Mike

THE UK SUE LABEL STORY VOL 3 / The Soul of Sue • KENT - CDKEND 235 Read Dean Rutlands full review of the CD "UK Sue label story Vol 3 - The Soul of Sue" HERE . Track listing:- HURT BY LOVE - INEZ FOXX I CAN’T WAIT UNTIL I SEE MY BABY’S FACE - JUSTINE “BABY” WASHINGTON THE LAST MINUTE - JIMMY McGRIFF HITCH-HIKE PT I - RUSSELL BYRD AM I A FOOL IN LOVE - IKE & TINA TURNER CONTINENTAL MIND - ERNESTINE ANDERSON I CAN’T STAND IT - SOUL SISTERS INCENSE – ANGLOS DON’T MESS WITH MY MAN - IRMA THOMAS HARLEM SHUFFLE - BOB & EARL YOUR RED WAGON (YOU CAN PUSH IT OR PULL IT) - DONNIE ELBERT CRYIN’ DAYS ARE OVER - KELLY BROTHERS STRONGER - THELMA JONES DANCING FAST, DANCING SLOW - INTENTIONS BEFORE IT’S TOO LATE - JACKIE DAY THAT DID IT - BOBBY BLAND SEARCHIN’ FOR MY BABY – MANHATTANS WHAT DID YOU TELL THIS GIRL OF MINE - OV WRIGHT NIGHT TRAIN - JAMES BROWN & THE FAMOUS FLAMES DO- RE-MI - LEE DORSEY GIMME, GIMME - ZZ HILL TALKIN’ WOMAN - LOWELL FULSON OH HOW HAPPY - SHADES OF BLUE BELIEVE IN ME - JERRY BUTLER YOU DON’T WANT ME - JAMES CARR Read Dean Rutlands full review of the CD "UK Sue label story Vol 3 - The Soul of Sue" HERE .

SOUL FUNCTION (Northern Soul story) MUSIC DVD & CD SET Full info including sound streaming of all tracks and video clips available at the New Century Soulshop http://www.newcenturysoul.co.uk/modules/soulshop/ "In two and a half minutes life is magic" - V2 Music and the makers of the dance film hit "Function at the Junction" present "Soul Function" “It was all about self expression which was amazing really because to be a working class kid and to think about how you look was completely different. It was very creative." - Sir Paul Smith. "You get out on the dance floor. You rock it. To me that is quintessential Northern Soul." Ashley Beedle. DJ. TRACKLISTING DVD: FUNCTION AT THE JUNCTION — Short Film THE WAY OF THE CROWD — Documentary / Exclusive Photo Gallery Click image below for flash video intro or view quicktime file at new century soul shop (note - this video has been edited for internet and is a lesser quality than the dvd) Dance. Vinyl. DJs. Amphetamines. Club culture. Northern Soul culture fed on the energy of audiences discovering dance music classics for themselves. British appreciation of the under-appreciated and instinct for street-generated style lay at the heart of the Northern scene. The street-based energy that filled Northern club floors in the Seventies laid the foundations for the Rave scene in the Nineties. With film, archive footage, dance clips, documentary and twenty blistering dance tracks, "Soul Function" captures the excitement and power of Northern Soul. The Soul Function CD/DVD artifact features: CD: streaming available at New Century Soulshop (1) The Royal Esquires “Aint Gonna Run” (2) Calvin Grayson “Youve Got to Be Willing” (3) Dave Charles “Aint Gonna Cry No More” (4) Doris Troy “Face up to the Truth” (5) Harry Deal & The Galaxies “I still Love You” (6) Kiki Dee “Magic On A Carpet Ride (7) Nancy Butts “I want to hold your Hand” (8) Charles Mann “ Shonuff No Funny Stuff Love” (9) The Soulful Twins “Cant Let you Go” (10) Steve Mancha “Friday Night” (11) The Enchanters “Theres a Look about You” (12) Lela Martin “You Cant Have Your Cake” (13) Willy McDougal “Dont Turn Away” (14) Bobby Jonz “Win Your Love” (15) Clay Hunt “Your Loves Gone Bad” (16) Emmit Long “Call Me” (17) Judy Street “What” (18) The Mylestones “The Joker” (19) Mojo “Lets Get Ugly” (20) Tommy Neal “Going to a Happening” Rare archive footage of club and dance action Previously unreleased stills from the scene 20 rare Northern Soul classics, including previously un-released material 45 minute "Way of the Crowd" documentary charting the history of the scene Interviews with DJs Ashley Beedle, Stuart Patterson, DJ Paulette, Terry Farley, Bill Brewster, Geno Washington Commentary from Sir Paul Smith detailing the impact of Northern on British fashion Award winning short "Function at the Junction" as seen on the BBC, Sky, Sundance and on the web at Tiscali. Full info including sound streaming of all tracks and video clips available at the New Century Soulshop

NEW RELEASES – Monday October 18th Two more in our collectable 45s series : £10.00 each inc postage G2K 45-149 HERMAN HITSON : You Can’t Keep A Good Man Down / Ain’t No Other Way (great 70s coupling rare Sweet Rose 45 – Crossover dancer ‘A’ with in-de mand funker) G2K 45-150 EDDIE HOLMAN : Wanted In 3 States (classic Northern – here’s the previously unreleased original version Harthon recording) And two new CDs : £12.99 each inc postage GVCD 3016 : CAROL ANDERSON – Sad Girl (cult Detroit soulstress – inclueds all her known output including the title track and 2 other in-demand dancers – Taking My Mind Off Love & It Shouldn’ t Happen To A Dog) GVCD 3017 : VARIOUS ARTISTS – America’s Most Wanted Volume 2 (another visit to the vaults of Malaco for a 21 track dancer’s treasure – includes previously unreleased tracks – George Jackson’s own cut of “The Only Way Is Up”and a previously unknown femme delight Carol Bell. This one lives up to the high standard set by AMW 1) Order direct from Grapevine : Phone : 01924.2994641 or grapevine.musicgroup@virgin.net

CP Spencer dies at 65, was tenor for the Originals C.P. Spencer, whose soaring tenor voice led the hit song “Baby I’m For Real,” by Motown group the Originals, died Wednesday 20 October of a heart attack. The Oak Park resident was 65. Born Crathman P. Spencer, the Detroiter started singing with the Voicemasters, a group who evolved from the Five Jets and were one of the first groups that Berry Gordy used on sessions. Core members Crathman P. Spencer, Walter Gaines, and Henry Dixon were led by the dynamic leads of David Ruffin, Ty Hunter, Joe Charles aka Joe Murphy, and Lamont Dozier. Along with Freddie Gorman, Hank Dixon and Walter Gaines, Spencer was signed to Motown in 1964 by producer Lamont Dozier. While cutting some sides on their own, they sang backup on sessions from 1965 to 1969. The Originals scored their first big hit on their own with “Baby, I’m For Real,” in 1969, a song written and produced by Marvin Gaye. It was Ed Love, then a disc jockey on jazz station WCHD, who first played “Baby I’m For Real” in Detroit at the request of Gorman, who worked with Love at the post office. It wasn’t intended to be the single, but the group liked it, and listeners went crazy for the song, and Spencer’s lead vocal. CP Spencer was also one of "The Voice Masters" which evolved from the Five Jets and the Five Stars and were one of the first groups that Berry Gordy used on sessions. Core members Crathman P. Spencer, Walter Gaines, and Henry Dixon were led by the dynamic leads of David Ruffin, Ty Hunter, Joe Charles aka Joe Murphy, and Lamont Dozier. Ref: Originals biography

