Mike

George Jackson Nite Review By Mike Hump 2000 thanks go out to another of out intrepid reporters for taking his life in hand and venturing to far off lands, EC1 in london, just so he can pass onto you details of what seems to be a excellent nite with a bit of a different flavour read on for the adventures of mike humphries at the george jackson soul nite It always seems to me a tough decision deciding what type of warmer to go to before an event. Going to a strictly 60s Northern do before the 100 club seems like going to see a tribute band before the real thing. So when I read the flyer for the George Jackson soul night it sounded a decent alternative to some of the duff series of mod, psychedelic, school disco northern events put on prior to the 100. (more of this in a later posting). I arrived about 1100 so the place was busy. First surprise was the beer. Good selection of Belgian beer at reasonable prices. So after a few sips of Hoogaarden it was down stairs to the basement bar. Smallish room probably 50-60 people, young crowd - in the main not soulies but still taking in the sounds. When I arrived Gareth was on the decks. I hadnt realised it but I had met him before at the Dome. On the strength of my conversation with him I went out and bought a couple of Soul Children CDs (highly recommended). What more can I say a soulie who knows his stuff. I can now say he also knows how to put a well thought out set together. Next up was a guest Gordon who played some fine stuff too. Finally David put together an excellent mid and uptempo session. Those of you I have met will know that I am useless at the hard facts, however David has promised to put a playlist together for me, as soon as I get it I will pass it on. All in all if you like quality soul with a refreshing soul mix of mid-tempo, beat ballads, classy 60s and 70s sounds and a few from Memphis then this is the place for you. Great as it is, the biggest problem with the 100 (and the Dome for that matter) is that there is nowhere to have a reasonable conversation whilst being able to hear whats going on in the hall. As a result it is difficult to catch up with a bit of chat and check out the latest gossip. As a meeting place "George Jackson" is just right. The music doesnt completely dominate so conversation is possible without bursting your lungs and the beer is top notch. So if you want some top soul in a comfortable meeting place to start the night then this is the place to meet up, catch up and then move on to the nighter. I had intended to check it out then move onto the queue for the "100" at 1230. The sounds were so good that I stayed for the duration and didnt get to Oxford street till 0200pm. David, Gareth and their crowd are a friendly bunch and they were happy to discuss their plays, give the low down and provide back ground. Check them out - you wont be disappointed. The next George Jackson Night is in a month Check out their flyer on Soul Source. Mike Hump

Next in line with this series of interviews is Irish Greg DJ and CSC co-promoter Man of today Irish Greg -1999 Q Ok Greg, to start us off, for people who don't know you, how did you get into northern and end up in London? I first got into northern when I was young Mod all of 16 and was living in Galway (Ireland, hello guy's) but it was really when I moved to London in 1987 (was only 17). I remember going to Mod clubs and hearing things like Ron Baxter, Liz Lands etc etc. But it was when I went to the 100 Club and heard that magic mid-tempo sound of things like Bobby Kline, Magnetics, Danny Moore, and Kell Osborne - I had found my church to worship at. Q. You're one of the main people behind the Capitol Soul Club and it all seems to be going well, what is the idea behind the club? I had left the 100 Club as a resident D.J. and The Scene for about 2 years (you need a break ever now and then), on my return I found that nothing had changed, same D.J's spinning the same stuff (one or two exceptions of course). I meet up with my good friend Alan Handsome (D.J. and Collector) and decided to start up the C.S.C with the intention to get some of the best and entertaining D.J.'s who would spin quality newies and current big sounds (Oldies are played and always should be because we are here to entertain but we must also look to the future). The C.S.C is about the future and including the past all in one. D.J.'s like Carl Fortnum, Dave Flynn , Shifty , Andy Rix etc have shown it works. I must mention also Matt Jahans, who keeps doing a great job on the promotional front - he is totally into it and we couldn't do it without him. Q. With the dome being a mainly upfront sixties soul venue, what are your views on events/djs that stick to classic oldies formula. I think events that just play oldies have got to move on and oldies D.J.'s should not be playing so safe - otherwise the punter will go elsewhere. Also I think the punter should go and speak to the D.J.'s or Promoter if he or she is not happy, remember the punter pays the wage and without them this scene will DIE. Speak up-don't shut up. Q. What would you say to critics of today's sounds saying they don't match up to the classics of yesteryear? That is total bullshit, these people should listen to the sounds on your site and wake up. I wonder if they are the same people who just want to hear what they heard in there youth and are forever moaning. Yes some of the greatest records are classics but some of the unreleased stuff (small example) that are turning up are awesome. Q. As said before at dome you do get a mixed age group, and have used methods such as free tapes at events and the GLR radio show. To spread the word, do you reckon this is the way ahead? Yes, the idea of free tapes was simply to break new sounds. The punter would pay £5 in and was handed a tape of sounds that will be played at the club, they go home listen to it and the next time they come its like they know that record backwards (it's broken before it hits the turntable). G.L.R was a massive help to the club and was fantastic, we could advertise to a massive amount of people and spread the word in a way I could only dream of. I think more Promoters/D.J.'s should look to giving the punter more, we have given T-Shirts away for nothing because when they wear it we get The Capitol Soul Club promoted everywhere they wear it. We don't have loads of money (far from it) but it got the punters in and made them feel part of something, they are the capitol not us. q. Next month capitol soul club are holding a event in Newton le Willows, how do you think this will go, and what have you got to say to people to may be thinking of going? I hope it's a success; we will stick to our guns, play quality sounds, lots of new things plus old and hopefully entertain. To the people going to the venue I would like to say thanks and hopefully you will be entertained and come away from the event hearing sounds you liked. I think the promoter Alan has pressed up free tapes - now that's what I call a promoter who wants to move on and cares about his crowd. Q. Capitol Soul clubs Plans for the future? We have got lots of stuff but until all is ready I can't say as some people might just nick one or two ideas. Radio show on Internet is one. Q. As said rarely hear any post 69 stuff is this a deliberate choice or just way it works out? It's just the way it is, 75% of the D.J's are hardcore sixties (oldies and newies) and we have found that works great. We do play some crossover stuff but when you have new sixties things then that gets prority. The crowd is a great mix (soulies, mods etc) but in London we have found a mainly hardcore sixties following and we are more than happy with that. Q. Ok Greg onto dj-ing side of life, how did you first get into it? I started in Mod clubs in London and then Val Palmer packed in her set at the 100 Club (early 9'ts, so Adey asked if I would step in and of course I said yes (you don't say no to that). At first it was great but it upset some people that they were not asked and got quite nasty, it left a bad taste with me because I'm not into this ego D.J. bullshit. I remember going on to D.J and offering out these people in front of a packed 100 CLUB (my mates looking around for the first person to move) but this one person in particular just put his head down and I ain't seen him since (moaners etc). I then went on to work with some bands who are now very famous and I must say a big thank you to Adey because he stuck right by me and was always fare. Q. What are your top 3 sounds at moment that are getting the most dance floor re-action? 1.Other Brothers - Nobody but me - Unissued 2.Jimmy Hughes - It ain't what you got - Atlantic (Thanks to Mick Smith) 3.Tyn Tymes - Baby I love you - Music box Q. Have you ever done a spot that has totally bombed, like tumbleweeds blowing thru the dance floor during your spot, and why did it happen? Not really, once or twice the dance floor would go quite but only when trying something new, a D.J should always have back up just in case (Luther Ingram and Gene Toones is mine) Q. As said at beginning you've been recently signed up to dj at ocean colour scenes concert, how did this come about? I have worked for many well know bands and we did interview Steve (O.C.S. guitarist) for G.L.R - So I got a call and was told they wanted me and if there's free beer and the rest !!!! then I'm your man. Party on Noel and Liam. Q What do you reckon you be playing there, current stuff or well known stuff? Plenty of Northern plus some British rnb and Indie stuff. This is the way to get the kids into it. What I love is seeing young kids heads moving when your playing something like Edwin Starr, Miracles etc - they fuckin love it to death. Q. Radio show on GLR, where's Wigan seemed to go down well, how did that happen any plans for more shows? It was a big success, everyone who knew about it tuned in and you could hear things like Gary Dean, Little Ann, Doni Burdick, Jimmy Burns, Pat Lewis, Vivian Carroll etc all on the B.B.C - wow. We would get people like Mark Lamar and other celeb's phoning in for request's and wanting to know about record's that we were playing, it was great fun. O'ya it came about because the lad's from Dodgy wanted to do a Londoner's guide to Northern and one of my best mate's is Nick Abnett the bass player - so in I go to oversee everything and end up one of the host's. No more show's planned as G.L.R are going for a talk station with very little music. Q,. You recently did 100 club, how did that go? Any more appearances planned? It was ok, the sound was very bad (deck's blew up at one stage) and the crowd seemed a bit quiet. The problem I found was that the regular D.J.'S are sometimes just going through the same stuff when everyone knows that they have loads of great new records in reserve, dig them out and play them. Otherwise what's the point in bringing a 200 box of single's when your playing the same 20 records every month, they might be very rare but a sound is a sound and if you have another 180 then for fuck sake play them over the year. The 100 club is still one of the best all-nighter's in the country and still leads the way on the soul road but the lights sometimes change. I mean poor old Adey is the only one over the last few years that has played a substantial amount of new disc's (Rca stuff etc). Come on boy's dig deep and mix it up - I think Shifty was a good signing and always put's a bit of passion into it. No plan's to return, as I'm busy enough with the C.S.C and other musical interests. Q. Thanks so far Greg, few odd ones now! If during an event a guy wandered up stage and said, play some proper northern like out on floor or I do you! What track would you play next and has similar ever happened. No but if someone make's the effort to ask for a track and I got it with me then I'll play it. If I put it in the box in the first place then I must think it's good enough to be played, otherwise I shouldn't have it in there. We respect everyone who come's to the Capitol for a peaceful soul night out - no bullshit - no snobs - no egos just a great celebration of the music we all love. Now if a piss head starts and is taken the piss then I'm not one to hold back. Q. Heard a rumour that Ian Levine wouldn't mind doing a spot at the dome, how do you feel about that? We are Booked solid - sorry. I spoke to Ian at the 100 Club and let me tell ya that he still has some great records and I found him quite a nice guy to talk too. I would still ask him for a tape though. Q. London seems to have a 101 soul events on a month apart from 100 club and dome, where would you head for, for a great nite out? Drinking with The Boy's from Dodgy is always a mad one, especially with Nick or maybe the nearest hardcore punk event, maybe to see The Business or a great new band called The Solar Flares (Medway band). Soul wise well These Old Shoes is a good one. Q. Greg say you just discovered a great lp track, trouble is its by a uk white 70s pop star, and has no real soul connection, would you play it? No, but I heard Rod Stewart's version of First cut is the deepest the other day and that's not bad? I'm joking of course - his balls must be a mess with all those tight trousers he wore. Q. Cover ups- in old days were to stop bootleggers, nowadays... what's your view? I do it for a laugh but really I think it's very bad because these artists have never received any recognition and then someone come's along and say's its someone else. I think C/U's should be done for a short while (give a D.J. an edge on others) and then uncover it and at least give something back to the real artist by saying who it really is. It's an elitist thing really. Q. What's the greatest soul record you ever had pleasure in playing? What a Question? I think it would have to be Jimmy Ricks "Oh what a feeling" because I just love his deep voice and also the line "came home with kisses that you never will forget" - we've all been there I think. Q one the worlds been waiting for, now known here as Irish Greg, but do they call you cockney Greg when you go home? It's funny, because that does happen but I do live in east London and have been in London now for 13 years but I'm still 100% Irish and proud of it. Q. To finish off Greg, last two what's the most memorable northern event you ever been to and why? My first visit to the 100 Club all-nighter (I still get that shiver now thinking about it) and also seeing Ray Pollard singing The Drifter live (I had tears of joy in my eye's that night - passion that's what it's about for me). Q. How do you see the future of the current scene? I think we need to get young people into the scene, I don't have the answers but we need them badly. Also the price's of records needs to slow down because it's just going mad, I think some people are just taking the piss. I also hope the older crowd that have returned to the scene will stay and encourage the next generation of D.J.'s and Collector's and Dancer's etc. Remember to win the race we must keep the faith and stand together and stop bitchin. Later Greg. well all i can say is, thanks a lot for that greg, some top wear it on your sleeve stuff there, and find myself agreeing with a lot of it, he asked me to mention that for those who life up in north west, capitol soul club is holding a event in Newton-le -willows at the viaduct, featuring carl f, dave f, irish greg, alan h - sounds like it be a killer, telephone alan on 07930 240 732 for info/ directions 31 mar being the date for more info on capitol soul club check out their online home at matt j's site

TOO DARN SOULFUL - The story of Northern Soul by Dave Nowell Publication Date: 10th December 99 Well its getting near that time of year, just as the summer memories are being slowly added to the pile of long gone ones, the adverts on the television remind you that yeah christmas is around again, and if like me you've just released that there are no more paydays till the next century, thoughts of presents to buy spring to mind..... Well there you go seasonal intro or what, onto the main purpose of this page ..well recently as in this morning a review copy of dave nowells book landed on my doormat, well that took care of plans for tonight. Well after reading the first half, was that impressed that thought well no time like now, so have thrown up thoughts of the book to let you know what's the book about and my thoughts now. Understand some may say well you should read it all, think about it , write about it, leave it for a day, re-read what you wrote and so on before publishing. Well bollocks to that here, internet is about instant info so here's some instant info for you- Now I know that this year has seen a lot of media interest into the rare soul scene with videos, mag articles, and other books, so what else can there be left to cover. Well first I put up the publishers view on the book , Northern Soul has been described as the longest running fad in the history of British music culture, frequently misunderstood and tarnished with an unwanted drugs reputation. In this book, author David Nowell takes the first ever in-depth look at the culture, the music, the DJs, the artists and the people who frequent and have frequented the all-night venues which are synonymous with the peculiarly British all-night soul scene. Packed with memorabilia, behind-the-scenes facts and interviews from Motown artists to current chart acts like Fat Boy Slim, Too Dam Soulful is the definitive history of a dance scene that refuses to die. ok set the scene, first think that hits you is the weight of the thing, hardback 332 pages, about 3/4 of a4 size. Cover well see above for the cover photo, great title "too darn soulful" (be a great name for web site that eh). Inside the jacket sleeve notes start of with a quote that could sum up a northern fan "yes, we are a little bit eccentric. Yes we like being diffrent. Yes our families and work colleagues think we are barmy. But if our obsession with Northern Soul consitutes madness, then long may we remain insane." And then the sleeve notes give a quick intro "passion for the music of black america" finishing with .... "Too Darn Soulful is the definite history of a dance scene that refuses to die" The meat of the book itself is split into 12 chapters of 4 parts, each chapter having a title which matches the content, "boogaloo party", " turn the beat around", "it'll never be over for me", are a few, no prizes for guessing which eras they cover. The introduction is just what it says with dave trying to explain the mystery of soul music and its power, including a great story of how driving to work a recording of Walter Jackson, forces him to pull over off the road. Rather than be trying to be analytic and a critic, I will just go through for now so you know what each chapter covers with brief info on each and put up "my final view" with part 2 of this review... Part One So onto the meat, part one of the book starts off with the first chapter entitled "I can't help myself" basically this lays down the pre- wheel history, covering the late 50s to the early 60s, R&B, flamingo club, early motown, with recollections by Brian Rae and others. Chapter 2 "boogaloo party" concerns itself at first with the "mods a go go " and then onto the Twisted Wheel era with some great stories of events, and info and gives a good insight to what it was like to be in the swinging 60s at the ground level. On to part 2 and I suppose this covers the "start of the golden era " titled "a little togetherness" so no prizes for guessing what this covers, yeah the Torch, ............"The dance floor was like a well, when it was full it was like a sea of human excitement", the chapter here covers the history of that era complete with many fascinating facts and stories, simon soussan, white pianos and $20000 for example. ............