Mike

Kim Tolliver - Then and Now soul source Kim Tolliver More info addded 20 Mar The other day received some email regarding site from Andrew Hamilton, it turned out that Andrew Hamilton from Cleveland apart from being an respected writer on USA soul scene and journalist (you may have read some of his informative articles in Soulful Kinda Music, AMG Bios, LP/CD reviews), also co-wrote the mid 70 s northern spin "I dont know which foot to dance on" by Kim Tolliver. Well also he had the bad news that Kim is now in hospital in Cleveland and in a bad way. Bearing this in mind and also that he gave me a lot of info on her I thought I'd share it with you. For those around the scene in the 70s one of the most rememberable sounds of the batch of 70s spins, was "I don't know which foot to dance on" from its unusual western type intro to the main funky stomping meat with the powerful vocal of Kim Tolliver giving it a uptempo southern soul touch. Other info on this track is Andrew Hamilton co wrote the track with her husband Fred Briggs.It was initially published by Briggs' publishing company Power Cube then Groovesville Publishing in Detroit, MI. Johnny Taylor was supposed to have recorded the song, but it never happened, so Fred cut it on Kim and released it on his own label. Briggs also recorded as Coldwater Stone. Whilst this track is the only impact Kim has had on Northern circuit her other recordings are well respected in the mainstream soul department, some say her best stuff was during the Rojac day a listing of her singles follows: IN RETURN FOR YOUR LOVE/GET A LITTLE SOUL-SURESHOT 5037 I'LL TRY TO DO BETTER/I GOTTA FIND A WAY-ROJAC 126 TUESDAY'S CHILD/(YOUR TRYING TO) COP MY STUFF-ROJAC 128 LET THEM TALK/I'LL TRY TO DO BETTER-ROJAC 129 DRIVING ME TO THE ARMS OF A STRANGER/I GOTTA FIND A WAY-ROJAC 131 I CAUGHT YOU/GET MYSELF TOGETHER-GAR 322 I DON'T KNOW WHAT FOOT TO DANCE ON/same inst.-CASTRO 101 STANDING ROOM ONLY/YOUR LOVES ON THE MONEY-PATHFINDER 101 WHERE WERE YOU/same-TAY STER 5600 (12") On the LP side it is a little know fact that she has recorded two LPs, I have since found both on net, and just awaiting next record order day to grab one. Anyone out there heard any of them? Come And Get Me - I'm Ready / Chess Passing Clouds - Kimberly Briggs - Fantasy (her husbands surname) Mike Grey passed on the track info of the Chess LP Tracks : The other side of town She don't know you like I do Come and get me I'm ready The way he used to I need you (Come as you are) Drop whatever you're doing Takin' a woman's stand I'm losing the feeling Learn to get along without you All written by Fred Briggs or D.K.Briggs (Kim?) 1 by Clarence Reid 1 by W.Hale/Beaver All tracks never released on singles Mentioned on the Blackpool Mecca CD sleeve notes is the fact that Kim is now a respected R+B DJ in Cleveland, well unfortunately this wasn't true, afraid whoever gave this info got confused as Andrew points out, "Kim never was a disk jockey in Cleveland, Lynn Tolliver, Dave Tolliver, and Kim Sellers are all D.J.'s on the most popular Urban Station in Cleveland -- WZAK. The first two are men, both related with Dave being one half of the Urban Duo -- Men At Large. Sellers is a female and the wife of former NBA Player, Brad Sellers. Though to be fair its easy to see how mistake was made. " As said early Kim is in a bad way nowadays, really sick and with her mind almost gone Andrew sent in a photo of her taken about 5 months ago with one of her grand-daughters which is printed below. As someone who has enjoyed the pleasure and good memories her recordings have given me, I would just like to pass on to Kim our thanks and best wishes. mike Thanks go out to Andrew Hamilton for all the info and also to Nobby for the singles list and Mike Grey for the track listing.

