Soulful Kinda Music 2000 Issue 36 Review and Clips

As soon as you see this one you know its gotta be good - presentation is 100%, colour cover, good layout etc. Inside...?

.........well lots of stuff, Issue 36 had articles by Dave Godin, Dave Halsall and others features on O' Jays, Hesitations, Bill Spoon, good CD reviews, venue reports, playlists. Lots of vinyl reviews with scans and the chance to buy tape of sounds reviewed, good idea the way the reviews fit in with tapes, 46 pages in the last issue. So worthwhile, anyway must be good cause its another one I subscribe to and I'm looking foward to next one !

Here's the flavour of this mag: starting off with a few CD reviews, then some vinyl and more stuff.........

Various Artists - It'll Never Be Over For Me Stateside 7 24349 68302 0

This is what I mean about it being easy. Compiled by Richard Searling, with the liner notes by Richard as well. It's a much better compilation also, but why have seven of the tracks on the previous review been duplicated here ? It seems rather odd that the same company should simultaneously release two CDs when a third of one is on the other. This one works it's way through sounds that have been played at the various clubs through the years, fishing off, shall we say, with Teddy Randazo - You Don't Need A Heart, as a representative of today's sounds and clubs.

Various Artists - From Route 66 To The Flamingo - Stateside 7 24349 65012 1

The third release freon the new Stateside label and probably the best, although certainly not aimed directly at the 'Northern' scene. This is a revamp of the 1988 album of the same name (Released on the second reincarnation o f the Stateside label and features tracks drawn from the Sue group of labels. The original album is all here win an additional nine tracks, and represents a good cross section of R & B, Blues, and Soul music from the Sixties. The original sleeve notes are also here, completewith an addition from Dean Rudland, in which he waffles on about house music changing the face of British clubbing.Yes it did change the face of mainstream clubs, but it never had any effect on the scene that originally, and still does play these records. I just wonder whether he was wise enough to buy the original album release back in 1988 ? I did, and I've still got it

Various Artists - The Ultimate Rarities Collection Vol 1. Motown Sings Motown Treasures - Motown 530 960 - 2

At last. Someone working at Motown has a bit ofimagination when it comes to using all the material in thecan. The packaging is clever and original, the booklet,whilst it could have been more informative does give a lot more details than is usual even down to the authentictic looking coffee stain on the front cover. So what about the music I hear you ask. Well its a bit of mish mash. Some of the tracks are stupendous - Jimmy Ruffin doing 'Too Busy Thinking About My Baby", stands out a mile, as do the Temptations tracks, and the David Ruffin version of 'I Want You Back'. Otherwise the tracks vary from the good to average to 'I know why it wasn't released' type of thing. It is well worth buying though, and as it's only volume one, perhaps that means there will be an ongoing series of releases

Various Artists - Kris Records, Los Angeles' Showcase Of Soul - Kent CDKEND 162.

Another one label focus from Kent. I say one label because all the tracks on the CD are taken from Mel Alexander's group of labels Kris, Car-A-Mel, Space, and New Breed. Running from the mid Sixties through to 1994 all the tracks are Soul music of a very high quality, although the Blues tinge is present on several tracks. Whilst the obvious standout backs is Ty Karim's 'Lighten Up Baby' there are several other tracks which I didn't know before which are all just as likely to go on the dancefloors of the Northern Soul scene, what's more some of the Seventies tracks, in particular the first Cookie Jackson track. And doesn't the Pure Ice track remind you of the Staple Singers ? Of the later tracks Nadine A is the best by far, and I could see this being big in the various Modern rooms on the go at the moment Overall though, this was a CD, and group of labels which apart from the obvious tracks, I knew nothing. I'm glad now that I know considerably more thanks to the 24 tracks on the CD, and Ady Croasdell's usual copious and informative liner notes. Another wmner from Kent, put this on your 'Must Buy Soon' list, it's well worth the money if you like Soul music.

vinyl vinyl vinyl time:

Barbara Mercer- Happiness Is Here - Unreleased

I had an acetate cut from one of the tapes that Martin Koppel sent me about three years ago, and started playing it whenever I DJ'd. Eventually Goldmine put some white label demos out, and subsquently released the single on their Connoisseurs label. Great cover version of Tobi Larks single on Topper, and whilst I normally don't think cover versions are better, this one certainly is.