`Sliced Tomatoes" was the record. When it came on you couldn't get on the dance floor,' he said. Although the Torch Djs were finding lots of rare imports they played many new and nearly new releases. Colin played First Choice and 'This is the House Where Love Died' three weeks after its release. The very 70s 'Nightlighters' with Kay Gee was a massively popular instrumental. The Torch is also where the Djs encountered the now infamous record collector Simon Soussan. The immaculately dressed Frenchman, whose roots were in America and who also had contacts with French record collectors, amazed soul fans when he appeared with his record box crammed with just about every rarity Northern Soul fans craved. Simon's sources and ear for music were impeccable and he became a friend of the Torch Djs. Once Colin Curtis went to visit him at his flat in Leeds and was astonished at what he saw. In a white flat with white carpets and a white piano, he had a sideboard crammed full of rare soul 45s in mint condition in cardboard sleeves. Simon made it clear he did not want to sell? he wanted to swap records with his fellow connoisseurs. To emphasize the point that he did not need the money, he dumped £20,000 in cash on the bed. Said Colin: 'We were discovering more and more rare records but he was coming up with some other really great stuff. He took it to a different plane.' The Kingspinners were joined each week by lan TNT Turner, Alan Day, Martyn Ellis, and Johnny Beggs. Chris Burton recalls: 'Musically I loved the scene, but, more importantly, the energy created by the crowd was incredible.' Suddenly the Torch acquired a national reputation amongst the Northern Soul fraternity, and the 680 capacity venue was creaking under the weight of far too many punters for its own good. Chris estimates the Torch pulled in up to 1,400 on an exceptional night, which, along ...... After that interesting bit where next , up the road to Blackpool in chapter 4, is now the stop, now this chapter covers a lot of stuff which might be unknown to a lot of people who just know the mecca from the "horror" stories from certain people. Hopefully this will put the record straight to those who may not know what a part it really played in the development of the scene. Again stacks of fascinating facts, info, stories and quotes such as cover ups were "purely to stop the bootleggers". Also parts on the so called wigan mecca war, the so called split and the reasoning behind the policy of playing ever increasing more funkier sounds. Obviously this chapter covers Ian Levine and his "works" and to me gives a fair and balanced view, which people should read before jumping on the bandwagon of criticism his name usually brings. So all in all a great chapter with again a lot of info to take in. ...........in demand dancer, robbing the DJ and the venue of their exclusivity. That's when the practice of 'covering up' records came into full swing. The only way to protect the identity of a record was to literally cover the label and invent a fictitious title and artist. In that way the DJ could hope to keep the real identity of a record secret for weeks, if not months. But Northern Soul fans are nothing if not resourceful and determined, and the secret usually came out eventually. In the meantime, the Djs could buy time by calling the Coasters' 'Crazy Baby' 'My Heart's Wide Open' by Freddie Jones; Edie Walker's 'Good Guys' became 'Patricia Valentine's "You Can't Tell the Good Guys from the Bad`; Melvin Carter's 'Midnight Brew' became 'Shing A Ling at the Go Go'. 'Breakaway' by the Steve Karmen Band became'The Black Ship of Hell'. Sometimes, if the bootleggers were really baffled, they would press the disc with the fictitious title. lan and Colin devised a numbering system Secret Sounds 1, 2, 3, etc to cover up all their one offs. Using a piece of patterned wallpaper, they would cover front and back of the label. Then just to make sure there was no tell-tale information in the runout groove, they would add small pieces of Sellotape. 'We didn't cover up records to prevent other Djs from finding out what they were, it was purely to stop the bootleggers,' said Ian. 'But there were a lot of knowledgeable people around and eventually someone would come up with the real title. We used to have grand "uncovering ceremonies" in the Highland Room when it became pointless trying to keep someone a secret any longer!' Even today lan is fiercely proud of the records that he played first at the Mecca which became anthems at the Casino. 'Afternoon of the Rhino' by the Mike Post Coalition is seen as synonymous with Wigan Casino. 'I played that first,' says Ian. ........R D Taylor's 'There's a Ghost in My House' was also aired at the Mecca. But Wigan Casino founder Russ Winstanley's argument,..... After that worthwhile chapter the book moves onto part 3, well you must know what's coming at this stage , yes its the wigan chapter, a lot has been written about this venue, and to be fair I suppose people who didn't go might be tired of hearing about it, but such is the interest still in this club, and its part in northern history, and as there will never be a place like this again its good to see some fresh info and antidotes. Well glad to say that there is here a lot of interesting stuff, starting off with ave Nowells personal recollection of his time at the venue, then onto more snips of stories , info and antidotes, lots of stuff again here, with many new (to me) bits, Simon Soussan's influence, Russ and Richards relationship, Derek and the Dominoes! and more. A interesting comparsion is how clubs in the 90s such as Ministry of Sound are now doing what wigan did 30 years earlier , own label, own magazines, own sounds etc etc. In at this point is the photo section 16 pages of black and white glossies covering the cast range of the spectrum, mods,100 club, with all stops in between, quite a few unseen (by me) before there as well. Next chapter "turning my heart beat up" was a bit of a surprise to me until i remembered the "warts and all" quote, all about the often unsaid side of the northern scene - the gear. And to tell the truth it does cover almost the full spectrum, from personal stories to medical experts views. .....Much later Steve looked at his watch for the tenth time in as many minutes. Surely it must be later than 7.30 am? It had to be bloody 7.28 am last time he looked. He felt like shit. His mouth certainly was dry and furry and tasted of too many cigarettes. He took another swig of Coke but it couldn't quench his thirst. His shirt was drenched with sweat and it felt clammy. His heart was thumping ten to the dozen, and when he went on the dance floor could go his legs felt like lead and he was breathless within seconds. that hour. He could no longer think of anything witty or interesting to say as the all-nighter entered its final half hour. He desperately.... Ok that's it at moment as said will post part 2 in next couple of days, about halfway through the book at moment and from what I've quickly looked at in rest of chapters it all appears good stuff. Part 2 Intro So far am very impressed by the book, the press release says " a definite history" well that might be a hard claim to live up to as nearly everyone has their own view on what the northern scene is about and hence their view on the history, however going by what I read so far it seems that Dave is getting close to that statement, and all the views seem open and cover all sides of the many points of view, without the normal biased opinions that sometimes crop up. And going by amount of info in first half, would say its looking like a great buy, information not just from the "normal" well known names , but a lot of "ordinary joe's " have their bit as well, as said up to the late 70s at moment and it appears that the second part should cover the 80 and 90s in depth. Part 2 Into the second half, now the era is the late 70s and we're into chapter 7 entitled "Don't take away the music" and as the title suggests we're off to the ritz, covering the start of them famous dayers thru the days when Soul Sam played "Philly dog around the world" and next spin following was Ian Levine with Rose Royce and "car wash", could there ever be two contrasting spins and most of all it seemed to work, upto the gradual end at the 80s. Next stop - Cleethorpes and the going ons there, bit from lead singer swing out sister, who used to go, (never knew that but always thought their stuff had a bit of an influence with one sounding like "you took our heart" ), west midlands, notts and more info. with the 70s drawing to a close and people like Neil Rushton being left with 80 000 records to flog, the book takes us to the early 80s in part 4 with chapter 8 entitled as "the panic is on" covering Morecambe , yate and onto Stafford with stories about the "soul fascists" and up to the 100 club....... ........Room in West Hampstead, and the Last Chance in Oxford Street, the 6Ts soul club attracted a mixture of soul stalwarts and Mod revivalists. Then Ady got the venue that appealed to him most ? the 100 Club. Small, atmospheric and with a wealth of musical history from blues and jazz to beat groups. The allnighters began in August 1980. Ady said: 'It's a basement venue, which 1 like, and it has a terrific history. It has a nice size dance floor, although possibly a little small for an allnighter, and it's ideal for me. I don't particularly like the big monster allnighters.' The neatly sized venue did not suffer from the same drastic fall off in attendances as suffered in the north in the 1980s and was able to press ahead with its progressive music policy. Like the Stafford all-nighters, the 100 Club is famed for its love of 'new' 60s discoveries, mid-tempo items and beat ballads. Said Ady: 'Being in London we have always had a slightly trendy aspect, sometimes we're in fashion and other times we're out of fashion, but we've always had a very loyal following and a high standard of Djs.' Its current resident Djs of Butch, Mick Smith, Shifty and Ady have ensured the 100 Club has a reputation as a connoisseurs, venue. Its location in the capital means that showbiz celebrities occasionally drop in. Liam Gallagher of Oasis once paid the 100 Club a visit before the band achieved world fame, and Shane McGowan used to work in the cloakroom. Once when soul singer Doris Troy was appearing at the venue a promotion on which Ady lost money a fan tried to jump the queue for autographs. A slightly ill tempered Ady told him to get back in line. The fan was Van Morrison. Regulars come from all over the south, Midlands and Wales, with French visitors hopping on to the Eurostar to enjoy the allnighter. The 100 Club had the first female Northern Soul resident DJ in Val Palmer, and also pioneered the 'guest night' Now up to chapter 9 "time will pass you by" being the title, with a chapter on the revival side, searling, chris king, kev roberts ady croasdel all featured here, covering radio shows and cd side, dave rimmers view, then fatboy slim, paul weller, kenny burrell and last of all in this chapter ian levine. chapter 10 kicks off with a quote " i certainly don't feel forty three..." and is entitled "i'll never forget you", here we have a lot of tributes and stories from well known to normal joes, soul sam, dave evison, terry jones, dave thorlety, edwin starr, ginger, brenda holloway, kev murphy, to name a few not so much a look back but a look at people on scene now. .................oldies brigade, at a time when the scene suffered something of a split between the traditionalists and the modern soul/jazz funk fans. Martin himself admits that maybe he went too far. 'On reflection, I got it wrong. I should have been playing 60s stuff alongside the modern things. The modern stuff went down well at Wigan and I went off at a tangent: I loved the modern stuff but maybe I should have played more across?the?board stuff.' The North Wales based soul spinner has never stopped Djing and liking black music and is now firmly back in the non-disco soul groove. His spot could range from the most obscure £2,000 1960s stomper to 70s 'floaters' to 90s items. He will also play oldies if the crowd demands it, but he refuses to be complacent. 'What I don't like about the Northern scene is that at certain venues you are obliged to play the same records, he said. 'There aren't enough people that want to hear new records. Don't get me wrong, I still like to hear oldies, but I couldn't be a DJ if I had to play the same spot everywhere I went. 'The people that worry are the ones that won't listen to anything new. They are the ones that are just reliving their youth. They just want to hear the same old records. I sometimes wonder if they were ever into real music at all. For instance Drizabone's "Can't Take the Pressure" is huge, not because it's a great record but because it's played to death. There are many people on the scene who haven't got a mind of their own.' Martin uses his plentiful supply of Northern Soul classic oldies to trade for newer items at venues around the country. Through his network of contacts like record dealers and collectors Jolinny Manship, Tim Ashibende, Tim Brown and John Anderson of Soul Bowl he will be alerted to the latest 'finds'. One of them may play him a record down the phone, or Martin will take a trip down to scour their collections. A few plays by Soul Sam and a favourable dance floor reaction is often enough to elevate a record to cult status. Martin is, however, reluctant to take all the credit for 'breaking' new sounds. One of his biggest current records, Chuck Holiday's 'Just Can't Trust Nobody', he has since discovered was played and virtually forgotten at the Stafford all..................... internet and soul.. interesting stuff? well chapter 11 - soul self satisfaction, a chapter mainly concerned with the internet will let you know, in this chapter dave looks at the online and worldwide side of the scene, a few of the sites and online people get a bit here with their stories from usa, germany australia and more countires, quite a few online people are featured through out the book enough of that boring internet stuff, onto the next chapter no 12 and the last one... is entitled "it'll never be over for me".. and quite a good to way to finish, the chapter concerns it self wholly with a night out to a niter, in the present day.. .......................CDs are much easier to negotiate a deal over. The prices are all marked: £6, £10, £15. More and more punters are selling their vinyl collections (very profitably, too) and re-acquiring the same sounds on CD. OK, the purists may not approve, but the convenience, longevity and cheapness of a CD compilation of tracks that might otherwise cost you literally hundreds of pounds to own is very attractive to many soul fans. In the midst of all the bartering and to-ing and fro-ing from the main hall to the entrance hall, the doormen look on bored. This is probably the easiest night's wages they will earn. No one appears drunk, no one fights, no one throws up over anyone's girlfriend. The bouncers look on bemused as soul fans of all shapes and sizes and ages stay up until dawn listening to the obscure offerings of otherwise long-forgotten American artists. The laid-back attitude of the bouncers is entirely appropriate and appreciated by the soul crowd. Cash-strapped soulies take empty bottles with them to the toilets to fill them with tap water. The odd can of beer or Lucozade is smuggled in, but there is no paranoia about getting caught, beaten up and thrown out in the 1999 soul scene. The bar is doing a roaring trade in soft drinks anyway, now the licensing hours have expired, and the queue for tea, coffee and snacks is constant all night long. In the gents the entertainment continues, with guys of all shapes and sizes in various states of undress. In the centre of the lavatories there is a bank of back-to-back sinks in a manner that reminds me of my primary school days. Holdalls are scattered around as guys grab fresh shirts, spray on the Lynx (whatever happened to Brut?), and splash water on their faces before rejoining the fray on the dance floor. In the corner a tall, gaunt guy in his thirties is doing karate kicks and stretches while his fellow soul fans continue their ablutions, hardly giving him a second glance. If you weren't just a little bit eccentric, you wouldn't be here. Handshakes and words are easily exchanged as you try to edge your way back towards the door, but almost inevitably a familiar face appears, flushed, and eager to chat. It's the same story in the corridor skirting the whole length of........... well thats my show and tell bit done, hopefully the above bit will give you an idea of books content Endword My final verdict well as said it's publishers gave it "the definite history of northern soul" tag and to be truthfull its a statement which I would say is impossible to live up to. Because such is the diversty of the northern soul scene that to produce a definite history you would need 5000+ pages. Now as a history of northern soul then yes the book lives up to it. It startes off in the pre-60s era and covers all the main parts that have made the scene what it is today. Covering every era from wheel, the ritz in 70s, the "golden years" and wigan, cleethorpes, stafford, 100 club and bang up to date. Each chapter is full of recollections from all sources, information, antidotes, views, stories etc Good to see a lot of input from the "ordinary punter" as well as the more "well known names" plus also good is the openess of it all, as you know there is a lot of "different" views on the scene, and dave has presented most times both views of the story, be it soul sams views on oldies "they just want to hear the same old records, I sometimes wonder if they're into real music at all" to kev roberts "people just want to go out and have a good time". As said lots of good info in between the covers, a lot of it new to me, and a lot of behind the scenes stories plus loads of top tens as well. The turning my heart beat up covers one of the unsaid sides and does it well. negative points, well as I said to produce a book that covered everything, you would need stacks of paper, I would have preferered to see a bit more on the other clubs from 80s onwards stafford and 100 club and so on, both are featured and covered but i feel more coverage could have been given, and helped the books claim to be the defInite one. Suppose it depends where you come from, and where you went and go to now, also it was good to see the internet and non-uk people get a mention and the use of their stories help show the full diveresty and how world wide the soul scene is. final word - "too darn soulful is a great book , its well researched, and clearly shows the amount of effort put in, full of useful stuff, great recollections from all sorts of people on the scene, covers the whole spectrum of the scene, and most of all important is a fascinating read, I say buy it, I reckon its worth the money and makes a welcome addition to the current inprint collection of books" TOO DARN SOULFUL - The story of northern soul Dave Nowell Publication Date: 10th December 99 robson books 10 blenheim court, brewery road london, N7 9NT 020 7700 7444 price £17.95