Half of 60s Phoenix soul duo plucked from obscurity “I’ll need to get a ride with you," said Ernie out of the middle of nowhere. We were waiting for his turn to sing Karaoke at the AmVet Post #15 at 7th St. and Broadway in South Phoenix Wednesday night. "I live at 13th and Pima on the west side,” he followed. "I wish I would have known you were going to need a ride, Ernie," I said. "I have to leave early, before you sing the last time, sorry." He walked from there and would walk "home" - more like a backyard to put his stuff and sometimes a night on the couch in the house - a round trip of nearly 7 miles. I left without taking him since I needed to quickly get back to Phoenix to watch another band play before the bars shut down. The next day I asked him if he was able to find a ride and he said, "I started walking and a friend of mine saw me and picked me up. He said, 'Man you walk fast. Aren’t you tired?' I said 'no, I walk this 2 or 3 times a day.'" Ernie was dressed casually, sporting a canvas derby, a white floral print shirt and sandals with white socks, in contrast to the stylin’ white suit he wore the previous week. Both times he looked good but tonight what set off his outfit was a pair of expensive looking sunglasses with three diamond inlays on the arms. I asked him about the shades and he said, "You know what, I found these glasses on the ground. I find all kinds of things when I’m walking. People say to me 'Ernie those look like real diamonds.' I say it doesn’t matter as long as they shine." And shine he did Wednesday night at this open mic Karaoke night, up against such formidable talent as OG Charles, Brenda, and a crowd-pleasing, dance-floor-filling dude known only as “The Artist.” DJ Charles Ray Hayes welcomed folks to the post, encouraging them to “share their talent from 10 o’clock all the way to the top, 1 a.m.” Ernie started out with a killer version of “If Something is wrong with my baby,” written by Isaac Hayes and David Porter, though it was a rough start. When DJ Hayes called the name Ernie Sweetwater Johnson - “Ernie Johnson is my real name, Sweetwater is my new name,” he told me last week - Sweetwater was nowhere to be found. It turns out he was in the bathroom when the song started, though the DJ re-cued the song and introduced him when he appeared. He had moves, his voice was note perfect and electric and his open-throated falsetto “whhooo hooos!” at the end got folks going, so naturally Ernie kept going after the song was over. For a moment he looked transported to another time - cue a wiggling TV screen indicating a memory - all the way back to 1965 when Eddie and Ernie, a duo born in Phoenix, had a hit in New York and were being flown out to the Apollo for an extended gig playing a package show. “In 1965 ‘Time waits for no one’ (a song written and performed by Eddie & Ernie) was released and it hit the charts,” said Ernie when I reached him by phone. “It was #1 on WWRL in NYC and it was about number 100 or so in Billboard. The next thing we knew, we have two tickets to New York to play the Apollo Theater,” he said. “We did five shows a day, and we worked with people like Wilson Pickett, The Marveletts and Patty Labelle and the Blue Bells, Gene Chandler, The Impressions, The Four Tops, we worked with a lot of artists.” Eddie and Ernie had all the right elements to be a top R&B; duo, they were young (when they first started playing clubs Ernie was 16 and Eddie 19), they were good looking, and they had great voices that sounded even better together. Ernie’s voice was high-register and Eddie was in the middle, and their voices harmonized extremely well. Their songs (mostly originals) got play in other markets and at their peak they had singles on Chess and Columbia. But they never had a proper hit. They cut many sides and toured but not extensively, and because of the lack of hits and bad management, the duo petered out on its own in 1972. The last show they played was with Al Green at the California Club after reconciling for a last go around. Eddie Campbell moved to California and had a respectable songwriting career which provided him an income as well as royalties from past records being anthologized and covered, though he had a problem with drink and eventually passed away from cirrhosis of the liver. Ernie drifted, tried to make a go on his own, but couldn’t keep up a steady address for the royalties he was due. He spiraled into homelessness, working day labor and doing some time in jail, always hoping to make more music or receive some money from his past efforts. Without management and a musical partner and with plenty of bad luck, Ernie was in creative and spiritual limbo. When speaking with Ernie, it’s almost as if he remembers the time between 1972 and 2002 as one very long, bad year. In 2002, English soul music guru Dave Godin started actively tracking down rare Eddie and Ernie music for a compilation. Godin is a huge force in the popular north London trend known as “Northern Soul,” a term which Godin coined and has championed since 1971. The trend, which has enjoyed resurgence in the last 15 years or so, is focused on forgotten or overlooked American soul and R&B; music from the ‘60s and ‘70s. John Dixon, aka Johnny D., Phoenix musicologist and endless source of all things musical Arizona, explains what Northern Soul is about: “Playing a track all the way through. No talking over it, no fading, it’s very straight. It’s a dance tempo thing, it’s all tempo and you have to be able to dance to it. It’s got to be obscure black American music. The more obscure, the better. Those are about the only two generalizations I can see because it’s a pretty wide spectrum. Eddie and Ernie were obscure enough and a lot of the songs are very poppy and danceable Dave Godin, who’s the god of Northern soul writing and coined the term and all, was telling people that E&E; were the greatest thing since Sam and Dave if not better than, so his credibility helped a lot.” If you are interested in more info about Northern Soul there are many Web sites a google away, but I found this site to be fairly understandable for the uninitiated, myself included. Eddie and Ernie have been popular as Northern Soul artists in England almost since they stopped making music in the early ‘70s, and Godin has touted them as the one of the best exemplars of Northern Soul, so he was eager to put together a comprehensive CD. He had featured songs by E&E; on all of his “Artistry in Soul” compilations for the English soul label Kent. Godin wanted to get all the E&E; music in one place and put out a compilation, but this turned out to be a huge undertaking. Songs had been sitting on shelves for 30 years untouched. Old vinyl was almost non-existent. The duo recorded under at least 4 names on many labels, many of which no longer existed or had been bought out long ago. A huge amount of detective work went into the effort, but in late 2002 Eddie & Ernie, Lost Friends came out on Ace records subsidiary Kent. Ernie was thought by the English fans of the duo to be lost to the street, but in 2002 John Dixon found him. “I had heard as I went around town ‘Oh yeah, He’s still around, we saw him a couple of months ago’ that sort of thing,” said Dixon. “I went around to a couple of the Salvation Armies in South Phoenix and there’s a big St. Vincent De Paul on 7th St. I went in there they said ‘Last time we saw him was a couple of months ago.’ So I knew he was around,” explained Johnny D. “I went over to see Gene Blue (CEO and founder) of OIC.” OIC stands for Arizona Opportunities Industrialization Center, a charity that has worked since 1967 to help people get back on their feet in many ways, from GEDs to computer training to helping people with social security issues. “Gene Blue said ‘Oh yeah, Ernie comes around every so often,’ so that was it, and I didn’t think about it for a couple of months,” said Johnny D. “One morning Gene called and said ‘You’ll never guess who’s sitting across from me in the office’ and it was Ernie and so I arranged to pick him up the next day and took him down for breakfast at Denny’s and introduced myself and I took all the records and showed him and he was very impressed.” Dixon told him about Northern Soul and Dave Godin and about the effort to put together a compilation CD. Ernie was excited and consented to his first interview in many years, which Dixon recorded and transcribed for use in the anthology. Later that year with many of the songwriting rights reverting back to Ernie “Lost Friends” came out and through Johnny D’s help, Ernie also received some back royalties from Johnny's research and new money from the issuing of the CD. Part of what intrigued Dixon in the interview and brought this story to me via former New Times music editor Chris O’Connor was that Ernie Johnson, a man who played the Apollo at a very young age and tasted modest musical success, who might have been rich and famous if given proper guidance, was now singing Karaoke at a downtown club called Big Al’s and living on the street. The gig at Big Al’s has been over for a while, and Ernie does his thing most Wednesdays at the AmVet in South Phoenix. The release of the CD and some past royalties helped get Ernie in a good place for a while, but the money is all gone now. “After I paid some people some bills it was gone,” says Ernie. “We get royalties twice a year so maybe something will come up. I have got a few debts which doesn’t feel too good, but I hope they are people that trust and believe that when I get some money I will try to pay them,” he says. So Ernie, at 60, is singing Karaoke in hopes of his big comeback. “Something’s got to give and it’s got to give real quick,” says Sweetwater of his situation. “Time’s winding up, and I know that. This is my last time around and I want to go to the top. All the way. So I’m freelancing, I’ve got no contracts with nobody and I want to work with somebody that wants to work and I know that we’ll be successful if the music is heard.” Unfortunately there are a few strikes against Ernie getting something together musically at this juncture in his life. I asked Johnny D. if he thought Ernie could have success at his age in his current situation “That’s a hard call,” he said. “I would like to think he could, but he’s just kind of on that level, no wheels, everybody around town kind of knows him and has an opinion already, and he’s burned quite a few bridges. I’d like to think he could talent-wise because he’s been writing songs, mostly gospel. He sings them to me, a capella in the car, and there’s some potential there.” He can sing, there is no question. And he is a social butterfly, a smooth operator. Drinks would appear in his hand when he returned from his frequent socializing that I know he didn’t pay for. He told stories of people shaking his hand and giving him money folded in their hands because “I think people do that because they know I deserve much more then I’m given, which is nothing but a clap of the hands and pat on the back.” When he asked if I was going to pay him for interviewing him I explained that the interview wasn’t going to be broadcast so there would be no gratuity, but hopefully the story might generate a few sales of the CD, which would trickle down to him eventually. To this he said rather cryptically “Yeah, somebody should hear and feel and know.” Pan out on the Wednesday night Karaoke at the AmVet Post #15 where Ernie Sweetwater Johnson can be found, working the room in more ways than one and enjoying the momentary spotlight. Picture he and I, seated at a long table waiting for his turn, when an impressive female singer starts tearing it up on the mic. Sweetwater turned to me and said, “She can sing good too. Sweetwater and you ain't the only superstars in the house!” Thanks to Chris O’Connor for additional info. http://www.aznightbuzz.com/mt/000119.html ...... ending with the footnote When he asked if I was going to pay him for interviewing him I explained that the interview wasn’t going to be broadcast so there would be no gratuity, but hopefully the story might generate a few sales of the CD, which would trickle down to him eventually. To this he said rather cryptically “Yeah, somebody should hear and feel and know.” Pan out on the Wednesday night Karaoke at the AmVet Post #15 where Ernie Sweetwater Johnson can be found, working the room in more ways than one and enjoying the momentary spotlight. Picture he and I, seated at a long table waiting for his turn, when an impressive female singer starts tearing it up on the mic. Sweetwater turned to me and said, “She can sing good too. Sweetwater and you aint the only superstars in the house site note the article above was orig up on azbuzz which is no longer online - updated in 2018

First up on the web as a downloadable pdf, it was part of a feature on Phoenix music - a fascinating couple of interviews concerned with Ernie Johnson ( one half of Eddie and Ernie ) Ernie Johnson interview 7-22-04 JB - Did you sing any more last night? EJ - I did a thing by James Ingram that went over really good. The people just went wild. They've been loving this song ever since I changed the style of it. I ad lib around what he's doing and it fit in perfect. JB - What's the song? EJ - If Loving you is wrong I don't want to be right. JB - I'm going to go way back to the start. How did you get involved in music in the first place? EJ - Well, my dad he's a singer, also a guitar player and at the age of 7 I was singing very well and could take just about any person and show them the tune in order to harmonize like it's three people, I could show them how to harmonize. I could also do the bass but my voice was too light. I could show a guy how to tune it up real well and voice control because I learned from very great men, Sam Cooke and Nat King Cole. JB - Listening to records? EJ - Yes. Listening and going to see Sam Cooke and the Soul Stirrers as a youngster. My dad said, "Brother you listen to that voice and listen well because you have a voice to sing that song just as good or better than the artist, and that's very odd, that means that God has given you something very special." JB - You also were involved in Gospel from early on correct? EJ - Yes I did Gospel until Eddie and I decided to