Jerry Jackson - Are You Glad When We're Apart - Columbia

I originally heard this on Ken Burrell's tape, when he said he didn't think it was rare. Well I've only ever seen one other copy, this one, in two years. Great out and out stomper, hasn't yet had the turntable action it deserves, but it will, and then we'll find out how rare it really is.

Christine Kittrel1 — Call His Name -King

A record I bought blind for £4, but what a record ! R&B,with a slightly jerky beat which might make it difficult to dance to. I've since seen it on Pat Brady's list for £40, so it must be known, although I've never heard it played anywhere.

Deena Johnson - The Breaking Point- Wild Deuce

The only demo I've ever seen, and the label is water stained, and there's a slight warp on the vinyl, but who cares ? It plays perfectly, and as such finishes side one off perfectly.

Reggie Alexander- It's Better- Boss

Starting side two off with a mega rarity that fully deserves it's place on the Millionaires CD. Midtempo magic from Detroit. Can anyone tell me what the connection between Boss record; and Sport records is ? Obviously they were owned by the same person, but which came first ? Did they rim alongside each other ? Who knows ? Who cares ? This is still one wonderful record.

Joe Douglas - Crazy Things - Playhouse

I originally tipped this as a future dancefloor filler about eight years ago. Wed, it's taken that long to get anyone else to play it. This ores one of the first tracks I played on PCRL, way back in October '91, and I said at the time that this record will eventually start to become played. Recently, I've heard at least three other people play it, I even heard it twice in one night at Albrighton recently. Well deserving of the attention, this is a Philadelphia recording, but with Detroit credits, and it just rolls along with a steady midtempo beat. Price wise I'm not sure these days now it's getting a few plays, but you will certainly be lucky to find one for less than £25.

Margie Joseph — One More Chance - Volt

One of the late Sixties releases from the label that is carried along by the hom section. Written by Willie T this is very much out of character for a Margie Joseph release. All I can say is it's a good job she did decide to record this track Not particularly rare, but having said that it's not easy to pick up either. One of those £20 - £50 records that you can never find when you want one.

Tommy Rodgers—I'll Tell It To The Wind - AJP

Another Roger Banks' play Hat has yet to reach it's full height of popularity. Still cheap, and you'll often see it listed for the over side "Pass The Word' which got plays back in the Stafford days. Very much a Crossover sound, and I'm not even certain which side of the '69 / '70 barrier this one comes.

Here's a bit of Dave Godin's column from SKM

IF IT NEEDS TO BE SAID, TRY STOP ME FROM SAYING IT...COLUMN

Various CDs which have appeared of late, have alluded in their liner notes to the practice of the "cover up" of a record's label on the Northern Soul scene, so that nobody knew what it was or where it came from. All very groovy for the DJ concerned, especially since so many at the same time, had the temerity to suggest they were "keeping the faith" and fully exploiting the natural, fraternal impulse of the Soul scene to their own advantage. Whilst their egos rode high on their "exclusive" sounds, did they give a damn about the artist who made it, or stop to reflect how, just possibly, a huge success on the Northern circuit might just have given a flagging career a much needed boost, or saved a small US record label from bankruptcy?

Were these people rule dedicated to the Music, or their own self-advancement?Many of these same DJs now have, (not in bank accounts, since that would be too risky for tax purposes), "savings" running into five or even six figures, and this wealth was built by exploiting creative talent that is perhaps now working in Woolworth's, the local garage, or wherever. Also, which of them meticulously logged the records they played so that the composers of the songs which were giving so much pleasure to so many people, enjoyed some sort financial reward for their creativity, a creativity which, had it not existed in the first place, would have given the DJs nothing to be creative with?' If that's "keeping the faith", then Wigan's Ovations are the greatest Soul singers of all time. These people may well have been excellent DJs, but they were, whichever way you cut it, carpetbaggers. And Blackamericans know all about carpetbaggers; it's part of their history!