Capitol Soul club - Dome - Second One Nov 99 Well another Saturday trying to pull my head together after a soul night out, the cause of this repair session was the second dome event in london. After the success of the first one back in October was wondering how this one would go, well after the trip up from chatham and the tube journey, found me self in the pub next to it talking to matt j (who along with capitol soul club , puts it alltogether) after hitting me with the "can you get the drinks in, I've gotta do some promoting stuff" trick at bar, told me that he's had hell of a lot of phonecalls about tonight, and has sussed out the next dates, jan mar and may 2000, as now going for the bi-monthly approach. Onto the event, apart from not being let into till 9. 45, queuing outside in the rain, then on the stairs, reckon someone was trying to throw in a "no pushing at the back" scenario, but it didn't work as only about 10 of us in queue. As last time a bit quiet till 10 ish and then people poured in, reckon round about 400 in at a guess. What I would like promoters to do is stick all the big names on before 1000, cause after 11 the alcohol kicks in and, looking back sound and play details are a bit blurred, so apologies for that will do next one alcohol free just for you! honest. DJs first on were the resident capitol soul players alan and then irish greg, alan again , greg again, then shifty then andy rix, with final 15 min spot irish greg finishing the night. Sounds, well some great stuff was thrown at us by all of them and the crowded dance floor lapped them up, standouts ( or could be called ones I remember) were instrumental version of "she's wanted" this was first hear for me and well impressive a "powerhouse" of a record, also jimmy radcliffe acetate- the thrill of loving you, man o man, jimmy burns, leslie tipton, cashmeres, j d bryant, brand new faces, and stacks more quality stuff Crowd wise again a fairly mixed bunch of young and old, met up with a quite a few people, talking to martin and paul who do the old shoes event and they were telling me about their forthcoming xmas event, on before the suffer no fools niter, so could be a overdoes of soul that weekend, as always met a few online people for first time, always good to put a face to that email address. So that's what happened last nite ( won't bother telling you about the adventure getting back to victoria, or the wondefull time waiting for first train at that time of morning) according to my worn out brain, may not be 100% like, my view on night, yeah it was another great event, good quality sounds and great venue, obviously it was going to be a hard task following the first one which had such a solid dj line up, but the sounds were up to it and the good atmosphere made it 2 out of 2 Roll on the next one... other views on last nite, if you were there throw yours up via email ....the Dome last night was absolutely f*cking brilliant and if you weren't there you don't know what you missed...probably one of the best nights I've been to this decade and easily the best soul night in the country IMO...incredible atmosphere, dancers were up for anything, good tunes...couldn't fault it at all,,

Ian Levine Interview Part 1 from Manifesto site note orig up in 1999 From the time before SWONS Reproduced with kind permission from Manifesto mag, see fanzine section for details Note the layout of these articles is text only and doesn't represent the mags layout In the seventies you either loved him or hated him such was the strength of feeling caused by this man. His crime? tantamount to breaking one of the ten commandments, he played records that had a beat not instantly recognisable as northern soul. Yes it's him, the men behind Blackpool Mecca, Motorcity and even Take That! Ian Levine. Those of you who were around in the mid seventies will no doubt remember the ridiculous 'Levine must go' campaigns that were raging in the music press, Wigan Casino and anywhere else that feared change, no matter how slight. I say ridiculous because let's face it, it was. But whichever side of the fence you were on, one things for sure, time has proved lan Levine right. Records like The Carstairs 'It Really Hurts Me Girl' that caused such stir when he first introduced them have gone on to become northern soul classics and get played nowadays side by side with the likes of Eddie Parker, Little Anthony or Major Lance. And despite all the warnings our world has not come to an end. lan's love of the music should never be doubted, ask anyone whose worked with him. This is a man who in his early teens was luck, enough to be taken on regular holidays to the States with his parents only to spend the entire vacation, much to their dismay, rummaging around backstreet record stores. On one such occasion returning with over 4000 singles! His ear for music made him a natural producer and in the 70's he had hit's with The Exciters, Evelyn Thomas, James Wells, Doris Jones, the list goes on and on. In the eighties he pioneered and dominated the high energy disco scene. He also formed the Motorcity label gathering together a stable of soul artists the like of which had not been seen since the heydays of Motown and together they produced a staggering 800 tracks! In the nineties he's produced records for the likes of The Pasedenas and most famously of course Take That. So that's the brief history. Neil Rushton whose a good friend of lan's had kindly set up this interview and together we travelled down to meet lan at an Italian restaurant in West London where we got aquainted and chatted for a while before going back to lan's amazing house (complete with it's own cinema and original Dalek.) where prior to recording this interview I was treated to some of the yet unheard Motorcity tracks. Ian is in the process of re-recording many of the backing tracks to get better 'live' sound quality to them and believe me some of the tracks I heard that day were absolutely stunning and had 'northern soul dancefloor hit' written all over them. More news about them later On now to the man himself..... IL: I started off collecting Motown at school in about 1966/7 when I was about 13 years old. Kenny Everett was playing a lot of Motown on Radio Caroline at the time and I got really potty over it but couldn't find out where to get it from. Eventually I found a little record shop in Bond Street in Blackpool. the girl there knew a little about Tamla Motown and told me almost it. Whilst they would stock all the things like The Supremes etc. they never used to bother stocking the more obscure stuff which I sometimes got to hear on the radio. By the time I was 14 I was busy collecting everything I could on the Motown label. I'd noticed the release nunnbers on the labels and was busy trying to fit in the missing numbers. There was this cigarette kiosk on Victoria Street in Blackpool run by a guy called Gary Wilde who was a Dj at the Casino on the pleasure beach playing Motown and commercial soul. He'd sell Silk Cut by the 20O and Tamla Motown singles to the lads who went to the Twisted Wheel. On Saturday afternoons the Blackpool contingent who used to go to the Wheel would hang around Garys stall on the street corner tallking about records. I used to go to school with one of of these guys by the name of Stuart Bremner. I got very friendly with him, he was like a mentor to me at that time. He was very into Curtis Mayfield and played me all these Impressions records like "You’ve been cheating" and "Cant Satisty" which got me into the music and made me aware of what else was coming out of Detroit. I used to be envious of these lads getting on the train down to Manchester and hearing all these great sounds. But I was still a kid and too young to go. However 3 years later I was 17 and finally got to go myself. When I first went Brian Phillips was the main Dj, people wrongly credit Les Cockell as the Dj at the Wheel but that was later in around 1970. It was at the Wheel that I met the man who should be credited with creating or masterminding what became northern soul, Rob Bellars was his name and he was the guy that supplied both Brian Phillips and Les Cocked with most of their records. He had a great collection and went out of his way to discover new records and then brought them down and lent them to the Dj's. So when Dave Godin went to the Wheel and did his famous 'northern soul' article those records were all supplied by Rob Bellars. When I arrived at the Wheel the big records at the time were things like 'Baby Reconsider' by Leon Haywood on Fat Fish and 'More More Of Your Love' by Bob Brady and the Concords. These were the new wave of northern records because they weren't British releases and were all down to Rob Bellars. When the Wheel closed down he got very disheartened and fed up and vanished off the scene, that was in the beginning of 1971. Many years later Tony Cummings who was the editor of Black Music decided to write a book. At that time there was a battle going on between Black Music and Blues and Soul with Black Music championing the side of the Mecca with Dave Godin and Blues and Soul being very anti Mecca . So Tony got very interested in the northern soul scene and decided that he wanted to write a book on the subject. He'd already written a very good book called 'The Sound Of Philadelphia' and this was to be his next project "The Strange World Of Northern Soul" As part of his research I'd agreed to take him up to Manchester to seek out Rob Bellars one Sunday night. We had no idea were he lived and I don't think he was even on the phone. So we had to drive around the streets in Wythenshaw where I knew he last lived until we eventually found him. So we then took him out to a pub and Tony sat there with a tape recorder and reams of notes and interviewed him for two to three hours about how the northern scene started. So I think if you ever want to credit where northern soul really came from it should be Rob Bellars. It would be interesting to find out where he is now, this interview was twenty two years ago, and at that time nobody had seen him for about five years. Unfortunately 'The Strange World Of Northern Soul' never did get published and Tony Cummings went on to become a born again Christian and the editor of Buzz Magazine. Anyway, back to the Wheel. I remember Les Cockel playing things like 'Agent Double O Soul' and one night I went up to him and said 'I've got an instrumental of this' at which he burst out laughing and said "so has everbody mate, it's on the B side". No I said it's another version, I'll bring it next week. So the next week I turned up with my version by Sonny Stitt, and Rose Batiste's 'Hit & Run' and when Les put that on he practically fell to the floor clutching his head in his hands shouting ooh. I was still a kid at that time, around 17 years old but for the past few years I'd been going to the states with my parents and trawling through thousands of records in hundreds of backstreet stores and finding some real gems whilst in the process of looking for my missing Motown records. I remember one such holiday, it was a hot and muggy 110°c in New Orleans and there was I hunting around the junk shops for my Motown collectionwhen I found my first Ric Tic record "Please Let Me In' by J.J.Barnes. I got really excited on finding this, I'd known about Ric Tic prior to this but this was the first actual Ric Tic record that I'd found. Back at the hotel I had this little battery operated thing that you dropped the records into in order to listen to them and as I dropped the record into it I remember thinking 'J.J.Barnes, hmm, sounds like J.J.Jackson. It's probably going to be one of those earthy gutteral kind of memphis tracks'. Then came the voice and I just melted. I must have played it over 50 times in a row. Suddenly my life changed. I went from the commercial sound of Motown and the Four Tops, Temptations etc and had gone into this more underground world of Detroit which was responsible for artists like JJ Barnes, Pat Lewis, Rose Batiste and all those other wonderful artists. So by the time I got to the Wheel in '71 I had reams of these records. I had J.J.Barnes, The Fantastic Four, Pat Lewis, Rose Batiste, Sonny Stitt etc. etc. I know these records are common place now but you have to understand that at that time nobody over here had even seen any of these tracks and they were still playing things like 'Mr Bang Bang Man'. Even Rob Bellars hadn't seen these records before at that time. So there I am in '71 at The Wheel with about half a dozen records and Les is practically kissing my feet. So the next week I turned up with a whole box full. Suddenly the word had got round that this kid from Blackpool had turned up in Manchester with all these fantastic rarities and the next week the place was packed and it went nuts. I can still picture these lines of people, all with their stupid one black driving gloves on. And the ferocity of the claps to 'Hit & Run'. You have to remember that The Wheel wasn't like The Torch or Wigan, it was a little narrow place with about 250-300 people max and the main dance floor was probably no bigger than this room but the atmosphere down there was electric. Sadly not long after this the Police closed it down and for a little while the scene went into mourning. Then two things happened, an all-nighter opened up in Wakefield called The Metro but the bulk of the crowd didn't want to go there because it was really crap and so they started flooding to Blackpool Mecca because it was the nearest thing in the area. At that time Blackpool mecca had two Djs Tony Jebb and Stuart Freeman. Tony Jebb was leaning towards Motown and the peripheral edge of northern soul and Stuart who was just playing commercial pop records. So I went along there and said to Tony Jebb "if you get rid of this idiot they'll flock here, you need to get a Dj from the Wheel on. Get Les Cockel on with you and I'll lend you my records. So I did. I the meantime I'd gone to Wakefield and had the unpleasant experience of being busted which didn't go down too well with my parents as I was still only 17. But eventually the whole Wheel crowd ended up at Blackpool Mecca. Tony Jebb and Les Cockel were Djing with of course the help of my record collection, and then eventually they started to give me money to go to the states and find more records for them. Only about 200 quid but that was enough in those days to finance such a trip. After one such trip I returned to find that Les couldn't make it one week because he was ill and Tony along with the very boisterous Wolverhampton crowd persuaded me to do it. I was shitting myself but they convinced me to go on. Of course with their support by the end of the night I was liking it so much that I didn’t want to give it up. So Tony said to me "your much better than Les Cockell why don't you do it every week'. Ok said I and then when Les turned up the next week I said "look Les I've got some bad news for you Tony has asked me to Dj" at which point he burst into tears and got really upset insisting that everyone had shit on him etc. In the end I felt so sorry for him that I agreed to do alternate weeks with him, and I stuck to that agreement for another 18 months. Everyone kept telling me I was an idiot because I was spending a fortune tracking down and buying new records while Les was still surviving off his records from The Wheel and not keeping up at all. While all this was going on I was finishing my schooling and my father was desperate to get me into University and at the last minute I knuckled down and got two A's and a C in my A' levels which secured me a place. However by this time the only place my father could arrange was at Manchester University studying Greek Civilisation and Drama! neither of which I was remotely interested in. But I was such a bastard. My father used to give me ten quid a week for train fare and he'd drop me off at the train station every morning. The minute his car was gone I'd start hitching to Manchester so that I could keep the train fair and use it go around all the Manchester junk shops finding all the rare records I could. But I soon got caught out, as I hadn't been going to any of the lectures I couldn't sit the exams and got expelled. This plus the Wakefield thing led to my father saying "right then you'll have to come and work for me". He had a casino/nightclub and I used to check off the wines as they were delivered and little odd jobs like that. In the meantime however I was making money as a DJ. Not at the Mecca because believe it or not we only ever got ten quid a night there but later we became more shrewd, and Colin and I eventually got very shrewd and used the reputation of the Mecca to get better paid work elsewhere. For example we'd still be on only ten quid at the Mecca but then we'd do a gig at say The Top tank in Hanley and get many times that so it worked out ok in the end. I was still going to the States to find more records, often these trips would be paid or by other collectors and they used to get really good value for money. For about a fiver each they'd get The Larue's and the Lee David's and all the other great undiscovered records that I brought back. Of course I was getting these for about ten cents a piece and with the profit was able to build my own collection at the same time so both parties were getting a good deal. In the end I had built up a collection of around 60,000 singles. And so Ian Levine the DJ was born and with it came the problem of how to make a living out of it. Fortunately this was now 1972 and the northern scene was starting to build up nicely and then Tony Jebb got poached and even though I stuck it out with Les at the Mecca I soon realised that we could compete with the Torch which was now a major force on the scene. Chris Burton had been trying to persuade me for some time to go down there and join the team and so I eventually gave in leaving Les in the lurch and started working at the Torch. By the time Major Lance made his famous appearance at the Torch the line up consisted of Colin Curtis, Keith Minshull, Tony Jebb, Alan Day and Myself with Martyn Ellis doing the warm up spots. Then in 1973 Colin and Keith left the Torch and went back up to restart the Mecca. So I was now in the bizzare situation of driving down to Stoke to work each week whilst they drove up to Blackpool. I remember kicking myself because I had been booked to do the Top Rank in Hanley after it became obvious that the Torch had to close and I therefore missed out on the chance getting back into the Mecca. However, Keith was only at Blackpool Mecca for a short time, I went to Miami in June and July 1973 and when I came back I went straight into working back at Blackpool Mecca along with Colin, Keith was already gone by this time and Colin desperately wanted me back for my records. By this time I could look at a record and instantly tell if it would be quality just by the publishing details etc. the only thing that I couldn't tell was if it were a ballad or not. But you know if you see a track called 'Standing In The Shadow Of Your Empty Heart' and it's written by George Kerr and produced by Mike Delvano on some obscure Warner brothers subsidiary like Loma you've got a pretty good idea that it's gonna be a blinding stormer. I just made that up by the way but you get what I mean. When I saw Len Jewel 'Betting On Love' written by L.J Smith etc. I had a pretty good idea that I had something special. Now I've never told anybody this before but one of my the greatest finds ever was in 1973, a place Flagnor Street in downtown Miami which is no longer there called Goodwill's which is the equivalent of our Salvation Army shops where people could give things to be sold to help the poor. Anyway, this place had this wall of records, all 45's with no sleeves, I was there from 9 in the morning till 7 at night every day for a whole week and went through every single record. They only had one copy of every record but I found things like The Glories 'I Worship You Baby' The Sweet things 'I'm In A World Of Trouble' there was 'The Larue' and 'Temptation Is Calling My Name' you name it I found it there they must have had just about every northern soul record that you could name. I managed to negotiate a brilliant deal, they wanted 20c each and I got them down to 5c each. There was no air conditioning and the temerature was in the nineties and there was me with this mountain of records to get through and I kept on finding more in demand things like Linda Jones'Just Can't Live My Life' and 'Mister Creator' by The Apollo's and most of these were white radio station copies. From that one find it wasn't the records that I've mentioned that I already knew that proved to be important it was all the others that I brought back that nobody had yet heard of which kept the scene going for another couple of years. And all white demos left in that one same place it was incredible. I would write to Colin telling him of what I was finding and he couldn't believe it. In fact he kept those letters and showed them to me several years later. It was a real time of discovery, but you had to have the knowledge, without that you'd end up with Country & Western and all sorts of shit but I knew what to look for. Those next couple of years with Colin and I really were the hey days at Blackpool Mecca. In our next edition Ian talks frankly about his life since the early Mecca day's the ups and downs, Motorcity, Take That, and the very interesting story about THAT record, The Carstairs, and the effect that it had on his sex life! ORIGINALLY PRINTED IN MANIFESTO MAG AND REPRINTED BY PERMISSON.