try a duet because we weren't making any money. We decided to try and do a duet so we did cut it and sent it to Sue records (a subsidiary of Eastern) and there was the manger Juggy Murray I think owned the company and released the song 'Time waits for no one" and it hit the charts. (It was #1 on New York's WWRL) and next thing we knew we have two tickets to New York to play the Apollo Theater. JB- that was the first single that you released? And it charted? EJ - Yes. 1965. Time waits for no one. It was #1 on WWRL in NYC and it was about number 100 or so in Billboard. JB -And then you got flown to the Apollo? EJ - Yes. We did five shows a day, and we worked with people like Wilson Pickett, The Marveletts and Patty Labelle and the Blue Bells, Gene Chandler, The Impressions, The Four Tops, we worked with a lot of artists. JB - That was 1965 primarily? EJ - Just about everything on Motown was #1 but Sue records was kickin' some artist pretty good too. JB - Weren't you also going to tour with Ike and Tina Turner before Eddie and Ernie but it didn't work out? EJ - We worked the Holiday in DC with Ike and Tina Turner which was real nice but I seen I do things I couldn't believe. I told Eddie, "man, I don't think I want to work with this guy because he's not doing these ladies right." He was kickin' them and beating them. JB - How did you meet Eddie? EJ - I met Eddie through my dad. Eddie had another brother that was older named Leroy Campbell and Eddie was singing around with him a little bit so we decided that we liked singing together, him and I and like I said I knew a lot about voice control which helped turn him into a pretty powerful man, which he could sing anyway. Eddie was one of a kind, he reminded me a lot of Johnny Taylor, he liked Johnny Taylor a lot, not just as a singer but as a player, Eddie was also in that category, also Sam Cooke, we loved some of the artists. Our harmonizing, we worked that out ourselves. We put it together and it came out every song. If we would have had a manager, a good manager at the time they say we would have sold millions and millions. London England rates Eddie and Ernie the best duet in the world, already. (Dave Godin is the main champion of their work, the man that coined the term "Northern Soul" and helped to popularize the movement) We've been popular there for years and I didn't have no knowledge of that because I wasn't looking like I should have and I didn't have anyone to give me direction on keeping up on the keep up. JB - 65 was a really good year for you guys and you kept cutting sides. EJ - We cut quite a few sides and a lot of them were played (covered) Like Outcast, I'm going for Myself, was on Columbia, we was on a lot of record companies at the time, they was cutting us and putting us on the desk and not playing them, playing them but not giving them the exposure they could have given them so we could have been successful, so we got beat out of a lot of money, I presume. JB- Did you do most of your recording in Phoenix? EJ - We did most of our recording in the south, like Macon, Georgia, where Otis Redding did his stuff for Stax records. We cut in New York City; most of it was in New York, because we had the New York City sound, everybody said. JB - You guys didn't really do a lot of touring, did you? EJ - We did not a whole lot but we did tour for maybe a year and we just came back home and sort of gave up to a certain extent and Eddie went his way and I went mine. Then we came back did a few more singles. The last show we did was with Al Green at the California Club in 1972. And I was trying to figure out how to get in touch with Al because he's coming to town, so we should go to that show. Possibly if I could meet him quicker he might let me open the show for him. JB - When was Eddie and Ernie finished with all together? EJ- Eddie went to LA and I stayed in Phoenix and went through a lot of changes, trying to get a breakthrough song to come back, to keep trying. I had almost given up. They tell me Eddie went to LA and wrote some songs, some of them were real good sellers and he made some money, but he was sort of out there, drinkin that hard liquor and they said that's what messed him around, he ended up doing things that didn't ordinarily do, but at any rate he uh had cirrhosis of the liver when he died. After that I almost gave up again, but the lord said, "No, you go ahead. I want you to spread my name in Gospel songs." And said "you arise as one of the great spiritual singers in the world," and I believe that the Lord did tell me that, and that's what I did, I wrote the songs and I'm ready to record them and they are some of the most beautiful songs you will ever hear in your life. I call it Spiritual Rock, because when you're rockin and shouting and glorifying god, and as I'm talking tears come to my eyes (crying) because I know this is what the Lord wants me to do. I want to do that and I want to do it with someone that will work. And do a good job. That's all I want to do, it's not so much about the money, it's about being a true human being for someone to love and love other people and to spread gods name all over other world. I know it ain't nothing but the power of god because when I start droppin' tears they're always glorified tears of joy. JB - Do you want to take a break for a second, are you ok? EJ - I'm OK. I don't worry about the tears because the tears are tears of joy, it wouldn't make any difference. People look at me and say, "Oh, you're droppin tears, are you crying?" I say "I'm crying to the lord to make me stronger." . . . I want to do what the lord wants me to sing, but I'm also ready for R & B. I'm not a rapper; I wouldn't want to be a rapper. I like the rap I just haven't learned it yet and I don't like what it's done to the children. That's why our children are dying, they don't even get to 15, 16. I think it's nice when someone can grab music from what someone else is doing and rap over it and make it blend in; I think it's great. JB- Before the CD anthology came out, what were you doing? EJ - I was doing the Karaoke and working at big Al's. and people started coming, packing the place out on Wednesdays, every time I hit the stage they would scream like I was at the Apollo Theater. JB- How come you don't try to enter Karaoke competitions where you could make some money? EJ - Because it's not a challenge to me. Karaoke is for someone that is trying to learn how to sing and control their voice, it's not for a professional singer, but I have entered a thing down on Buckeye Rd and they put my at number 4 in the competition. I know that I won it; they didn't want me to have it. One of the guys said, "man, you're a professional singer and these guys aren't." I said " well it didn't say who could go on, I won it so don't I deserve it? But I tell you what man, go on a keep it, I just won't come over here and sing here again," and that was it. JB - I don't want to get into a dark area, but you've had some rough times the last few years. EJ - Oh yes I have. I've had some real bad times. Still having bad times. I am disabled my feet swell up, I have low blood circulation, I have asthma, I have a concussion where I was hit a years ago singing at the Elks club in about 74. That didn't stop me either. They was trying to mess my head up so I couldn't sing anymore but the lord took me through that. About 2 years ago I was hit half way across my back with a 2 by 4, busted my spleen, and I'm still going through changes because of that, and I'm on medication for the rest of my life. JB - I'm sure it was very nice for you to recoup some of the money you made when the CD came out. EJ- It was a little bit, it wasn't very much. It was like 2700, but after I paid some people some bills it was gone. We get royalties twice a year so maybe something will come up, I have got a few debts which doesn't feel to good, but I hope they are people that trust and believe that when I get some money I will try to pay them. "I walked from the club to almost to Pima I was coming down the other side of the bridge and a friend of mine stopped and drove me home. He said, "Man you walk fast, aren't you tired?" I said 'No, I walk that 2 or 3 times a day." JB - Tell me about how people will come up to you shake your hand and slip you a little something when you perform? EJ - I think people do that because they know I deserve a much more then I'm given, which is nothing. But a clap of the hands and pat on the back, but it's one thing about it I figure something got to give and it's got to give real quick, because time's winding up, and I know that. This is my last time around and I want to go to the top. All the way. So I'm freelancing, I've got no contracts with nobody and I want to work with somebody that wants to work and I know that we'll be successful if the music is heard. JB - I would say first things first you've got to get a band. EJ - Like I said it won't be no problem to get together a band, but you got to have a little money, people don't want to do just . . . I can't do anything too much because I don't have any transportation. One day it was so hot I felt a fainting spell and I went right back into OIC and sat down. So this thing is taking a toll. JB - Hopefully this story might help sell a couple of CD's, which will eventually help. EJ - Yeah, somebody should hear and feel and know. ---------------------------------- John Dixon interview JB - How did you get involved with the production of the Eddie and Ernie CD? JD - I've known the people at Ace for a number of years and somehow Eddie and Ernie came up. They were looking for masters. They mentioned they were getting ready to do a full CD, because Dave Godin (English Soul music guru and man responsible for the term Northern Soul) had been doing his Artistry in Soul series for about 3 volumes and he always put Eddie and Ernie on them. They knew that I had a real good appreciation of the group so Ace and I started talking back and forth and I found out that there were some Columbia sides that I didn't even know about the were unreleased and it seems to me we were trying to find the Artco material (Eddie and Ernie each recorded a solo album in Phoenix that is now extremely rare) at this time this was before the masters were found in Los Angeles, so we started working that way because I had a relationship with them and they decided to do this Eddie and Ernie and things. And two and a half years ago when I tracked Ernie down I had this interview I was sitting on, and I thought it would be great for them to use some quotes from the interview. In one of the liner notes they mentioned that Eddie was gone but that Ernie was last seen on the streets of Phoenix and might not even be around, so he was kind of lost in action, so once I has that interview it was a great thing to have for someone who is doing a whole CD. JB - For the readers, when was the resurgence of Northern Soul? JD - Probably 15 years ago. JB - And it's been going strong for a while now. Do they use these old songs in mixes? JD - It still is going strong. It's not mixes, in Northern Soul you play the track all the way through. No talking over it, no fading, it's very straight. It's a dance tempo thing, it's all tempo and you have to be able to dance to it. It's got to be obscure black American music. Those are about the only two generalizations I can see because it's a pretty wide spectrum. It's very rare they will play a ballad. Eddie and Ernie were obscure enough and a lot of the songs are very poppy and danceable so that's how they kind of worked their way in there and the thing the had going for them was Dave Godin who's the god of Northern soul writing and coined the term and all and was telling people that E&E were the greatest thing since Sam and Dave if not better than, so his credibility gave their music, when the expert of the whole scene is saying hey this is great stuff helped a lot. It's just amazing how one person can make a difference. It certainly made me appreciate it a little more, I had some of their records but when you have some guru saying that this is the best out of thousands of obscure records it helped me realize how great they really were musically. 90% of the sales of Lost Friends have been in England. JB- I want to ask you about the detective work you had to do to physically find him. JD - I had heard as I went around to the clubs "Oh yeah, He's still around, we saw him a couple of months ago" that sort of thing. I went around to a couple of the Salvation Armies in South Phoenix and there's a St. Vincent De Paul on 7th St. and Weldon that's like a big feed em and house em type place and I went in there they said "Last time we saw him was a couple of months ago. . "So I knew he was around and I went over to see Gene Blue (CEO and founder of) at OIC and spoke with him and he said "Oh yeah, Ernie comes around every so often" so that was it, and I didn't think about for a couple of months and one morning Gene Blue called and said "You'll never guess who's sitting across from me in the office" and it was Ernie and so I arranged to pick him up the next day and took him down for breakfast at Denny's and introduced myself and I took all the records and showed him and he was very impressed. JB -Do you think Ernie can make something happen musically without help that would be lucrative for him? JD - That's a hard call. I would like to think he could, he's just kind of on that level, no wheels, everybody around town kind of knows him and has an opinion already, and he's burned quite a few bridges I'd like to think he could talent wise because he's been writing songs, mostly gospel. He sings them to me, acapella in the car, and there's some potential there. As I told him he ought to find an Eddie somewhere because sometimes these guys get booked in England on the basis of these Northern soul shows, but here's a guy that hasn't been out of town in years and on a plane and traveling and staying in hotels, and I don't know. I wouldn't want to be