PILING ON THE AGONY...The BBC's "Soul Night" as well as the recent Radio 2 project, fell into several traps which these sort of projects always have laying in wait for the unwary. Like a multitude of media projects these days, sloppy and lazy research produces something which, whilst perhaps annoying the minority who KNOW, will nevertheless produce something that is sound-bite enough to seem to fit where it touches for those who have only a passing interest in the subject matter. Thus, corporate interests are satisifed.What is its sting, is the confusion and timidity that nearly always penneates such purported "cultural overviews". Firstly, they fall into the deadly trap of equating chart success with artistic merit; something that can and does occasionally coincide, (but not THAT often, as all Northern Soul fans well know), but which should play no role in sociological, political, and psychological analysis of an artistic and cultural phenomena. Secondly, there is this ambivalence about resuming the music to where it belongs and the many, many divergent people who contributed to the creation of the whole. In my book, Soul music could NEVER belong to white vocalists who would rather like to carry the Soul moniker on their shoulder as a trendy marker or accessory, and who employ Black american musicians and backup singers to give themselves a cachet of credibility; it doesn't NOT belong to people who just happen to have been born with a dark skin pigmentation but who are not part of the Black american Diaspora; it is NOT just another commodity that can be packaged, marketed and exploited, but something that stems from a much wider, deeper and longer collective experience of a multitude of events, both historical and contemporary, and above all, those who control the power levers in society should search their hearts and ask themselves just why they can never QUITE manage to say in unequivocal and unambiguous terms, "This is the music of Black america. It is their gift to the world, it grew from their collective historic experience in the Confederate and United States, and we thank them for it and the enrichment to culture in general that it has brought." Sounds easy and simple enough to say from where I'm sitting, but then, we libertarians ain't control freaks t And it's a funny thing, but people who' ve lived the life always know these things instinctively, whilst those who are hung up on control rather wish they did... and never, ever do

'PROJECT " ONE(OR PERHAPS TWO) OFF WONDERS"

The idea came to me recently that we all of us must know of one or more recording artist who, so far as we Mow, made just one record (very often a masterpiece!), and then vanished from the scene. So, I thought what might be a good idea would be for us to try and pool our collective knowledge, and see if together we could shed some further light on the artists concerned, or their history.

LISA RICHARDS.

Recorded "Mean Old World" / "Let's Take A Chance" on New York based JOVIAL circa 1965. The record was subsequently leased to SURE-SHOT in Houston, Texas, who reduced the title of the official flip to "Take A Chance". Photo published in "Blues & Soul" when I nominated the Deep Soul side as one of my favourites of the year. Photo subsequently nicked. In the 70s, a disco record surfaced by a "Lisa Richards", but to my ears it didn't sound like the same person. (That said however, I realise styles of delivery and vocal chords sometimes change over the years). So, any intelligence on Lisa out there?

JAMES BOUNTY.

A household name in Northern Soul circles due to his smash "Prove Yourself A Lady" on COMPASS. He must, surely, have made other records, but if he did, I don't know of them.CANE BLACK Made "Hold On To What You Got" / "Sometimes" on OKEH in 1968, both sides penned by W. Blackwell and Jerry Long. Must exist in his own right since in 1969 I met the Vice-President of COLUMBIA/OKEH and mentioned how much I admired this record, and he said he felt Cane Black had a great future with the company! Was he conning me, or did the deals all go belly up?

MORRIS CHESTNUT.

The "Too Darn Soulful" man has almost certainly transformed himself into an acting career, since he has had name credits in Hollywood movies, and surely there can only be one "Morris Chestnut". Or maybe making a masterpiece record was just a one-off diversion from what was already an established acting career?

BRENDETTA DAVIS.