Northern Essence edited by Pete Coulson - Review 1999 site note originally up in 1999 Well here you go, yet another classy fanzine that s dropped thru my letterbox. All I can say is that the amount of worthwhile fanzines/mags dedicated to soul music is awe inspiring, the time and effort that must go into them must be enormous. (not just taking easy way out if I got a shite one I would say!). Each one I've ever read has its own style and format but all achieve same results a f*cking good read and a goldmine of information. Latest example of the passion is Northern Essence edited by Pete Coulson, ok start with boring details first address is Northern Essence Farnworth Bolton UK subs £3.50 issue, £12 for 4 UK; (£4 for one , £16 for 4 - europe) ok that bit over, into the pages, main meat of the July issue concerns itself with Eddie Holmans recent appearance at Lowton , there's a exclusive interview where Eddie gives a lot of historic background to some of his sides, a piece by greg tormo (heard of him somewhere before) on the Masqueraders, venue reports by Big Mick , 16 pages spanning the world (almost) good informative guides there. Normal stuff like vinyl reviews whats on, a billy backdrop column, keeping this short so you can get onto interesting stuff, overall another outstanding fanzine, the eddie holman interview is/was a great piece and venue reports should go next to your encyclopedia Britannia as a well good reference, more of a sit-down read, than a pick it up and flip, but thats just me... Here a few articles starting off with a few reviews from Big Mick as said before these are a well good reference, not just what sounds are hitting you, but what time bar shuts, food on offer, all good background stuff thats good to know, along with all normal review stuff , then some vinyl reviews by DJ Harris.....onto the meat..... TONYS' EMPRESS BALLROOM WARM-UP & ALL-NIGHTER. 'It's been quite a while since I climbed these stairs to the ballroom, bleedin' ages in fact. Due to the BOUROUGH ARMS once again being gutted and refurbished, the warm-up is now here along side the niter. If the response is anything to go by, this is the best move yet and certainly encourages more to turn up early. I believe that once the all-nighter finished previously, everyone left to stand in line once more to await the doors opening for the start of the all-nighter, tonight things were to change and all that pissing around may not now be necessary. LITTLE SCOTTY says he felt that it was better for him to collect the entrance fee for the all-nighter from everyone just before reopening the doors to admit the 'second wave'. Now it works like this, in you go for the warm-up and you pay your dues of £2.00 to JULIAN & co. Then near to midnight, the arriving all-nighter crowd is asked to queue up as SCOTTY walks round and politely asks the early warm-up patrons to cough up the fee for the all-nighter if they are staying 'on'. Great, if it's pissing down like tonight as no one gets cold or wet and has to mess around lugging their belongings back and fourth, makes sense to get there early and stay put if you can. I missed JUSTINS' spot but JOE was about half way through playing some exceptional R&B and a few obscure sixties, which warmed the cockles of my heart. Record dealers were already doing business and I managed to grab a couple of gems myself 'ED BRUCE - see the big man cry' was just one I've chased for some time, thanks to DAVE & BABS from Crewe. If you managed to read the venue report in ISSUE 5 on the BOUROUGH ARMS then you'd know what to expect, there's some brilliant sounds played from every direction of the 'soul' scene as new and established DJs slap on the placcy discs for your entertainment. It was whilst waiting for SCOTTY to collect his fee for the imminent all-night stomp-a-thon that we learned about the sad loss of one of the scenes' most noticeable and loveable characters - BUD. I must admit, the news of his death knocked the wind out of me. One more with a membership tightly gripped in the hand standing on the stairs to the ultimate of all-nighters in the sky. I bet he's not straining to walk now, once he's put his record box down on the nearest cloud to the decks he'll be bopping around and doing the back drops which he could only sit back and watch others doing when he was with us. He'll be loving every second up there, just think of all the artists who have passed away and be rubbing shoulders with him JACKIE WILSON, MARY WELLS, MARVIN GAVE, MAJOR LANCE. CLEETHORPES just ain't gonna be the same next year without you mate, we'll see you again, one day, leave my name on the door and I'll do the report. MARTIN PITT was just one of the DJs tonight who had everyone up and giving it some stick on the floor. The majority of the sounds played were oldies /classic oldies with a sprinkling of R&B and crossover just for good measure. MARTINs' selection reflected this theme to a point, 'SOUTHWARD SYMPHONY - comin home . 'SAND PEBBLES - you turn me on'. 'THE CHARADES - the key to my happiness CECIL WASHINGTON - I don't like to lose'. What a good spot he played, it was certainly appreciated by all who attended, the vibes just resounded from the walls. MARTINs' partner, CAROL, was here celebrating her birthday along with a friend, LINDA. They were presented with a birthday cake covered in candles and shaped like a huge prick (no, not in the shape of TONY BLAIR, the other type, you know - the useful one). One thing that got up my nose was the price of my coke (pardon the pun). For a can of coke (or any soft drink) I was charged 90p. This was disgusting we are refused the opportunity to bring in our own cans to cool us down just so the management can rip us off with 'jacked-up' prices when they only pay around 15 - 20p per can. Come on SCOTTY, either re-negotiate with 'der management' for fair prices or allow us to bring in our own drinks, with reduced prices the management will certainly sell more and still_make a respectable profit. (This is a point with a few venues, not solely BLACKBURN). I have to hold my hands up, that was my only gripe on the night and I think if SCOTTY had his way the cost would be more reasonable, he's not a bad lad -i just can't understand a bloody word he says. Meanwhile back at the decks, BRIAN RAE was keeping all entertained with the oldies. GERRI HALL - who can I run to, EDWIN STARR - way over there, DON COVAY - its better to have and the song about 2 Irishmen, 1 Scot and a guy from Liverpool - 'NICK LAWTON -Mick, Mac, Paddy and Wack' (suit yourself). STEVE Whittle was also chucking out the oldies like an overzealous bouncer at a bingo club with the usual GLADYS KNIGHT and WILLIE MITCHELL etc. but for me the spot of the night went to 'GENTLEMAN' JOHN MERCER He had the dancers were he wanted them, the mixture of sounds was a pleasant change and was received by all with claps, whistles and cheers. We all needed cheering up tonight and JOHN did exactly that. His selection consisted of 'VERNON & JEWEL - HOLD MY HAND', ' WILLIE WILLIAMS -have you ever been played for a fool, IKE & TINA TURNER - Oh baby, BILL WITHERS - HAREM and LITTLE JUNIOR PARKER - These kind of blues I must admit, a few of these are favourites of mine and bearing someone else playing them was a buzz, what a selection amongst the others played by JOHN, let's see more of him in the North West. Other DJs tonight were NEIL RUSTON, MICK LYONS, MARC MAC & LITTLE SCOTTY himself When the lights went on and people prepared to make their way home, LITTLE SCOTTY and BRIAN RAE put one last record on for BUB, 'THE ARTISTICS - I'm gonna miss you'. But for the record, the room was silent. A few put their bags and coats down only to return to the floor once again and remember BUB with the assistance of a fitting sound, one or two quietly and slowly made their way to the door - the ones who stood around the dance floor remained silent. As the last few bars faded out the atmosphere was sullen and respectful, then we all showed our appreciation with dignified clapping - you could almost hear the MIGHTY BUD saying "reet that's it now I'm buggering off home" Me too mate, me too - enjoy BIG MICK. Dance floor 8/10. sound system 8/10. no car park atmos 7/10. Venue 9/10. Total = 32/40. 260299. YORKSHIRE RIDERS, HALIFAX. I'm finding myself here quite a lot over the last few months, I've even done a dj spot here in January. I got to play most of my CLIFF RICHARD's and MAX BYGRAVES stompers along with the gem of my collection, KEN DODD's 'Happiness', what a record (CARL WILLINGHAM's not got that on a white derno). Wellies are a 'must' when taking your life into your own hands and travelling into darkest Yorkshire. The folk are friendly enough, just don't understand what they're saying some of the time. On this particular visit the EDITOR and GOD himself PETE 'GHANDI" COULSON after dusting off the years of fluff from his gramophone whatsits is booked to 'do' a DJ spot. "Right fat boy, you're doing the write up and if you cock up you'll never work in magazines again', says GHANDI. How did I know he'd seen those full frontal shots of me posing in 'PLAYWHALE 'Anyhow, the gaff has been 'going' for 8 years now and the anniversary is on the 8 july. There's a 'hard core' of regulars who attend and typical of this strange Yorkshire breed they certainly love their ale. The gaff opens it's doors at 8.00pm and things start to get into something near 'full' swing' just after I0.00pm. Last orders are around 1.30arn and the proceedings finish about 2.00 am (ish). Bitter £1.70 and larger, £1.90 mint sauce 50p. The venue is the last Friday every month, admission £2.50 and the average attendance is 150 -200 on a reet grand neet, see th'. Apparently, things started to 'get a bit stale' as the DJ line up hardly varied until the policy changed and guest DJs are in attendance each month now. This seems to have done the trick with CARL WILINGHAM, STEVE CONNOR and STEVE GARNER being the first, which drew record crowds. The music policy is predictably across the board with a liking for modern, MECCA and the inevitable oldies, but saying that, there's quite a few old gems played here which I've never heard at other venues. There's a good selection of sounds played by the resident djs which are certainly a welcome change from the 'norm' which also gets a play on request. CLARKIE was warming up and one of his tracks, 'The Blue Notes -standing by you girl emphasised the forthcoming evenings' entertainment as an uptempo x-over track which is certainly a 'knock-out' and one I'll be looking out for in the future. Unfortunately, I had to 'nip out' and so missed a brilliant spot and when I returned, JOHN PURVIS was in the 'driving seat' and spinning the likes of 'Ike and Tina Turner - somebody somewhere', Phil Flowers-discontented and Bobby Treetop -wait till I get to know you"'. The evening was shaping up very nicely, even though most were deep in conversation with just a few on the dance floor. It was going to be a memorable tonight, the wife was giving me 'the eye', problem was - I had to give it back to her due to the way see looked just like her mother with only one eye - in the middle of her head. No one was ignoring the music offerings but rather 'taking in' the vibes as normal for regulars who don't need to go out of their way to appease the DJs For the most part, the regulars were content in just sitting around and listening rather than dancing at this early stage of the evening. This is accepted here as it's the 'Yorkshire' way and every one is comfortable knowing that these soulful tracks are certainly, very much appreciated. There isn't any bar scran, apart from crisps, not even any traditional Yorkshire culinary, such as chicken masala, It was just as well GHANDi is 'doing' a spot tonight because he managed to get us all through customs halfprice. JOHN PURVIS put on an excellent show tonight before handing over to GHANDI. GHANDI a-go-go opted for a fighter approach with the tried and tested sounds of Bobby Womack, Gene Chandler and the Spinners, slapping them out like red hot chappattis. He was a mere blur as he placed his choice on the decks then spun round to pick out the next offering his bald dome was spinning and reflecting light not unlike those mirrored balls hanging above most dance floors. His red dot on his forehead looked as if he had been 'targeted' by a sniper. Yet again, here is a venue worthy of a visit, down to earth gaff comfy mid main stream sounds guaranteed to get you up onto the floor. GHANDI certainly got the floor filled, his followers kicked off their sandals and boogied on down. CLARKIE followed up with some ready fine tracks, some of which I didn't know but fitted in just as he meant them to, perfectly. One track I thought was "brill' was the GYPSY BAND - coz it's you girl, the band looked like a bunch of white hippies - but what a fabulous modem track it turned out to be. GIBBY finished off the night doing his impersonation of CHRIS KING or did CHRIS KING do GIBBY impersonations? Anyhow, he looked and sounded as if he'd been on the 'happy' pills, the guy was in high gear and no one knew how to stop him an hour later. He was playing the tracks in a blur, in the DJ 'box' he resembled one of the two old geezers in the Muppet show, remember the old guys at the end taking the 'Mickey'? His final track was Rance Allan - reasons to survive, that summed it up, just to get down here next month. A few of us later went on to JOHN & DAWN PURVIS's home type gaff in the middle of God knows where. Very adapt is r'DAWN at frying oven chips to perfection with lashings of brown sauce, I enjoyed every panfull. But for being an old git and a bit on the tired side, we would have stayed and partied on down till the early hours, cheers JOHN & DAWN. Atmos 7/10. sound system 7/10. car R&rk 6/10. dance floor 7/10. venue 8/10. Total = 35/-50. Enjoy, BIG MICK. The Fat Boy's Bits and Pieces (ooh - er). TRENTAM GARDENS, 060399. R&B ALLNIGHTER. - This visit was my first and is guaranteed not to be the last. The venue (Highland suite) superb, the whole gaff is plush to say the least. This was one of my 'nights off but I still remembered to make a few mental notes. The music was advertised as R&B and for the most part this is what we were treated to. The only down side was when PID chose to play oldies towards the end of his spot, don't get me wrong the selection of oldies was fine even if I had beard them a million times before. What got me was actually playing them at an R&B venue. ROGER (didley dodger) BANKS was outstanding as you would expect, MARK (big daddy) BICKNEL fuelled up, played an excellent selection of class R&B, ROB MESSER, MACE and MARTIN MELLORS all put in a damn fine performance on the night. RACHELLE PILPER was by far, for me, the star of the venue, she excelled with a selection which emphasised the reason for even attending. It was also a change to see a pretty face up there on the stage as opposed to those ugly great mugs with 4 days stubble growth (sorry MARK). I for one would like to see RACHELLE do a few venues in the Northwest, and soon. She must be one of the future star DJs on our scene playing a variation of uptempo sounds, and 60s mod/scooter R&B offerings which poured the 60s atmos over us like a tidal wave. Before... cont in latest issue of Northern Essence NORTHERN ESSENCE PAGE 42 Well it's here 1999 the year "prince" makes a packet on his re issue, was that good foresight or what ? 1 have a feeling we might just hear it once or twice this year. Anyway we have another year to look forward to on our beloved scene, with hopefully some more new sounds being discovered and reactivated. The CD market is also bound to continue it's burgeoning of various labels, and continue to release otherwise hard to get tracks, so lets face it things can only get better. right then on to the reviews. The Royalettes on MGM its just brilliant man ! and what do we have here , yet an other Tobi Lark track, which is very interesting. Mr Hatcher on Soul, not surprising but a great forgotten oldie, and finally Garnett Nfinuns holding up his very reputable reputation. And just for you sassy soul surfers out there a few interesting items off the web. On the subject of the internet have you come across the FAQs, better known as the most Frequently Asked Questions, If not here are a couple of the most FAQs for collectors of Northern Soul records. 1 "That's nice, where did you get it from?" Which really means, You lucky bastard ! 2 "How much?" Which really means I'm £ 10 short 3 "Can you get me one?" Which really means, If 1 can get these gold teeth out I'm laughing, but will he swap ? Some interesting Northern Soul sites to log on to. 1 www.Northern Soul.clara.net 2 www.soul-a-go-go.demon 3 www.soultime.demon.co.uk 4 user.fu-bertin.del-rosenhag My current E~ address is dj.harris@cablenet.co.uk so drop me a line! Next issue the KTFers Spread the faith, Dave. GARNETT MIMMS "PROVE IT TO ME" J RAGOVOY - E MARSHAL 2:15 US UNITED ARTISTS UA 995This guy needs no introduction, a true soul stalwart who has given us many a great side. A few years ago while raiding the boxes in Manchester's Goldmine store a chap came in and asked for this but at the time there was none in stock. Anyway I kept a lookout for it and picked one up for about a fiver, since then I've seen quite a few, It's another one of those records you've seen but not heard. All to often you can get bogged down searching out the rare sounds and totally ignore an item as good as this. Good old Garnett doesn't disappoint either, as this sixties mover kicks off with a belting guitar intro where you can just hear Garnett clapping the tambourine in unison with the drummer, the bass and guitar work are sure to make those toes tap, and with the backing girls coming in during the bridge with 'PROOOVE IT BAYBY" this is just superb soul. EDWIN STARR "DON'T TELL ME I'M CRAZY" P SAWER - L WARE 2:36 SOUL 35100 I know, I know, another Edwin Starr record, but this has definitely been forgotten and ignored. The label says 1970 and I wouldn't argue but I'm pretty sure I've seen this on two different SOUL labels. This starts off at a fairly leisurely pace with pipes and bongo's before the rest of the troop join in the festivities and DO THEY. In almost Gospel style the message gets across that this guy is no fruitcake. No indeed and Mr. Hatcher proves himself once again with this bouncy little number. Priced around £5-£10 and worth every penny, or should I say Euro? I came across another ace track by this guy recently on an album, can't remember which one, but the track is "24 Hours To Find My Baby". Reminiscent of "I Want A Love I Can See" but much, much better and would go down well on today's dancefloors. ok thats it just enough to whet your appetite yeah....