responsible for Ernie on that level, I'm more than happy to get him what's due and anything back royalty wise that he can't because of his circumstances get but I'm not into establishing careers again and I just don't know. I know when your standing in the hot sun pushing a little car around and you feet are swelling and you go 'where's my money" and I'm the only guy that can help him and I say 'Ernie you should have gotten your money 30 years ago when you might have been making some money and made better deals." Eddie kept up his address and was a more prolific songwriter. Eddie wrote some songs that Jackie Wilson covered and He kept at it after Eddie and Ernie broke up and moved to LA, so Eddie was married had a second wife and a daughter whom I've talked to too and tracked down and they've been getting royalties all along, if you don't write these companies and tell them where you are their not going to go out of their way to find you. But if you do they will send you what's due. Maybe it's within him still, I would like to think so I just don't know. Bob Corritore at Rhythm Room has got the blues nights and he's got the legends of Arizona blues and Small Paul is down there and the Whitehead brothers and Big Pete Pierson, he could do it on that level easy, but the guy doesn't have a car and there are all these things. It would be nice if he would find someone that would manage him on that level. I was kind of worried when I gave him the royalty money, he came into quite a bit of money all of a sudden and just as quick as he came into it was gone. I don't know what he was doing. There's quite a bit of support in South Phoenix for people in Ernie's circumstances. He comes up with some great clothes. Beautiful leather shoes and he looks great. One time I picked him up at some park and he had some purple suit on, it was wild. And he had these real cheese thongs on; I was like Ernie you need to get some patent leather. And then in two weeks the suit is gone. He doesn't have a place to keep it. Id like to think there would be some historical society or music appreciation group that might help him out and get him an apartment, when he got some money he got a room with somebody and then they had a falling out, he never had the money to get an apartment which would be nice. He wanted me to get him a guitar I said Ernie, "where are you going to put it?" He said "I need to write some songs" and I said maybe you do but where are you going to put it? JB - Do you think it would be more beneficial to him to move on and enjoy what he did rather than trying to do something that is difficult if not impossible to do (get a band together) JD - He's good at it I just wish he would get a job at McDonalds or whatever but he doesn't even seem to want to do that. When you hear that talent and you know it came out of his relationship with Eddie and they wrote their own songs . . . JB - As far as historical Arizona music how important are they? JD - Well that's a tough one. That's an old thing, do you have to sell 3 million to be successful or to have the agreement of hundreds of soul experts that say you're the greatest and you have that kind of cult level, which is better? I don't know, I like the little guy anyway. To me Duane Eddie is the best thing that ever came out of Phoenix, but to my mind Eddie and Ernie are right up there with Duane Eddie as far as quality and depth of songs and powerful stuff, that's just some killer shit, it's amazing. They grew up here and have very solid Phoenix connections, so that's such a subjective thing, but to my mind there are as good as anything that came out of here. JB - He wanted me to take him to a place at 13th Ave and Pima after the Karaoke show, what's there? JD - "It's a house, for a while there was a camper shell in the back and he was staying there in the camper shell, and then something happened, the guy sold the camper shell or something, and then Ernie moved away, now he back there, I don't know if he stays on the couch, sometimes he'll stay with his sister but they're always at it, his parents are very very elderly and they are still living, his father was a minister and he must be in his 90's and they've been through it with Ernie, that's why I know Ernie was so happy when the CD finally came out he was able to show his dad. I went over there and sat in the living room and it he was just so happy because here's proof that I've done something. JB - Is there a Sweetwater in every town? JD A lot of people don't know about his musical past. A lot of people are amazed when you show them the CD they go "Oh, geez, is that you?" because they've been seeing this character scuffling around all these years. And when you check out the CD people realize it's really something, it's almost like it's a different guy. JB- do you think if they had the proper direction and management that they could have done something more than they did? JD - Oh hell yeah. It's all management. If these guys had better management, and Ernie says in the interview that they never had a manager. Their manager was whoever owned the label . . .They didn't have good management that kept them in line, got them good deals and got them to the gig and got them some money. "These guys, most historic Phoenix music people that made records make some records and go back to doing whatever they were doing before music and here's guys (E&E) that got pulled out of Phoenix to play the Apollo, that's got to fry your little head." the original feature is no longer online Since this was published we had the sad news that Ernie Johnson had passed away after a hit and run incident in Phoenix in 2005. You can read his obituary written by Ady Croasdell via the related links below

Its payback time for the Trading Cards! Forgive this intrusion into the usual calm and non argumentative world of Soul-Source but I would like to take this opportunity to say a huge THANK YOU to the 250 family and friends who turned up at the Plinston for my surprise 40th birthday bash last night! To say I was surprised and didnt have a clue would be the understatement of the year, just ask anyone who was there! Rabbit in headlights time, for at least 3 hours. I didnt get a chance to say much (a first!) to most and so I thought Id post a reply here and ask it to be passed on to those who were there. My thanks firstly to everyone who came along, for the kind words, presents and cards. I couldnt belivie there were people from across the UK and America and many having taken the day off work to share in the surprise. Secondly, to all the DJs (Molly, Reg, Taffy, Lenny D, Hammie, Yogi and apologises for those Ive forgotten!) for a great selection of sounds. It wont be forgotten guys. Lastly, to my wife and Kay Seabrooke for organising it over the past year and for keeping it the best secret EVER!!!! You both did a great job and everyone had a great time. Many many thanks and all my love to you both. I am sure that the photos will be being posted shortly, including the very very young ones of TheBigO, and the words Payback loom large I think :-)) So, in conclusion, my heartfelt thanks to everyone for a wonderful surprise and night, the tears were genuine, as was my shock(!) and I shall never forget last night. All the best TheBigO * One special mention to Smoothie for the wonderful harmonica Blues solo and birthday lyrics he played for me, outstanding! Am working on getting you that T-shirt that you liked I was wearing at the last Plinston mate :-)