Recorded "I Can't Make It Without Him" / "Until You Were Gone" on LIBERTY in 1968, but from the label copy it wouldn't surprise me if it hadn't appeared earlier on a sma11er label and formed a pick-up deal. It was my own speculation when I first reviewed this record that originated the rumour that this was Brenda Holloway moonlighting, but Brenda denies this, although she did tell me she remembered recording "Until You Were Gone" but couldn't remember any more details. . ! Add to this the fact that one of the backing vocalists on the session confirmed to Ady Croasdell that it WAS Brenda Holloway, and we are as confused as ever... But, could a vocalist as great as this make just one record and never get offered a second chance?

SANDI SHELDON.

Recorded Van McCoy's incomparable "You're Gonna Make Me Love You" on OKEH in 1967. Van McCoy is sadly no longer with us, and it is known that he had a keen eye for discovering potential talent, but again, the old, old story; no photo, no subsequent releases known anywhere. Surely this can't be the sum total of her recording career? And if it was, didn't we ought somehow to let her know that she at least made a record that was a huge hit and subsequent legend on the Northem Soul circuit?

SHAWN ROBINSON.

Made the ultra-brilliant "My Dear Heart" on MINIT in 1965. The part composer on both sides was Robert Staunton, and he was put composer on Marvin Gaye's "Tank About A Good Feeling" in 1965 (left in the can until the advent of track-hungry CDs), and Stevie Wonder's "Don't You Feel It" (Ditto the above), in 1964. So a Detroit link is in there perhaps.

CAROLYN SULLIVAN.

Made the marvellous "Dead!", and then her career seems to have died

VALENTINO.

Recorded "I Was Born This Way" / "Liberation" on the GAIEE label in 1975. The first "out" gay record ever, and snapped up by MOTOWN who were more interested in acquiring the rights to a label which perhaps had future potential in a specialized market than in Figuring Valentino's career. A record way ahead of its time and the politically correct climate, Valentino's brave stand should never be forgotten. In 1975 it took guts to make a record like this, as opposed to 1998 when all it takes is a tattoo.Well, that's enough to be going on with, but there are more, and, most importantly, let me know those obscure and Wang heroes and heroines that you dig, and we'll see what we can discover on them.

COLLECTORS' CORNER

So many great CDs continue to be issued that it is difficult to keep pace and mention those that really merit it. But, I must mention Kent's "Serious Shades of Soul" if only for Robert Ramsey's ace outing 'Like It Stands"; a hypnotic number that might take some time to zonk you, but if you stick with it, it'll creep right up and haunt your head._ Westside Records are really getting their act together, and their latest compilation "Doctor Good Soul" (WESM 525) is a cracking set from the ROULETTE and associated labels' catalogues, with the exquisite good taste of Tony Rounce guiding the compilation of it, and the informed and informative good sense of David 'In The Basement" Cole providing the sleeve notes and overall commentary. Both major pluses in any undertaking. Any CD which contains The Delfonics despair anthem 'He Don't Really Love You" alone makes it an essential buy in my opinion, but there are many others here, although the trouble with writing about CDs is that they can contain so many outstanding traclcs that it makes it hard to list them all without making your article look like a sales catalogue. But, this is what buying CDs is all about, so let me name the sides that particularly caught my soul:

Peter Cooke's DIMENSION early Deep Soul wailer 'I Won't Cry', with a no holds barred naked emotional quality that people are altogether far too inhibited to express in this present day Designer-Emotion era;

A previously unissued Betty Lavette track from the CALLA library, a vocalist who will always have a special place in my heart

A lost Jerry Williams ballad, "Your Man", that only ever surfaced on the tiny 87.30 label, originally intended for a CALLA album that never materialized; a guy who really knows how to use his voice to emote, and with whom everything he touches always turns to heartfelt;

A diffrent take by Donald Height on "She Blew A Good Thing": not as good as the ..cont in skm dec 98 issue.

Well there you go, all I can say is..."highly recommended! "

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email: dave@skmmag.freeserve.co.uk

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