Beating Rhythm Fanzine Review Feat Clips of Jan 97 Issue site note originally up in 1999 Beating Rhythm - Edited by Pete Smith who should need no introduction to regular soul fans on net and was one of the main contributers to the rare online soul scene getting to where its at today. The mag itself is "one of the worlds most erratic fanzines (thats erratic not errotic)" - thats his own words not mine, due to its release schedule. But it is well worth the wait. Past issues have been crammed full of usefull and interesting stuff. CD + vinyl reviews, old rare press clips and adverts. And with his vast knowledge on soul things a lot of the facts and info if not all can be taken as gospel. A lot of articles on this site were from this mag such as film and cd, vinyl reviews etc plus a lot of info and lists,so highly recommended this one, I would subscribe to it if I could, but its a bit like hunting a certain rare sound you dont know when it turn up , but when it does it be worth the wait. The next issue is due out shortly and contains articles on The Astors, History Of Northern Soul, cd and record reviews, loads of rare label scans, new guide to soul surfing, worst 50 Northern records of all time...etc etc sounds good so email Pete for details and costs at {pete.smith4@virgin.net} Here's a few clips to give you a taste of the pie: Note: these articles are taken from the Jan 97 issue hence a bit dated but should give an idea of expertise expected. Vinyl reviews Before I begin this small UK 45's reviews section (Glen Walton has done the main part elsewhere), I've just remembered that I promised to uncover a couple of things from previous issues, so here goes. The Jackie Edwards Band - "Jerkin' Time" from a few issues back was from a Trojan LP called Millie And Her Boyfriends by Mille Small. It was supposed to be a duet with Jackie Edwards called, I think, Never Again, but for some reason the vocal was left off, leaving a cracking Northern instrumental. It also came out as a B side on Island, but I 've lost the info on that one. The lovely "Give Him Up" by Sonya Kaye & The Ebonies (last issue) is actually "Give Him Up" by First Generation on the reggae label High Note and is the B side of "She Want It" by Dave Barker. You find a lot of soul on the flip sides of reggae singles. Also Steve Aldo - "These Same Old Things" is Bobby Shafto -" The Same Old Room " on Parlophone, though I think I may have uncovered that before. This is a cracking little UK dancer and I sold it to Mick Smith so it might start appearing on a few people's wants lists. Speaking of cover-up' s..... JUDY JACOBS - "DANGER TO MY HEART "(UK c/u ) This is the most recent British thing I 've discoverd and after an initial "Erm, it's okay I guess" response from my inner self, I now think it's bloody brilliant and would definitely go - or have gone. The intro is very much like Peggy March - If You Loved Me or Shirley Abicair on Piccadilly, with what sounds like a zither or a strange electric keyboard hammering on one note while the bass guitar picks a tune, then in comes the sweet voiced "Judy'' and the beat really begins to become insistent. Now, after a verse or so you can feel that you're being set up for a drum roll and then all hell will break loose, with chimes and trumpets and God knows what - but it doesn't! It just stays 4-4 and builds very slowly, until three quarters of the way through when we get the instrumental break, where, bizarrely, the beat stops and there's 10 seconds of jazzy playing. However, out of the instrmnental the big build up really starts with a thudding drum adding to the proceedings and a little bit of jazz trumpet making itself heard also. The song is minimal "He's a stranger in town" seems to be the gist of if but whatever, this is a smashing little record, absoulty unknown and by the most unlikely artist(s) you'll ever imagine - clue: it's not listed as a girl singer and one of those which is going to make a lot of impact over the next couple of years. Was I wrong about Ketty Lester? **** (Check this out on one of the tapes) MARIAN ANGEL - A LITTLE BIT OF SUNSHINE (CBS 202391) This is a Brit girl singer who had a fair Northern thumper entitled Tomorrow's Fool on Columbia or Parophone (God my memory!), anyway, this is a later disc whicl will certainly appeal to the army of 60's UK girls fans although it's certainly not to everyone' s taste. Nice big orchestral intro with multitudes of shimmering strings, and a great beat ballad first verse with a trumpet answering Marion's vocal, but sadly at the end of the verse Marian tries to become an opera singer and warbles the words where she should have shouted them. Full orchestra comes in for the chorus, the vocal becomes double tracked, then it calms down a little and goes back to beat ballad, and so on and goes back to Beat Ballad, setting the format for the rest of the record. A few years back I'd have raved over this, but in all truth it's a nice little pop/beat ballad ruined by over orchestration and double tracked vocals. The flip side, All The Time In The World (sadly not the Stevie Kimble beauty) is uptempo and sounds like it should have been recorded by Tom Jones! **GENE PITNEY - LAST CHANCE TO TURN AROUND (Stateside SS420) Look, stop laughing, this is a fantastic record! Okay, it's not but neither was anything by Slade and they were all great. I'll get me coat! No, honestly, this is just about the most dramatic record you'll ever hear, what an intro, it sounds as if a train is coming through your living room wall, the drumming sounds exactly like a locomotive doing 100mph, then all of a sudden, in comes everyone else in New York on accompanying instruments, and Gene's all too distinctive voice pleads with his girl, then decides to forget and take the "Iast exit to Brooklyn, last chance to turn around". Now, this was probably arranged by Jimmy Radcliffe, so the question I pose is; did Jim do a version, if he did, did it get a release? What a sound! I tell you, if this wasn't by Gene Pitney, who has a voice unlike anyone else on earth (meaning cover-up's are useless) it'd be a big sound. It's cool, really. ***TOM & MICK - SOMEBODY'S TAKEN MARIA AWAY ( Olqa 014 ) This must be the f irst time anything on this label's been mentioned in this mag, I can only think of one other record from this source and that's Yesterday flas Gone by Lena Junoff which is fairly well known. This is a Swedish recording from the bizarre Sonet label, and boy, is this gonna be hard to describe. First; somebody crashes their hands down onto a piano keyboard while someone else blasts away one note on a trumpet. This lasts for 2 seconds.Then the vocalists come straight in with the title, while Animal from the Muppets hits the drums and symbols causing irreparable damage, meanwhile someone's blasting the horns like nobody's business, oh and there's a steal from Keith West's Teenage Opera record "She won' t come back no more, oh no no no". Sounds good? No. But it gets better. The verses are quite restrained, with only Tom (or is it Mick) singing and Mick joining in to harmonise on the last line, but then here we go again, that chorus is very very powerful with a pounding piano, loads of brass, wailing girls, the lot mate. This Chris Andrews production has about as much to do with soul as John Major has to do with charisma, but what a mental stomping record. I personally absolutely love this, but that's just me. I actually picked this up blind about 5 years ago because I liked the label, played it and thought ''Er, no way", so I sold it in with a job lot. Last week I found the exact same copy, still with my writing on the sleeve, in a record shop about 15 miles from here! By the way, this is on a few of my tapes as Tommy & Tony, slightly better than the real artists but only just. *** (Actually this isn't a Chris Anfres production) BARBARA MASON - AIN'T GOT NOBODY (Direction 3382) Okay, onto a real soul record this time, this is the flip of Oh How It Hurts which I knew was a ballad but thought I'd pick up for 20p or whatever just because it was a demo. But wow, check out that flip, presumably from the same label as her other goodies such as Bobby Is My Baby, this is classic stuff. Drum roll, horn rift, a tune very similar to Patti Austin's I've Given You All Of My Love, oh, and this little fingersnapper has the same burping sax in the background that adorns her other dancers. Big production, lovely girlie backing singers, a swinging little record that must surely/is surely getting some action, a very worthy addition to your UK collection. **CHARLES MANN - I CAN FEEL IT ( Probe 006-9577 Germany) Now you'll have to excuse my ignorance on the subject of 70's soul, but I'd have thought that you connoisseurs of that particular style of music would be well into this little number as it's prime mid-70's Mecca material, if I had to pick out. it's main feature it would be the very heavy bass drum sound which powers it along. I don't understand this kind of music at all so to my ears it has nil appeal, but if you like the uptempo 70's soul sound, may as well check this one out. Not sure if it got a UK release, this ones on German Probe. By the way, i t was produced by Dave Crawford who's name crops up on many soul sides . CD REVIEWS OUT ON THE FLOOR TONIGHT (GSCD 107) At first glance I thought this was a reissue of an old GM/SS title, Out On The Floor, but no, this is Out On The Floor Tonight. The concept is a little different too - the first CD conatined 24 or so classics, I mean extremely well established sounds, hear them at every oldies night you go to kind of classics like Queen Of Fools, The Snake, What's Wrong With Me Baby and so on. This compilation, doesn't really include any early classics but concentrates on the mid to late 70's biggies. There are also a handful of UK releases thrown in including Kiki Dee's On A Magic Carpet Ride which to these ears is beginning to sound quite nice (after 18 years of it sounding like shit).Other UK's come from John E. Paul, great at the time but sounding like like something from another planet now, can you imagine them laying this at Albrighton or some other 'soul connoisseurs' venue? Ditto Five And A Penny's awful version of Dana Valery and Tony Blackburn's shocking cover of I'll Do Anything. John Drevar's Expression still sounds okay I suppose, as do The Flirtations and Timebox, but the best of the UK recordings is Dusty Springfield's What's It Gonna Be which sounds as authentic as anything else here. But it's not just the UK recordings that provide the shockers here: Otis Leavill's Boomerang sounds like a Gene Chandler/Major Lance recording but is hideous, and is apparently a Twisted Wheel classic, Jeez! One of Levine's old biggies, The Petals - You Can't Close The Windows To Your Heart is bad beyond description, Susan Farrar's The Big Hurt was big for literally two weeks at Wigan before it was pressed then thankfully we never had to suffer it again, and as for Keith, Brian Hyland, Eddie Garrigan and so on, they're records of their own era and just don't fit in today. Strangely enough, Many's The Slip by The Present, although being a semi-psychedelic record, still sounds good but that's probably because of the memories it inspires rather than the quality of the record. Worst of the lot, and perhaps the worst record ever to appear on a GM/SS CD is undoubtedly Marc Copage's Who Can I Turn To, a dire recording by a 6 year old TV star who sounds like he was having his foreskin chopped off while recording this turd. Far and away the best track is He Loves Me by The Chalfontes which is a Detroit sounding dancer I've loved for years but never seems to be remembered with any fondness by anyone else. Oh, and whoever mastered this needs a severe beating around the head with a 3 week old pork chop because, okay, occasionally it's acceptable to miss the first split second of an intro to a track, but there are something like 15 seconds cut from the intro of Jeanette Harper's Put Me In Your Pocket - a small mercy, some may say, but there's just no excuse for it, it actually begins more or less on the vocal when there's a perfectly good and quite exciting intro to the original recording. Remember when they cut off the intro to John & The Weirdest - Can't Get Over These Memories? Why do people have to tamper with things?Let's face it, this is a real mish-mash of sounds and styles and it doesn't come off, and when the likes of Kiki Dee are your saving grace, well perhaps it's time for a bit of a rethink in the quality control department. Having said that, there are probably many, many people who bought the K-Tel Soul Survivors package which was ten times worse than this, so I may be putting on a soul snob hat here to look 'cool' - so, let's end by saying that there's probably something for everybody here, but not too much for me personally. TRACK LISTING OTIS LEAVILL - Boomerang/ PRESENT - Many's the slip/ JOHN E. PAUL - I wanna know/ KIKI DEE - On a magic carpet ride/ SANDY & THE PEBBLES - He's my kind of fellow/ SWEET - Broken heart attack/ DUSTY SPRINGFIELD - What's it gonna be/ JEANETTE HARPER - Put me in your pocket/ JAY & THE TECHNIQUES - Baby make your own sweet music/ JERRY BUTLER - One night affair/ PETALS - (You can't close) the windows of your heart/ BRIAN HYLAND - The joker went wild/ NAT WRIGHT - Mr. Love/ EDDIE GARRIGAN - I wish I was/ NICKY NEWARKERS - Woman/ ARNOLD BRYANT- House in order/ SUSAN FARRAR - The big hurt/ GROOVERS - He will break your heart/ LENNY (TONY BLACKBURN) GAMBLE - I'll do anything/ TIMEBOX - Girl don't make me wait/ FIVE AND A PENNY - You don't know where your interest lies/ JOHN DREVAR'S EXPRESSION - The closer she gets/ FLIRTATIONS - Little darlin'/ KEITH - Daylight saving time/ MARC COPAGE - Who can I turn to (questions and answers) THE GOLDEN TORCH REVISITED (GSCD 92) I think that the mood you're in affects CD reviews - one day you might love to hear a CD of oldies, next day you think "Oh no, how many times I have heard these before?" I'm afraid that today I'm suffering from the symptoms described in the latter scenario and I couldn't wait for this collection to end. Why? Because I first heard Mamie Galore, Lenis Guess, James Bounty et al nearly 25 years ago and I'm just bored with them. Having said that, they're still good, great records, but familiarity breeds contempt. The highlight of this CD is actually an instrumental (hello Andy!), Frantic Escape by The Innocent Bystanders which has no melody at all but is Popcorn Wylie and his session men cooking up an absolute storm on this vibe-laden Detroit crasher. Juxtapose this with the other instrumental selection, Bob Wilson's Suzy's Serenade and you get a chalk and cheese situation where you can't believe something as dreadful as that could ever have been played. Ditto The Dramatics' hideous Inky Dinky Wang Dang Doo, a record everyone went crazy over in 72/73, but the actual record is even worse than it's title, what a mess. Those two plus The Exciters' Number One which is a nothing song, are the only duds on this CD, but I have to say that there are at least 7 previously released on CD tracks here, so check the listing carefully. So apart from Frantic Escape, the other main highlights are Lou Johnson's perrenial Unsatisfied, a record which sounded dated from day one but one that contains a masterful vocal performance and is worth the price of the CD alone; Jimmy (James) Conwell with Too Much, a terrific dancer which has the same backing track as Len Jewel's Bettin' On Love and was pressed many years ago but in such bad quality that it was barely recognisable - here you get it in perfect sound quality. Oh and there's Luther Ingram's vocal version of Exus Trek which isn't a patch on the instrumental but for some crazy reason is preferred by a few people, trouble is it's not a very good song. So basically, this is another superb release, it just caught me at the wrong time I'm afraid. Incidentally, check out the accompanying booklet, centre pages, there's a photo of people dancing at the King's Hall, Stoke at the Togetherness allnighter and bugger me, it's your truly, bottom right of the pic with the blue and purple checked shirt - but wait, I've never noticed that sodding bald patch coming before! TRACK LISTING LENIS GUESS - Just ask me/ VIBRATING VIBRATIONS - Surprise party for baby/ DEE DEE SHARP - What kind of lady/ PHILLIP MITCHELL - Free for all/ MAMIE GALORE -It ain't necessary/ PROPHETS - I got the fever/ VALENTINES - Breakaway/ BOB WILSON - Suzy's serenade/ DRAMATICS - Inky dinky wang dang doo/ SUPERIORS - What would I do/ LOU JOHNSON - Unsatisfied/ ROSCOE SHELTON - Running for my life/ TYMES - What would I do/ SEQUINS - A case of love/ ROYAL JOKERS - Love game a-z/ JIMMY CONWELL - Too much/ OVATIONS - They say/ LUTHER INGRAM - If it's all the same to you babe/ JEANETTE WHITE - Music/ DYNAMICS - Bingo/ INNOCENT BYSTANDERS - Frantic escape/ PARLIAMENTS - Don't be sore at me/ JAMES BOUNTY -Prove yourself a lady/ EXCITERS - Number one/ TONY MICHAELS - I love the life I live.