Published by posted by site on 2004/9/17 (2340 reads) Last few days have had various reports coming in of various going ons. In an attempt to clear up the situation have posted the below. Northern djs top sounds stolen At a recent event at the Rocket venue in London, two of the most respected and famous Northern Soul DJs fell victim to one of the most underhand "soul" crimes around. The two djs concerned were Butch and Ady Croasdell, both are considered amongst the top northern soul djs, and prime forces in the northern soul scene since the 1980s right up to the present day. Both djs were dj-ing as part of a northern soul section of a large scale event called Modstock being held at the Rocket venue in London. While both djs were giving the crowd what they wanted, a non -stop selection of uptempo rare northern soul sides, as it turns out events say that instead of concentrating on the dance floor, they perhaps should have been looking over their shoulder. As while they were playing these rare 45s, that if it wasnt for their efforts would be still lost and undiscovered, behind their backs events of a very distasteful nature were taking place. It transpires that one of the worse crimes that could happen to any dj on any music scene was being carried out... they were having their top sounds stolen! Reports say that someone had wired up the decks and as each rare 45 was played, it was being recorded directly from the sound system. Once recorded these recordings were apparently passed into the hands of two shady characters, both infamous as two of the worse soul bootleggers in the uk. As some of the tracks recorded were unique and have a estimated value of several thousand pounds if they were ever to come on the open market, the bootleggers must have rubbed their hands red raw as their scheme unfolded. Already reports are coming in of other so called " djs" playing some of these stolen tracks off acetates at events. The situation is made even more controversial as its said an employee of the Rocket itself is responsible for the recordings of these tracks. This adds a even darker side to the whole tale, as its been said that its a certain Gavin Stearn who is responsible for the recordings, who apart from being employed by the university that runs the venue, is also known for his claims to be a former bodyguard of ex-dj Ian Levine, add to this the fact Levine recently fled the northern soul scene followed by allegations of bootlegging and fraud, then this connection may cause embarrassment to some, especially as Stearn is now also now involved with promoter/record label owner Kev Roberts (Levines former partner) and is in fact billed as an attraction at a forthcoming Togetherness Weekender. Understandably reports of this series of events have caused an outrage amongst soul fans in the uk, with many believing that even by their own low standards, this is one step too far by these bootleggers and it is now the time to stand up to these crooks.The fact that two of the main and most respected djs can have this happen to them, should really send shock waves to all who consider themselves soul fans Many are now looking at how other "well known" names and djs on the northern scene react to this news. --------------------------------------------------- COMMENTS BELOW WERE POSTED AFTER THIS WAS PUBLISHED IN OLD ARTICLE SECTION Poster Thread Guest Posted: 2004/9/15 13:00 Updated: 2004/9/15 13:24 answers from Gavin stearn answers from Gavin stearn orig posted Posted: 2004/9/15 13:00 1. Yes I did it 2. Ian Levine and Kev Roberts have nothing to do with this matter. 3. What do you expect when you come and play in my back yard? 4. The new untouchables tried and succeeded in sabotaging the rocket when I fully supported it, then they booked the venue is that not hypocrisy or dancing on my grave? 5. Nothing was missing so nothing was stolen 6. Their was only 4 records played that I did not already have in some sort of format 7. So for a rare soul night I was very disappointed 8. I try to spread the faith instead of keeping it all to my self. 9. I gave all the sound bites away and will continue to do so to anyone who wants them 10. I wanted it to be found out, that way you will know that I don’t forget who has done the dirty on my friends or me. 11. The magicians is crap, better left in the can, its is only liked because it is fresh. 12. So if you don’t play by the rules don’t expect other to play by Status: Active stomper45 Posted: 2004/9/15 14:48 Updated: 2004/9/15 14:48 Regular regular Joined: 2002/11/21 From: Dublin Posts: 74 Re: answers from Gavin stearn wow in some ways refreshing to get this out in open debate. can you explain to an outsider how the Rocket was sabotaged (was it in the same way as Crossfire)? I doubt if it was the djs whose tunes you copied without asking were responsible, or can you prove otherwise. Surely its good manners to ask if you can copy a tune from them. Sending them on to various people at no profit doesnt make that right, and has taken the "fresh" appeal from 4 i would imagine hard gained tracks on their playlists. sure this will b a hot topic, from those more closely involved Danny D Status: Active EditDeleteReply Stuart T Posted: 2004/9/15 17:28 Updated: 2004/9/15 17:28 Regular regular Joined: 2004/2/18 From: Posts: 77 Re: answers from Gavin stearn Oh Gavin youre so big and clever. Does this little bit of "vengeance" make you feel better? I dont think that many people will now forget about someone doing the dirty. It must be rather sad for you now not having anywhere to go of an evening in London as you are so committed to the northern soul scene. Out of interest, why is it that I have only ever seen you in a club in London once (granted I never went to the Rocket)? And to be frank, as you thought the comic collecting commando was such a great DJ who the hell is going to respect your opinion on whether or not a rare soul night is any good? "Their was only 4 records played that I did not already have in some sort of format" Given the company that you keep I wouldnt be surprised if this was true. However, that kind of misses the point, but I just dont think youd understand. Status: Active Mark Bicknell Posted: 2004/9/16 19:38 Updated: 2004/9/16 19:38 Hardest Joined: 2004/6/30 From: Posts: 115 Re: answers from Gavin stearn Here, Here Stuart.......and say so all of us, fair play to the bloke hes got some balls, rather big ones to admit to this one, or hes fucking stupid one or the other. I dont think this person is high profile enough to