The following article and the Mary Love story was ripped from a great mag called Soul Underground, The winter 94 issue, I don't think the mag is still going and it seemed a waste for good articles like these to be lost. If anyone knows different please get in touch. Mark Sergeant wrote a great article on the "case for defence for modern soul" and even though its 4 years old reckon it's a good view on a old subject. The advent of Crossover Soul has seen a degree of acceptability finally afforded towards what is now regarded by some as 'Traditional' Modern Soul. The term 'Modern Soul' has been used and abused to describe most records played at Rare Soul Venues almost since its inception. It is generally accepted at The Blackpool Mecca Highland Room Soul Nights, under the guidance of DJ's Ian Levine and Colin Curtis and was the birthplace of the bastard child of Northern Soul, Modern Soul. As the sixties gave us Motown commercially, so the seventies begat Philly Miami. The Underground Soul Scene drew on the Motown influences, turning up obscurities Title a similar style of sound shaping todays scene in its formative period. Parceling that simplified and generalised 'Birth of the scene in one sentence' statement, Levine and Curtis picked up on obscure soul dance tracks that were only a few years old, similar but less 'commercial' then the then fast rising in popularity gamble and huff empire of Philadelphia International Records and to a lesser degree The Miami Sound, (that would eventually become T.K. Records), was also enjoying chart success via George McRae and KC and The Sunshine Band. Early inclusions on their innovative playlists were The Carstairs - It Really Hurts Me Girl, the fantastic Johnny C - Don't Depend On Me, King Sporn - Music Maker and Bobby Franklin - It's The ladies Choice. At this particular time 1974, many regulars on the scene would first go to Blackball Mecca and then travel on to Wigan for the Allnighter. Wigan was then musically a bastion of the traditional (and Motownesque) four beats to the bar sixties style sound. Black Music Magazine 'investigated' The Northern Scene publishing in effect an expose, keeping with the best traditions of tabloid journalism 'they' sensationalised and attempted to suggest there was a massive rift because of the 'New' Soul as played at Blackpool. As it is now on The Rare Soul Scene, not everyone likes every record played and some take longer to gain acceptance, so it was then. Obviously a major change takes time to take place and Levine and Curtis played the more modern sounding tracks along side 'Traditional' Northern Soul. Granted a few held strong uncompromising views, The Black Music Magazine feature effectively poured fuel on the fire. The following months saw the rift grow into a yawning chasm with hordes lining up behind either Levine or Wigans' Russ Winstanely. In the course of time the differences subsided, Wigan via predominately Richard Searling began to programme some of the 'less traditional' sounds. The controversial subject of Modern Soul and its validity on The Rare Soul Scene has come to a head on a number of occasions since. Jazz Funks advent, along with The Ritz Alldayers in Manchester saw the first of several fragmentations's leading to mini exodus's from The Northern Soul Scene to pastures new. Although new tolerances were purported to exist, some attitudes were still running deep. Soul Sam managed to get himself sacked from The Wigan DJ Rosta for playing Casanova by Coffee - then a new release. Elsewhere Yate and Cleethorpes had accepted 'Modern Soul' alongside Traditional Northern. The Stafford and Leicester era saw Modern Soul reach arguably its most acceptable level in the mainstream Northern Scene. Then the mid-eighties sixties newies backlash happened, in effect attempting to drive Modern Soul Away. For a period the north east was the standard bearer for Modern Soul with Snaith, Rotherham and downstairs at Bradford consecutively keeping 'Modern Soul' Alive, although there were other venues (Rock City for instance). Weekenders in the northwest saw London Area Soul DJ's Mixing their Rare Groove and two step scenes with the Modern Soul Scene. A handful of Modern Soul Allnighters went off in Bedford. Richard Searling in the north and the likes of Bob Jones and Steve Hobbs in the south had Soul Radio Programmes which opened some more doors. Of course the voices from the shadows real soul nights in Thorne also made a significant contribution. The advent of garage saw the expanding Modern Scene fragment again. Those that choose to remain with 'tradition' modern soul instead of followings the direction they had been going turned their collective back on anything that had even, a hint of garage(or house) music, going back to the late sixties and early seventies searching out previously overlooked tracks. Collectively these sounds, the records of that particular genre, are called Crossover Soul. Collectors from the (mainly) sixties Northern Scene have also picked up on Crossover Soul. Currently there is a tentative harmony on the scene, at least regarding the subject of Modern Soul. So what has happened to 'traditional' modern soul expanding on the use of the term 'traditional' modern soul, I am referring to the type of modern soul that has received a degree of 'respectability' on the northern soul scene by being played at righters alongside sixties northern differentiating from the "modern' soul as played downstairs at Bradford - after the change in policy, which encompassed house and garage flavoured upfront dance tracks. Depending on the scenes mood, records that by their year of origin (after midnight 31st December 1969) are regarded as modem soul have reached a sizable level of acceptability. In both terms of demand and inclusion on playlists. During the mid seventies, Billy Woods - Let Me Make You Happy, Candi Stanton - Now You Got The Upper Hand, Anderson Brothers - I Can See Him Loving You Were, Among Others, elevated to 'monster' status packing dance floors almost everywhere. Others such as Alfie Davidson - Love is ~ Serious Business, Greg Perry - It Takes Heart and Benny Troy - I Wanna Give You Tomorrow - all modern tracks were literally played to death. Also the quality of small independent soul label material saw many modern soul DJs include a number of new release records in their set Something that also didn't sit too well with the sixties only Paternity who by that particular attitude were actually turning their back on how their scene started.New releases were played at the wheel and the torch; it was only the lack of new releases that saw DJ's and collectors searching out obscurities to satisfy the thirst for continual 'new' records back where it all began. Stafford, in the early days also provided a number of (now) classic modern soul tracks, try Jan Jones - Independent Woman, Glenda McCleod - No Stranger To Love. Garfield Fleming - Don't Send Me Away for instance. All but the most blinkered have to admit Flat modern soul, in its "traditional" style has, like it or not, become an integral part of the scene.Of course it can be argued that the scene is built on rare sixties soul. Never mind argued, it's an unequivocal fact. The backbone and lifeblood of the scene is sixtiessoul, but there and indeed almost always have been 'other' sounds featured. R'n'B flavoured tracks have enjoyed lesser and greater amounts of needle time over the years, dependent on the musical tastes of the particular period. Also the Latin inspired numbers had a degree of popularity not too long ago, then of course the advent of the beat ballad and the upsurge of interest in mid tempo tracks have all seen popularity increase. Yet the sixties soul sound that is the scenes musical mainstay still remains, so why is there still opposition in some areas to the acceptance of 'traditional' modern soul. The only conclusion I can reach regarding this illogical rejection of one particular contributor factor to the overall structure of the rare soul scene isthat perhaps they kisguidely assume that if modern soul is given a overall acceptance it will hijack the scene. Quite simply this is not