From 1971 before Northern was even called northern this account of his trip to the sea side is a fascinating look back to those far off days, cover ups, pillheads etc all feature and to me a tribute to a place which nowadays doesn't get the recognition it deserves.Thanks to Katie and Chris for sending the scanned original in. Read on for a piece of living history and one of the best written articles on site............ site note - article reformated From Blues and Soul - 1971 - Dave Godin Article on Blackpool Mecca GOOD Soul times. like good Soul sounds. are difficult to convey and communicate in words without perhaps risking boring the reader with endless superlatives, and so when I reflect about the great visit I recently made to Blackpool's Mecca. I remember, when I come now to try and set down all my impressions that a golden rule is just to "tell it like it is". So here goes. and fingers crossed I can do it justice! Having planned and talked about visiting Blackpool and seeing the Mecca's Highland Room scene first hand for about four weeks previously, when the actual day came I was excited and full of hopes and keen anticipation.The weather in London was miserable and wet after a week of uninterrupted fine weather but l refused to take this as an omen. Like dreams perhaps omens (if they exist at all) do go by opposites, because prior to setting out. I could never have imagined just how true all the good things I'd heard about the Mecca would turn out to be The previous Thursday at The Fountain a lot of interest had been generated amongst people there to visit the North and see if it is as good (or as bad depending on what letters you read!) as it has been cracked up to be and so travelling with me were Alf Billingham, Terry Davis (The DJ at The Fountain with Paul).his brother Pete. and their mates David and Arnold. I was twenty minutes late. and as we walked the length of the train back and forth vainly trying to find seats (let alone seats all together), we had visions of standing for the entire length of the four hour journey to Blackpool! Luckily, a porter took pity on us, and soon took us to a flrst class compartment which he said we could have to ourselves, and on which was pasted the legend "for the use of second class passengers" Soon we were moving on our way having had some very bad luck with my camera when I went to The Wheel with a faulty and seldom reliable flash, I started taking some photos straight away just to check out that it was working OK. It wasn't. Wasted bulb after wasted picture, so out of the window it went, whilst we were making about 90 an hour. Always throw your bad luck away from you, and that camera had bad luck on it anyway, so, take my tip If something brings you bad luck throw it! We all had some good talks about Soul matters on route. but this was but a mild prelude to what was yet to come! As we went along, through unfamiliar countryside, so the weather suddenly began to change and brighten up! The camera incident was obviously paying dividends already! Some Soul brothers had arranged to meet us at Blackpool station. and when eventually the train pulled into the monstrous Gothic-Victorian enormity that is known as Blackpool station. Within seconds we were all introducing ourselves to all, Alf and Harold Grounds who had come to meet us. along with our old friend Led Cockell (who I had met at The Wheel when he was doing a DJ spot there) Despite the fact that there were six in our party. Harold insisted that we all go to his house for tea and soon we were listening to some of his prize sounds. revived and fortified by tea and sandwiches (Cheese for me. and cooked corpse for the others!) By this time it was getting close to seven, and as the Mecca starts getting Alf, Dave, Led, ]an and Steve by the "Rare SouI '71" sign underway about 730, we decided that we'd have to start moving in order not to miss any part of the evening By this time Led and the others had come back to Harold's place, and started taking us in his car by shuttle service! I had never fully appreciated that The Mecca is such an enormous place. The huge building stands in a wide road, and it seemed from the crowds that were making their way there, that just about every person who likes a good Saturday nlght was converging on the place If you can imagine the crowds going into a football match, then you'll have a pretty good idea of the front of the Mecca on a Saturday night. They came by foot, by bus (unforlunately the remaining trams in Blackpool do not pass the door or I'd have insisted on arriving by that esoteric mode of transport) by coachIoads (apparently some of these coaches are hired by Mecca to give free transport into Blackpool to people from outlying places. and they return at a set time afterwards which struck me as a very good and emerprising ideal, and in cars. The broad front sidewalk was full of young people milling around. and already people were coming up to us and saying 'hi" and introducing themselves Some old friends from Manchester way and some people that I have only known previously through letters, but mostly new readers who I was meeting for the first time The poster on the outside proclaimed the attraction of the Highland Room "Rare Soul '71" and we took some photos in from of this historic legend Little did I realise at that moment in time. that not only was this a true description of fact, but in actual reality was a sublime understatement Not only is the Soul they play there is rare some of it is impossible! But more of that in a minute Mr Pye (who is the manager ) had asked me to make myself known to him upon arrival, and he welcomed us. and not only let me in gratis but was also big enough to let in the dozen or some people who happened to be milling around talking with us. So to him I must give my special thanks for his great generosity The Mecca is divided into two levels. On the lower level they have a live band and singers, and on the Highland Room they have the Soul Sounds By any standard the Highland Room is large, and the decor is modern and clean cut with a long bar at one end (which sells all sorts of drink until about 12 after which you can carry on drinking via waitress waittres service if you want to, and a small rostrum which the djs operate their turntables. On a Saturday night the sounds are selected and played by Tony Jebb with Stuart Freeman, and during the week Billy The Kid is added to the rostor. When we got in Tony was on stage and Denise LaSalle's never to be bettered "lovers reputation" was playing. It was a appropriate choice since the reputation of Blackpool Mecca has been growing and gaining pace all summer, and this is in large part due to the hard work and discriminating selecting that Tony and Stuart put into their work And they certainly work hard, but as they are both dedicated Soul brothers, they have energy and enthusiasm to spare, and it was great to meet them (and later Billy The Kid on the spiral staircase) and talk to them about the Soul scene in Britain. The general layout of the Mecca is a great one, and there must have been something like 5,000 people there the night we went, and I reckoned that a good 2,000 were in the Highland room! And by 1130 it seemed that I'd spoken and and shaken hands with a good 90 per cent of them! If there is one thing we Soul fans like doing next to listening to Soul Sounds it's talking about them! But, even though there were that many people about, the place is so spacious, that it never seemed overcrowded and cramped The highland room has a huge dance floor, dim lights as well as ultra violet (you know the sort that shows up all the dandruff on your shoulders, and the fillings in your teeth),and the music is loud with a predominant bass amplication to hook the dancers.Plenty of chairs and tables to sit around and rap and altogether I would say the classiest soul location discotheque I've yet visited Comparisons are of course fatal, and lots of people asked me if I thought it better than The Wheel, but it is a mistake I think to compare the two.The wheel well, it was The Wheel, and anyone who went there will know what I mean by that. It had an atmosphere and rapport that had slowly grown and developed over the years, and it was unique to that particular location, but now that The Wheel is no more a new and exciting scene is growing at the mecca. To say it is slightly different is not to put it down - in their own ways they are both unique, but never, in my wildest nights of fancy even, did I imagine that I'd see so many people at one time grooving out to such esoteric and way out Soul sounds! And they are known and loved! About 3 or 4 years ago I included in my top 20 for that particular year a record by Barbara Carr called "Don't Knock Love" which at the tlme didn't arouse much interest as an import, and I had merely thought it was another of those odd and funny sounds that do things to me personal]y, (because I am, I know, a bit of an odd and funny person myself at times!), and part, my fatal infatuation with female Soul singers! I can't tell you how thrilled I was when it came on and the dancers really moved to it and obviously loved it as much as I do! I mention this particular item because I think it shows how Soul music has become the only true "underground" music in the country now. 2,000 Soul brothers and sisters grooving out to a record that was never issued here, and which record companies continue to sneer at what we fans try to tell them, and if they issued it would take all the credit and the BBC DJ's would consider themselves way out super cool cats for playing it. Oh and ESMF,s they just don't know when to cut the mustard and each and everyone of the young together, hip young people at the Highland Room that night could tell them just where it's at and put them to shame in the process! Meeting readers of this column is always humbling experience for me, because although one gets a lot of mail, it isn't until you meet a collective mass of the faithful as I did at Blackpool that you realise just how many Soul people there are in Britain. We are far more numerous than we think and perhaps the time is now right for us to capitalize on this fact and seize the time in our own Soulful way! Anyway, it was a great experience to meet so many readers and to know that we are all digging the same things and thinking much the same sort of thoughts. If I were to list all the names of the people who I was privileged to meet, it would cover a whole page of "Blues & Soul", but I must mention a few of the brothers and sisters who you will see in the pictures along side this article. Boogaloo (I never did manage to find out his real name could he really have been baptized that?) is a well known brother from Manchester and a way out character who has really got Soul power to spare and then some. He was trying to get me to start a fund to buy The Wheel to run as a Soul Co-operative (a cool idea that), which he swears is up for sale for a mere £5,000 (say it quick and it seems within the realms of possibility) He was there with his girl Lynn Garrrity who also knows her Soul and has wide knowledge and good taste in Soul Sounds. Boogaloo was sporting a beautiful gold blazer badge which commemorated The Wheel with his name above it.Then there was the loveable Denise (who I remembered from The Wheel once met, how could anyone forget her) She's a great character, and was really having herself a ball. Then there was Tubby from Accrington who as well as being a regular good guy has the distinction of being probably the only person in the whole wide world to have the legend "Ric Tic Records" tattooed on his upper arm. Not only is this his personal tribute to his favourite record label, but the tattoos had managed to copy the type face of the Alf Billingham and Lynn, with brothers and sisters at Blackpool Mecca lettering on the record logo exactly! It really freaked me out and I couldn't get over it all evening! What a splendid way out crazy tribute to a whole attitude which is exemplified by Soul music! I jokingly teased him that he should have 'Keep the Faith - right on now" put on the other arm it'd never surprise me if when next we meet he's done just that. Little Chrissy (who is about exactly the same height as Rob Blackmore, and like him what he lacks in height he makes up for in Soul quotient!) asked me particularly to send his (and mine) greetings to his mates Gedd and Johnny who were unable to be with us that night. Maybe next time eh? 2 a.m.