really bother or worry about still is a shit stunt to pull and personally in him trying to be smart and admit to this hes really closed the door for himself as he will now be viewed as not to be trusted. Spread the faith...bollocks, sorry to spread the faith you have to have it in the first place and as long as this person has a hole in his arse he will never come close to having the faith, infact such actions prove that he has little understanding what this scene and its music is about, words fail me really to be honest. Now perhaps we can put this one to bed. Regards - Mark Bicknell. P.S Tape my or anyone elses records again and you better look over your shoulder pal i dont care how big you are or how clever you think you are. Status: Active EditDeleteReply Brett Posted: 2004/9/15 21:13 Updated: 2004/9/15 21:15 Hardest Joined: 2004/2/17 From: Sheffield "Northern" England Posts: 366 Thief Quote "Gavin Stearn"......"6. Their was only 4 records played that I did not already have in some sort of format" Hey Mark what a fucking line, Sweet Creeping Jesus mate we will piss our pants at the Ducie about that one silly fucking comment......manalive as Bob Hope said " Good Comedy Writes Itself"..... On the real side of this scene Mark, my mate Neil Felton just showed me an issue of old "Ozz" beautiful label.....that my old mate is what we call a ..FUCKING FORMAT isnt it...keep it real .. Brett Franklin Status: Active EditDeleteReply Hippo Posted: 2004/9/16 19:38 Updated: 2004/9/16 19:38 Hardest Joined: 2004/3/3 From: Posts: 213 Re: Thief Can you remind me what the stolen tracks were? Thanks Status: Active EditDeleteReply rollemcowboy Posted: 2004/9/22 18:29 Updated: 2004/9/22 18:29 user Joined: 2004/9/14 From: Posts: 7 Re: Thief, MORE SOUNDS STOLEN Hot on the heels of the LONDON THEFT comes news of an even worse scam. Sources reveal long running stalwart of the scene(Dave Evison) had his entire spot taped at a recent Cheshire gig. And to double up the whammy, word is, the same happened to Preston Grasshopper Johnny Pearson. Just think thats 4 DJs in the spate of 8 weeks having their top sounds taped. Speaking to a DJ appearing at Ilkeston this Friday, he commented Hopefully SOUL SOURCE will root out the perpetrators and make the scene safe again. If anyone sees any audio of Dave and Johnnys spots, could they contact SCOTLAND YARD immediately. Status: Active EditDeleteReply KarenC Posted: 2004/9/22 18:35 Updated: 2004/9/22 18:37 Hardest Joined: 2004/4/26 From: Posts: 2737 Re: Thief, MORE SOUNDS STOLEN Well if someone trys to tape Janine and my spot at Soulsville 30th October start 8pm we wont be best pleased I can tell you Status: Active EditDeleteReply Janine Posted: 2004/9/22 18:39 Updated: 2004/9/22 18:39 Hardest Joined: 2004/3/11 From: Kent, U.K. Posts: 2832 Re: Thief, MORE SOUNDS STOLEN if anyone tapes and tries to play out the entertainer I shall be most happy... erm, sorry annoyed ;-) Actually I will be playing two exclusive tunes on the night, so wouldnt be too happy if some low life did this to me Status: Active EditDeleteReply grant Posted: 2004/9/24 13:25 Updated: 2004/9/24 13:25 Hardest Joined: 2003/3/25 From: Stockport Posts: 339 Re: Thief, MORE SOUNDS STOLEN No offence to Dave Evison - more stupid the person taping his spot - probably most of what Dvae played is already on legit cds and a lot of his (excellent spots he does) vinyl available at reasonable prices. So what is the point? This carry on is spoiling the scene for a lot of us who have ate, drank and slept it for many, many years - lets get back to some normality and shoev your high tec taping devices where the sun dont shine Status: Active EditDeleteReply NCSoul Posted: 2004/9/24 15:44 Updated: 2004/9/24 15:44 Hardest Joined: 2003/10/30 From: Aldridge/Blackburn Posts: 112 Re: Thief, MORE SOUNDS STOLEN Hi Grant, No offence,the Cowboy post is making light of the fact that Butch and Ady had their sounds stolen and the outrage it caused on this forum. with respect Chris W

Yet another great nite in London, 100 club niter was the place, regular crew were on (apart from Shifty) and with guests being Dave Rimmer and Russ Vickers, just knew it was going to be a varied nite of soul. Yet again my ears told me that your man Butch is the master, with a cracking second set proving it. Too many highlights to mention though was bowled over with one 45 by Andy Campbell, annouced as deep soul with a beat, missed title but it is quality. Mick Smith pushed out some great sounds, and enjoyed his quality crossover phase. Adey was up to speed, with stuff like nancy wilcox, diplomats and all.Guest wise, the return of Russ Vicker had him showing how to blend 60/70s, with a classy selection of 60s rarities, and some 70s killers. They didnt always crank up the dancefloor but gotta say my ears had a feast, quality soul. Dave Rimmer, you always know what your getting with Dave and thats enjoyment, his spots were spot on. Played a lot of requests, and the way his sets just flow from hard r+b to maniac uptempo to smooth midtempo is as it should be. Crowd wise, well not a packer and not a frantic up for it edge, which to tell truth was thankfull for due to the heat, just a quality nite at a quality event. And best of all my ears had a quality rare soul feast. No one does it better Of course, as always these are just my own rushed thoughts, be great to hear your views on this or other recent events, just hit that submit link and pass them on. Or use the comments link below Here's a brief selection of some of the plays pushed out Russ Vickers kindly passed on his top 3: Blues Groove - I believe in you - Verve Lance Ellis - Taking a chance - Landlord Clarence Carter - Can I make it with you - Future Stars Also threw at us the likes of George Jackson - anthemic -I dont have the time to love you Clarence Townsend - Found a true love, Rocky Roberts - I love my baby - cover , Brown Sugar, Big Daddy Rogers, Little Dooley-If Ever I Needed You, Frankie And Damons-Man From Soul. Plus a few first hear (to me) 60s which sounded like would be killers after a few more hears and a whole heap of classy 70s Dave Rimmer Cody Black - I'm Slowly Molding Joanne Courcy - I've Got The Power Gordon Keith - Look Ahead Magnetics - I Have A Girl Della Reese - A Clock That's Got No Hands Patience Valentine - If You Don't Come Vondells - Hey Girl You've Changed Boogaloo with Your Baby - Don Gardender to name a few butch/ady/mick s (running outta time so brief) little love affair- patrinell staten, volcanos, sounds of philadelpia instru, andy campbell, bobby rich, unique blend, constellations, true image, johnnie mae matthews,chuck cockherham, sonnotas, gloria scott, 2 x nancy wilcox uniss, archie bell, and lots more stuff, just a selection, as always - lot brain didnt register Weekend Bits Stockport - brief word that this was a winner, even with early shutting seems it was a sell out with that man again Butch doing the stuff Had word that the event at Desboro on saturday was "tremendous" with a great atmosphere,