nightclub. I know that Boulevard Studios was operational during the 50s and that Vee Jay used its facilities. There is some information to be had courtesy of the Red Saunders Research Foundation, but only occasional and scattered mentions in the descriptions of some songs that they were recorded there. What would be good is a more concrete idea of the performers, producers, labels etc, that used the studios, how long the company lasted and any information about the people behind the operation.

Acetate of The Newbeats - Run baby run Promo of Barbara Mills - Try Acetate of Barbara Mills - Try

Geography is obviously not your strong point - the UK was definitely in the Europe the last time anyone checked and has been for rather some time. I object to your implied sweeping and negative generalisation about the integrity of people living in the Netherlands. Indeed, I object to the negative generalisation of any groups of people - let's not just limit it to the Netherlands. There are bad apples in the barrels of every country, county, city, culture and community. Stereotyping of supposed national/collective characteristics, traits, behaviours, attitudes, etc, etc, is typically offensive and really should be avoided. Getting back on topic, I have some insight into the seller and will act accordingly.

Next time I'm out at a night in Amsterdam or anywhere else in the Netherlands, I'll let the chaps over here know your words...

Why?

Progress - Pancho Villa & the Bandits... Got to be one of my fave sax instrumentals. That and Harlem Rumble...

Soundswholesale also offer the best deal when buying sleeves from abroad. Rather oddly, no one stocks white card sleeves here in the Netherlands.

It was certainly by the edge of the dance floor, but I don't recall the location of the stairs relative to it. So possibly then you and your mates were responsible for putting off the camera man and depriving me of my moment of Northern Soul dance floor glory. A quarter of a century later, all I can say is cheers - thanks a lot, mate!

I was there that night and feature in the clip a couple of times - for about half a second in total On the night, the camera man was kneeling on the floor beside me filming close-ups of my feet whilst dancing. I reckon the blur of my footwork must have been too fast for them and that's why it wasn't included

Actually, it looks as if it could be quite good. One concern would be if there is no rigid support on the walls or edges. If the only thing keeping it in shape is the 45s themselves, I'd be a bit concerned until someone told me they'd used one and judged it to be sound. Also, the 80 disc capacity - is that with them in paper or card sleeves??

I thought you were referring to the actual phrase. Off topic, but how is the use of the word 'winning' a Sheen-ism?

A very well crafted and entertaining article. The interviewer doesn't use the phrase. It's Womack who does.

Perhaps the truth is that "Northern Soul" just isn't as underground or as "secret" as people would like to think.

Hahahahahahaha... (pause for breath) Hahahahahahaha...

Anyone watched Treme, the HBO series about life in post-Katrina New Orleans? Season one aired in April 2010. Season three is on the way. Dr John, and a whole lot of others, have cameos, and by its very nature the series has a NOLA soundtrack. We've just finished watching season 1 - it's well worth a look. Perhaps this series has something to do with the rising interest in his music. Just a thought...