- --- time to go home. Mick Blake and his Iovely wife had come all the way up from Leicester to be with us that evening, and it was really great meeting these two! It's surprising how many Soul brothers are lucky enough to marry Soul sisters! Maybe it's as well though, as I just cant imagine living with anyone who didn't appreciate Soul. Trevor Hall from BBC Radio Blackburn was there and we had a brief discussion about the new Soul show that he will be responsible for in the very near future. And so many others who I remember as people, but whose names are now lost in the sheer, overwhelming complexities of meeting so many Soul people in such a competitively short time, but old, regular friends like Fran Francisco, John Bollen and Jacckie, and Steve Craine and Lynda and their friends were all there too, and I can honestly Say that I felt completely at home Perhaps more so than in many other places I have been to somehow, there was a special Soul magic and atmosphere about the friendliness of their reception. It was(sincerely) too much. FUNNY though how some people mistake what they read someplace else for what they read in my column I was hurt when someone said that I had written (and you can search my every published word and you'll not find it) such insensitive and unfeeling prose as to ever refer to a fellow human being as a "pillhead" Certainly I'll take the can back for what I do write, but that sort of jargon (and all the bigotry of attitude that goes with it)just isn't me. But on the other hand some people reminded me of bits I'd written and records I'd mentioned that I'd forgotten all about - it's a simple fact and truth that they just know and love their soul in the North! Well, with all this rapping to be done, I was hardly in a position to listen deeply to the Sounds that Tony and Stuart were laying down, but I heard enough to realise that this probably was the esoteric and knowledgeable selection of soul sounds being put out anywhere in Britain that night (if not the world). There were well known favorites of course, but there were lots of specials too, and digging up and discovering these neglected sounds and helping and watching them grow in popularity is all part of the fun of the Soul scene There were few secret Sounds but those people who get uptight about special secret sounds should remember that good DJ's need just a few "specials" to get a following, and also, what secret sounds remain secret for long? Eventually we all find out what they are, and there are always more waiting to move on up to take their places! Such is the vastness and complexity of the wealth of richness of Soul music, that no one person could ever know all there is to know about Soul music, and we can all (myself as much as anyone) learn by listening and grooving. BY 11:30 I had just about talked my head off, and Fran, Alf and myself slipped downstairs to the coffee bar for a good strong black coffee, and a five minute breather Just before this I had managed to have a chat with DJ Tony Jebb and his charming young lady He told me how hard he had worked in The Highland Room to present just the sort of programme that Soul people wanted, and I could tell he was dead sincere in what he was saying and in his dedication to Soul and The Faith. When Tony is resting, Stuart takes over with a slightly less esoteric selection, and so a real balance is achieved to please nearly everyone Coming back from coffee, we bumped into Billy The Kid who DJ's there one night during the week and is also a dedicated Soul brother. All too soon we had to split, and I didn't see him again untill we were all leaving, and he told me of the super itinerary he'd planned himself to continue the rest of the weekend in the most Soulful way I know We were now into the final couple of hours, and still there were people I wanted to meet and speak to, and we managed to get some pictures on the camera that Ian had so kindly lent me As the lighting was comparatively dim however, this was very much a hit and miss affair as there was insufficient light to compose the picture through the viewfinder, and so I just took potluck. In the event, I think all things considered they came out pretty well. Everyone was dancing to a superb version of "Angel Baby" by The Dilutes, and all too soon the last and final record was played Not before Tony had given me a great dedication however and played my all time favourite side. If you know Soul people what more could you really want for in the way of friends and acquaintances? Billy the Kid, Stuart Freeman, and Tony Jebb - DJs in the Highland room Soul is more than just music it is a life style I too Not an easily identifiable one since more than in any comparable field there is far less rigid conformity (which is great, and again, typical of the style itself), but the Soul way is a definite way, and I think this is an element of our music that does bring all closer together far more than non Soul people could ever realise or appreciate Outside, the comparative coolness of the two am air was very welcome and the sweet soul soundswere still buzzing through our heads. So many brothers and sisters tp say goodnight to and as Alf, Harold, Elaine and I strolled through the empty streets. I remembered something that Boogaloo had said to me during the course of the evening. He'd said that instead of ending with "Keep the faith", I should say "spread the faith" and I couldnt help but think this made a lot of sense, because people like those we met at Blackpool Mecca are all in their own wayspreading the faith of good soul music, and they know as well as I do that there is something so unique, so magical, and so fantastic about Soul records that somehow all other forms of music seem to fade into insignifigence when you compare them! Maybe there are some who read this in the southern part of Britain who find it hard to understand just why I rave so much about the northern soul scene and oerhaps this because they've never been there and seen it first hand for themselves, because believe me there is no equivelent in the South , and untill you've been there I dont think any mere written word can fully convey to you that special and unique vibration that generates amongst the brother and sisters there. I only wish it was easier for people to get there so that they could expeirence it themselves, but if you do decide to make it to the Blackpool Mecca one weekend then take my word for it that you you'll find a warm welcome there and a nicer crowd of swingers and friends it would be harder to inagine. Untill Aug 21st 1971 I always thought of Blackpool as The Tower but from then on I shall always and forever remember it as the Mecca Soul Heaven here on Earth, and a pious pilgrimage that i would urge all the faithfull to undertake as often as they possibly can. Keep the faith - right on now! Blackpool and the Mecca await you, my deepest thanks to you all Dave Godin 1971- Blues and Soul issue 67 Well there you go, he has a way with words yeah? Thing that strikes me reading this article 28 years on is the passion for the music that stands out, the almost religious feeling about it all change a few words and it could almost be a preachers address. Thanks again to Katie and Chris for scanning original and sending it in, if you yourself have anything knocking around similar that you want to share , let me know and we can get it up here. As he said spread the faith...

Dome Oct 99 - The First One So along came the night that launched a 1000 flyers, the Matt Jahans along with Capitol Soul Club organised event at the Dome in North London. First impressions not as easy as flyers made out to find, getting out of tube was expecting to see a large modern multi entertainment complex shining on the horizon, well just say theres a irish pub on the corner and around the back theres the enterance to the dome club. Once thru doors and up the stairs though any doubts flew away, fairly large dancefloor, decent bar and lots of room allround, first 30 mins and place filled up quickly. DJ line up, well if you're gonna do, do it big - a cracking line up Shifty, Andy Rix, Keb Darge, Dave Rimmer. Irish Greg. Sounds played , well due to my other job as a lager sampler details a bit hazy, usual floor fillers delarks cover, love slave, barbara lynns Im a good woman, man o man, jd bryant, milton parker, stacks more decent new stuff and some decent oldies. Dancefloor was packed almost from kick off to end, the atmosphere was well electric and a good mix of people there as well. Any downers, nah .. can't think of a bad thing, even bar prices were lower than usual london rip off prices. Dave Rimmer and Roger Stewart were flogging their wares also Neil Bently had a stall there with the book cracking up. Overall a great nite, sems this venue has a lot going for it, Matt J (whos one of under 30 gang) is sussing out next dates, reckon if this gets regular could become a massive thing, all I can say on the nite is when the next ones on get down there, if its half as good as first nite still be worthwhile. Other memorable remarks heard on nite and since by others were: "best soul nite this year" from Dave Rimmer "great nite, great venue great music great company..." "another pint of lager" "what a tenner for a bloody taxi to victoria" "do you know what time in morning it is ? and you expect me to pick you up from station" dome playlist how many times have you been to a event and the next day when ears are ringing think.. facking hell what did they play last nite, loads yeah ... same for me, anyway to help you out and for those who were not there to see what you missed here's some info from andy rix who took time and effort to sort I've been computerless since The Dome but now I'm back in action I have to say what a brilliant night it was...those London do's always have a great atmosphere partly because of the young element in attendance...I saw a few questions about a few of the tracks I played as 'exclusives'....well they were... The Commotions - Sock it to me - RCA Custom acetate but recorded for Blue Rock...they did have a 45 on BR and are the same group who cut 'Motown' on La-Ro-Ke. This is a traditional in-your-face Northern stomper Jimmy Radcliffe - The thrill of loving you - another unreleased track...this was actually a demo for the Drifters and is a typical New York beat ballad...wonderful vocals from Jimmy tho Royal Five - Don't stop - this is again unreleased...acetate actually belongs to a group member and mine is simply a copy but it's too good not to play simply because I don't have the real thing...they had one 45 on Tyler which used to get played and they may have done something else...Greg do you know ?...again it's uptempo 4 beats to the bar Northern...one for the traditionalists amongst us I hope there are more Domes to come...certainly one of the better nights I've been to in the last few years Andy andy also laid down playlist of the nite using mark hanson's soulville site and black echoes review as a jogger: Irish Greg Nolan Porter - If I could only be sure - ABC Little Ann - Who are you trying to fool - Kent Vivian Carol - Oh yeah yeah yeah - Merben Hytones - You don't even know my name - Bell JoAnne Courcey - I got the power - Twirl Trends - Thanks for a little loving - ABC Younghearts - A little togetherness - Canterbury Shifty Wade Flemmons - Jeanette - Ramsel Walter & Admirations - Man Oh Man - La Cindy Gwen Owens - Just say you're wanted (and needed) - Velgo Salvadors - Stick by me baby - Wise World Aspirations - You left me - Peaches Mellow Souls - We can make it - Mello Lester Tipton - This Won't change - La Beat Sam Dees - Lonely for you baby - SSS Int Jimmy Burns - I really love you - Erica Al Gardner - Sweet baby - Sepia Patti Austin - You'll always be in style - A&R acetate Clara Hardy & Magictones - It's you - Cover-up Magnetics - I have a girl - Rasel Keb Fortson & Scott - Sweet lover - Pzazz Pat Lewis - No one to love - solid Hit Del Larks - Job opening - Queen City Mayfield Players - Don't start none - Mayfiels unreleased Professionals - That's why I love you - Groove City Nomads - something's bad - Mo-Groov Lou Pride - I'm Coming home in the morning - Suemi Capitals - Can't deny that I love you - Omen Al williams - I am nothing - La Beat John Wesley - Love is such a funny thing - Melic Honey Bees -Let's get back together - Garrison Timeless Legend - I was born to love you - (Keb Darge remix) Milton Parker - Women like it harder - Closet J. Jocko - I'm gettin over - Kama Sutra Detroit Sounds of Friction - I'm leaving you - Heavy Sound Irish Greg Sandra Stephens - I really love you - Daran Tony Clarke - Wrong man - MS Herb Ward - Honest to goodness - RCA Tomangoe's - i really love you - washpan George Blackwell - Can't lose my head - Smoke Dynamics - I need your love - RCA New Wanderers - Let me render my service - Ready Gary Dean - you can say - Young Tyn-Tynes - Baby I love you - Music Box Andy Rix Jimmy Radcliffe - The thrill of loving you - Jaysina acetate - unissued Herman Lewis - Wh's kissing you tonight ? - Bell Sound acetate Chris Bartley - I go out of my mind - T.M. acetate - unissued Gloria Edwards - My love keeps getting stronger - UK Edsel CD track EDCD 611 Phonetics - Just a boy's dream - Trudel master tape Wallie Hawkins & Rose Marie McCoy - Switch around - Beltone acetate - unissued Masquaders - That's the same thing - Soultown Appointments - I saw you there - De-Lite Fascinators - In other words - Bombay Dynamic Three - You said yeah - Del Val Jean Wells Band - With my love & what you've got (inst.) - Select Sound acetate unissued Jesse James - Love is all right - Virtue acetate - unissued Royal Five - Don't stop - unissued Tyler Bobby Reed - Baby don't leave me - Shrine unissued Commotions - Sock it to me - RCA Custom acetate - unissued Harthon Band - She's wanted (inst.) - Virtue acetate - unissued Cashmeres - Don't let the door hit your back - Edgewood acetate - unissued version Cindy Scott - I wish you the world of happiness - Virtue acetate - unissued J. D. Bryant - I won't be coming back - Shrine Dave Rimmer Patience Valentine - If you don't come - SAR Bud Harper - Wherever you were - Peacock Cody Black - I'm slowly moulding - King Barbara Lynn - I'm a good woman - Tribe Enchanters - I'm in love with your daughter - Faro Major Harris - Call me tomorrow - Okeh Seven Souls - I still love you - Okeh Falcons - good good feeling - Big Wheel Doni Burdick - Bari track - Sound Impression Fiestas - Think smart - Old Town Lillian Dupree - hide and seek - D-Town Vashonettes - Mighty good lover - Checker Kenny Wells - Isn't it just a shame - New Voice Sparkels - Try love - Old Town September Jones - I'm coming home - Kapp Jimmy Wallace - I'll be back - Alpha Reggie Alexander - It's better - Boss Sam Fletcher - I'd think it over - Tollie Bobby Hutton - Come see what's left of me - Philips Johnnie Mae Mathews - I have no choice - Big Hit Jimmy Ricks - Oh what a feeling - Festival first up in 1999

Shades of Soul July 1999 Recently had the good fortune for this to fall through my letterbox, yet again another excellent mag authored by Derek Pearson. 60 pages jammed full of stuff. Highlights in the Jul 99 issue are 5 pages on parkers in manchester, a excellent article on life after wigan, loads of vinyl reviews, label listings,interview with Andy Rix ,willie t thing, and loads more. Has a wide spectrum of coverage on all things soulful, with many contributors, mark hanson, john pugh and one I'm sure I've heard of before a pete smath from st rossiters or somewhere, my view on "Shades of Soul" is its one that you keep picking up and picking at it, know what I mean a few minutes there and a few there, and always find something new each time, full of info. Enough of my words here's some clips to give you better idea of content: Interview with Richard Searling, vinyl reviews and info clips 'Derek Pearson interviewing Richard Searling 5th May 1999 DP 'What was early nineties background to why you started Parker's ? RS 'Well the Expansions shop had opened in Manchester through John Anderson's inspiration in 1987 and we had a couple of fairly rough years but none the less we survived. Dean Johnson become Shop Manager in October 1989 and around that time someone had pointed out that there was an hotel in central Manchester available for functions so I popped up to have a look as it happened to be close to the shop anyway. I felt I could work there, you usually get a feeling in these places whether you can work with the management or not straight away. I encouraged Dean to have a look at it with me and I remember the first night we went down there into basically what was a cellar, albeit a large one. The first night I think I remember it was about January 1990 we played Jelf Redd "Love High" and got a good response. There were about 160 people in for a first night, although a lot of it had to do with the fact that Manchester had heard nothing like this before, it was that we were supplying the right kind of music, easy listening lounge music I call it and getting a very nice up-market mixed race crowd in there. Apart from numbers growing the profile of the crowd did not change over the next four years apart from when we did a northern night or when we had an artist on. It was amazing really the crowd that were attending were just the kind of people we were looking for, we were not haunted by any of the trouble makers getting in. The reason a lot of people liked the place was for the atmosphere and the music, you don't find many people going somewhere just for the music alone its got to be a bit of both really. I do know people that have tried other places just for the music, but I reckon if you can have both then you have cracked it. DP 'As I've pointed out before you've got to have the music, the venue, the DJs willing to play plus importantly the crowd have to be willing to listen. "what would you say was the reason for your success at Parkers? " RS 'Well Dean and i have always worked well together because basically we play different stuff, there is nothing worse than working with a DJ that you feel all the time wants to be you and attempt to spoil what you are doing. Dean would play things that I would think 'Christ that's brave' and he would drive me on, we work well off each other, the chemistry was very good- I think with DJs there's an element of envy and if they see someone who is successful they think he's successful because of what he plays when in fact its not what you play it's the way you play them. It also boils down to what type of a crowd are in, if they're difficult you can end up playing what you consider a very ordinary set. With the right people in the right room and the right music and you can go onto another level". DP Where as Parkers was only once a month it saddens me that there no where else you can go to nowadays once a month RS "If i was getting more people in at The Howard then I would probably run it once a month, but as it is I've got two rooms going which I think is right and we attract about 250 people, If I was getting 400 1 would probably run it once a month". DP "Is it a case of we're all getting older and money's tighter ? RS 'No i don't think it is that, Its very difficult to say really because on the face of it there are still as many people chasing the records and talking about it. But they do seem to be more selective about the venues they go to, I've still not done the night that 1 really want to do do. I've got so many fantastic records which just never ever touch in the box.I just think if I could ever get a scene going at the Half Way House again where we played nothing but ballad's all night but they were up dancing, there's still a wealth of that kind of music being recorded today, but to get away with that in clubs is very difficult and even at the Southport weekender although I still play them, I always have to have the Futures "Ain't got time for nothing" lined up, great record that it is I don't want to be playing it when there's other quality record from an album to play". DP I suppose with dJing you never know when you are going to stop and if you're still buying, you've got all that great material and you'd cry if you never got the chance to air it. RS "I know I'm very lucky, I've got the radio show for that, I think I've played most things on it, but first of all its got to be the radio its got continuity and basically it gives me a lot of satisfaction doing it. But there must be a time to get a club going playing radio music and attracting 2 or 3 hundred in on a weekly or monthly basis. DP "Going back to Parker's many people went to hear your exclusives ? " R8 "I recall The Affair's 'New Life" remix which i don't ever think came out in the end but that was a lucky streak that we were going through which happened to coincide with having the club, at that time I used to spend alot of time chasing the record companies, because i had the time to do it, I worked in an office where I could spend a couple of hours a day ringing EMI, MCA and all these people or going to London. Right now I don't have that time so yes I was.. continued in issue JOE & MACK - DON'T YOU WORRY (One-Derful 3099) One of the more elusive sounds on a label which is fairly easy to collect - there must be millions of One-derful imports in the UK, seemingly not many of them are this duet from a Sam & Dave type pairing. At first listen, it's in one ear and out the other, but the more you hear it, the better you get, mainly due to the insistent horn riffs throughout. Listed at £100earlier in the year, did Anglo American ever sell that 1 wonder, as I've had this listed for half that amount for 6 months and it hasn't moved. $ BRAD LUNDY - (I'M AT) THE BREAKING POINT (Julmar 2647) An absolutely stunning beat ballad, perfection in fact, but marred by the fact that every pressing I've heard of this - and I've had three this year - are appalling quality. I'm told that the blue label copies are second issues, if that's the case, they must have dubbed it from a scratchy original, because even mint copies have surface noise and are recorded at too low a volume. As for the record, it's a big voiced vocalist backed by a full orchestra and some wailing girlie back-ups, great song (written by Brad himself and a real kitchen sink production. If you like the beat ballad sound, 1 can't recommend this highly enough, it's stunning. Label was based in New York. Price from £30 to £45. $$ (Additions: even before the mags out - Karl Mitchell writes: It first came out on Lundy which presumably was Brad Lundy's own label, the sound quality on this is superb but on the Julmar release it's very Lo-fi, don1 forget Denna Johnson's version on Wild Deuce.) LONNIE LESTER & CHUCK DANZY - AIN'T THAT A SHAME (Nu-Tone 209) One of a pair of Lonnie Lester singles on Nu-Tone doing the rounds at the moment, this one's a minimal r & b stomper with a driving guitar backing, ifs uptempo and repetitive and, apart from a messy middle section, is just right for a scene currently dominated by r & b dancers. miminal production values, this is obviously a five take but nonetheless, this is how music is meant to sound, raw and alive. Was on a certain dealers fist for £5 fast year but price is now £30 to £40 and that can only increase as it picks up spins. DELLA REESE - BLOW OUT THE SUN (RCA 8070) An early dancer circa 1963 I'd say, similar in style to something like Ketty Lester's "Some things are better left unsaid". Echo laden production, nagging but effective backing vocals, some great timpani and a fair song - and Della Reese always had a strong voice. Typical of today's type of newie, this is well above average and a very enjoyable couple of minutes listening. As with the aforementioned Ketty Lester disc, all copies seem to be issues, which is strange for RCA- $ UPTONES - TAKEN FOR A RIDE (Watt's 901) Well 1 thought this sounded a bit familiar, and lo and behold, ifs The Saints"I've been taken for a ride" - and when 1 say it IS The Saints, that's exactly what I mean. This must have been the local label issue before it came out on Kent, but why the group name was changed I've no idea. A very slick production, a catchy tune and a great arrangement with chimes, brass and a nagging guitar lick throughout, plus great vocals too, this is an excellent midtempo dancer which really is excellent. $ CHARLES BERRY - NEIGHBOUR NEIGHBOUR (Jet Stream 708) From Huey P. Meau3Cs Jet Stream label comes this - possibly original - version of the well known Jimmy Hughes/Ad Libs number, and it's a rollicking r & b dancer with a throaty vocal and excellent brass and organ backing. It's all a bit minimatistic but the guy's got a great voice and this is tailor made for today's scene. Pretty hard to come by, seen listed for £40 recently. $ JOE DOUGLAS - CRAZY THINGS. (Playhouse 10008) Onto a bit of real class now, and this is a number thats been reactivated over recent months and has consequently doubles in price from the £25 it was selling for last year. Playhouse is a Philadelphia label - note the Swan-style checks on the label - but the Detroit credits (Jack Ashford and Mike Terry) assure it's collectability. Not only that, there are two cracking sides here. Originally spun for the uptempo "Something to brag about, connoisseurs will now appreciate the dreamy midtempo sounds of 'Crazy Things", with it's chugging backbeat and stylish brass interjections. Nice vocals and an excellent production, with some clever lyrical couplets to boot. There are two different pressings of this, differing only in that one is a darker shade of blue than the other and the typeface is slightly different. $$ DRAKE & THE EN-SOLIDS - PLEASE LEAVE ME (Alteen 8662) An old-school style stompalong from a group who sound years behind the times; hard to believe that people were still making records such as this as late as 1968. That's not to say it's bad record mind, far from it - ifs one of those 'instant' records which propels you to the dance floor the second you hear that drumroll intro and it charges along at breakneck speed, propelled by an insistent rhythm guitar. Superb harmonies abound, often drowning out the lead singer, and do my ears deceive me or does the whole thing actually accelerate towards the end? Brilliant stuff.$$ more 45 reviews VALA-QUONS - WINDOW SHOPPING ON GIRLS AVENUE (Tangerine 951) This lovely mid-60's dancer begins a la "Expressway to your hearC with various traffic sound effects added, before turning into a catchy clip-clop dancer. Strong lyrical hook in the chorus "Go window shopping on girls avenue, til you find one who's good for you". Can't tell if this is a black group or a white one, but whatever, this has had a few spins on and off over the years but never really risen to any great heights - it deserves more exposure. Note that this song was published by Jobete Music so there's probably a Motown version of this rotting away in the vaults somewhere. $ ROSE ST.JOHN & THE WONDERETTES - MEND MY BROKEN HEART (U.A. 997) Detroit magic from the group that bought us "I feel strange", though this major label release has no Detroit credits whatsoever, which I find strange, especially as Mike Terry's trademark baritone sax is way to the fore. Both sides are very strong, "Mend" being the preferred side but the flip, "And if I had my way" is also awesome, slightly slower pace but equally as good. Two perfect examples of Detroit Northern Soul of the female variety. Add to this their Veep 45, and you have a handy little C.V. for Rose and the girls. Price-wise, anything from £50 to £75 for a white demo. SKYLINERS - EVERYTHING IS FINE (Jubilee 6606) Surely one of the most underrated records around at the moment, this first came to light on the Soul Underground 2 CD, since when several people have picked up on it, though ifs yet to make a big breakthrough. A truly majestic performance from this legendary doo-wop group in the twilight of their career, and this is a real feel good record, midtempo and mellow, with handclaps and fabulous harmonies to give it an extra something. Absolutely brilliant, buy it if you see it, should only cost around £15. $$ THERESA LINDSAY - IT'S LOVE (Correc-Tone 1053) Here's a gem among gems, what a record this is, and how fortunate I consider myself to have managed to pick up a copy. Last seen for the extraordinary price of £ 140, 1 picked this up in a job-lot for a couple of quid where it was listed as the other side, "Good idea", which is very similar to her "Gotta find a way'. However, my eyes nearly popped out of their sockets when 1 saw what was on the flip; sounding poles apart from the messy upternpo A side, this one is a Van McCoy composition and is notable for a very sympathetic, string laden Dale Warren arrangement, and those violins soar in and out as Theresa finds true love for the first time and sounds well pleased about it. "Say it, say it over and over and over' she pleads in a heartbreaking voice towards the end of the record, reducing the listener to a quivering wreck with her intensity. What a record this is! Never will this one ever leave my collection! MARVELOUS RAY - WHIRLPOOL (Abner 1004) Richards old Baby Washington cover up, Ray is a female, albeit deep voiced, and this track turned up on the Thelma cd by Pat Smith as "Going through a whirlpool". Midterapo stomper with a Detroit feel to it, this never lets up from the off, and should never have been dropped from the playlists so quickly because it's got just about anything you could ever ask for in a Northern dancer. All copies seem to carry a "Chips" sticker (presumably the record plugger), peel off to your peril - that's why there are so many "tear on label" copies about. Price, £30 to £40, worth every penny. BARBARA LYNN - THIS IS THE THANKS I GET (Atlantic 2450) No apologies if I've reviewed this before, and I think I did, many years ago, but now it seems that people are finally sitting up and taking notice of fins magnificent beat ballad item. It goes from a whisper to a scream m mere seconds, with ifs seemingly innocuous intro suddenly becoming a heartfelt plea from Barbara telling her man to treat her right. It builds and builds, instruments being added every few bars, until the kitchen sink is in there at the end, along with girl backing and Barbara m fine form. heard this spuri at the 100 Club in November, apparently it was also spun there in December, so nows the time to buy it while it's still relatively cheap. The $ signs are ratings out of 5. Hope you enjoy these. Cheers. Pete Smith Sydney Joe Qualls I don't do this" (20th Century LP) reviewed: Issue 1 (Jan'84) Darren Harden Not as instantly memorable as records such as the Four Tops*, but this mid tempo floater is certainly picking up much interest. Taken from his 1979 album 'So Sexy', under the guidance of Carl Davies, this track may take a while to sink in, but is well worth the inclusion in any 70's spot. * let me set you free" Casablanca LP Jimmy Cobb "So that nobody else can hear" (Contempo Vibrato LP) reviewed: Issue 2 (July '84) StuartRaith As Jimmy is a jazz session drummer, this late 1983 album is as one would expect jazz orientated, but wait! The title track on side one is brilliant soul, the slow shuffly intro reminds me of Nina Simone's "My baby cares". Greg Hines and Marilyn Redfield are the two singers and the overall structure of the song is in the classic Marvin & Tammi boy loves girl mould! "Speak softly darling, whisper gently in my ear.... so that nobody else can hear". Greg and Marilyn's mellow voices blend into each other so skilfully they tend to distract the listener from the distinguished backing musicians, who include Freddie Hubbard and Pee Wee Ellis. 1 hope you all get to hear this, it could just have easily come from 1963 instead of '83. Mandrill "Love Song" (Polydor album 5059) From the album 'Just Outside of Town' which provided the northern side Never Die', comes a quite brilliant deepie which stands out like a beacon, in an album full of so many different styles from this Multi-Racial group. Well, what's it like? if you can imagine the best 70s ballad's from groups like the Dells, Bloodstone, or the Dramatics, then you're pretty close to guessing the pedigree of this epic track. The cut starts quietly enough, just tinkling piano, then horns, flutes and strings are added to the 'Melting Pot', before the stunning 'lived in' vocals appear, 'If the world was to end tomorrow would we have reason to live, no flowers or trees, just a sad lonely breeze'. Cool harmonies, and imaginative strings abound throughout, together with a great drawn out sax break, I can't recommend this outing highly enough, thankfully the album has never been that scarce, so check it out now!! Eddie Hubbard (March'99) Greg Tormo (New Jersey,USA) writes: Lynn Vernado lives in Oklahoma where she is an ordained minister. She still sings and records, but it's all gospel stuff. She sent me her latest CD about a year ago, along with a load of her Jesus literature with her photo m the pamphlets. She couldn't remember much about "Wash and wear love" or "Second hand love", except to say that Miles Grayson was the guy to talk to about them. She had no copies of either record- And believe it or not, her nephew is none other than Snoop Doggy Dog. Mel Brit is a really great guy, very friendly and Ul of interesting info, and he currently works in a "Chicken & Rib restaurant in Michigan. I gave Ian Levine his phone number so that he could be filmed singing " She'll come running back" for his movie. Did you all know that the group The Exciters who had a hit in 1963 with "Tell Him", well two members of that group got married and became parents of a son, known to the world as songwriter producer L.A. Reid. For those that need to know, when you hear of the swingbeat and R&B producers LA and Babyface he's the LA bit. They've produced Bobby Brown, Blackstreet, R Kelly, Michael Jackson and many many others. Herb from Peaches & Herb: A recent interview with Herb revealed he is now working as a security guard in a court house protecting judges. He says he has found another Peaches and is now looking for a record company to sign them. He wants to get back into performing and recording. Heard that the Rev. O.C.Smith is doing well in California and has been a full time minister for over 25 years. He performed the marriage of MarilIyn McCoo & Billy Davies Jr (5th Dimension) and then renewed their vows for them 25 years later. "Wade Flemmons, who was on Vee Jay Records in the 50's and early 60's passed away approximately 4 years ago, his funeral which was held in Battle Creek, Michigan (Wade's home), was financed by the Rhythm & Blues Foundation. Wade Flemmons was also an original member of Earth, Wind and Fire. He and Maurice White formed the group m Chicago, there was also a female member of the group Sherry Scott who is still singing jazz today. She and Wade were married, however wade left the group with a broken heart. He never recovered". mmdells DP adds: Maurice White learned his trade as session drummer at Okeh during the 60's playing on all the Radiants recordings and on Ramsey Lewis's 1966 hit "Wade in the water". source: R Pruter 'Chicago Soul' book. Ron Kersey is a keyboard player and original member of the Trarrimps. He wrote and produced their smash, "Disco Inferno. " He also arranged for the likes of the O'Jays, Norman Harris, Love Committee, the Temptations, Billy Paul, First Choice, Major Harris, Dee Dee Sharp and others. He moved to the West Coast in the early'80s and produced a number of acts including Stephanie Mills. Norman Harris died in April of 1987. He had heart problems. He, incidentally was a cousin to Major Harris. Details for ordering are : Derek Pearson 30 henry st thornton bradford w.yorks UK BD 13 3 JE email d.pearson@bradford.ac.uk subs £10-3 issues UK,overseas contact at email address