true, the scene thrives on sixties soul and sixties soul will continue to provide else vast majority of the scenes sounds. Modern soul in its 'traditional' guise has served its apprenticeship, has come of age, is waiting for the key to the door. Modern soul has been around since 1974, that's almost twenty years. A countless amount of classic northern soul records have arrived via modern soul, so many infect as there is almost a strong case for innovative allnighter promoters to introduce regular modern soul oldies DJ's. Not as unlikely as some may assume, as well as the in-vogue crossover soul, that has seen many barriers fall there are three eras of even 'traditional' modern soul that potential specialist Dj's could draw from. The early years of Blackpool Mecca, the late seventies early eighties period when quality (major label) soul dance track releases were available in abundance, and the most recent era where the likes of soul sam and Arthur Fenn pushed boundaries even further. The whole scene's recent (re-discovery of quality soul coupled with the general drop in tempo has made the overalI acceptance of modern soul in mainstream northern soul probably the least controversial it has ever been. After all 'modern soul' has been around for twenty years, almost so its most definitely not going to go away. Many soul nights that are the grass roots of the scene regularly feature 'modern soul' so what's the major hold up at the majority of regular allnighters. If the time is not right now for modern souls acceptance by the scene, I doubt if it ever will be. MARK SARGEANT 1994 Soul Underground

D-1011-A THE SUPERLATIVES....DO WHAT YOU WANT TO DO (J.Edwards-A-.Lanot-G.Jones J.Hendricks) (2:24) Produced by Dynamics Record Co. - Jay Bird Publishing. D-1011-B THE SUPERLATIVES FORGET ABOUT TOMORROW (A.Harrell) (2:46) Music by Big Bubber Combo (T.Russell on Organ) Other credits same. Note: This was also issued with a 'B' number prefix after It was re-mixed by Don Davis at United Sound. D-1012-A SUPERLATIVES WON'T YOU PLEASE [bE MY BABY] (T.Russell-J.Edwards)(2:22) Produced by Dynamics Record Co.Labney Music Pub. - D-1012-B SUPERLATIVES DON'T EVER LEAVE ME (T.Russell-J.Edwards) (2:07) Other credits same. D-1013-A THE ELDEES DON'T BE AFRAID TO LOVE (D.Yancey) (2:07) Produced by Dynamics Record Co. Labney Pub. B THE ELDEES YOU BROKE MY HAPPY HEART (A.Abney) (2:08) Other credits are the same as 'A'. D-1014-A THE DYNASONICS "YOU GOT IT" [iNSTRUMENTAL] (S.Rivers Jr.) Produced by Dynamics Record Co. Laboey Publishing. B THE DYNASONICS SOUL BUG [iNSTRUMENTAL] (A.Smith) (~:40) Other credits same as 'A' D-1015-A ACE JONES WAY DOWN YONDER A LETTER TO MOTHER No other details known D-1016-A THE SUPERLATIVES DON'T WALK AWAY I DON'T KNOW HOW (TO SAY I LOVE YOU) (R.Washington) (2:27) Music arranged by Darius Moore. Produced by Dyna-M.A.P. Productions.Labney Music Pub. B THE SUPERLATIVES LONELY IN A CROWD (F.Robinson) (2:15) All other Credits same as 'A'. Note: This reached #39 R&B Charts March 1969 when issued on WESTBOUND #144.A cover version by CARL CARLTON titled "Don't walk away" on BACKBEAT #610 reached #38 in r + b Charts in October 1969.R.Washington is Rhonda Washington who recorded for Volt as HOT SAUCE D-1017-A THE SUPERLATIVES DON'T LET TRUE LOVE DIE (D.Moore,J.H.Glover3 (2:25) Music Arr.D.Moore.Produced by Dyna-M.A.-P. Productions. Labney Music Pub. B THE SUPERLATIVES SHE'S MY WONDER WOMAN (~.Moore,F.Robinson) (2:25) All other credits same as tA'. - Note:This was also issued on WESTBOUND #154. This article was ripped from Detroit City Limits Magazine by Graham Anthony (who also does a good record list) who can be contacted at:

Wheelsville usa listing Listing taken from Soul Express Summer 1986 101 JIMMY GILFORD - I wanna be your baby/ Misery Street 102 STEVE MANCHA - Did My Baby Call/ Whirlpool 103 LITTLE SONNY - Lets Have A Good Time/ Orange Pineapple Blossom Pink 106 MAGIC TONES - Got To Get A Little Closer/ Me And My Baby 107 CODY BLACK -I Will Give you my love/I am Particular 108 HINDAL BUTTS TRIO -Back Up Baby/Waltzing With the Parson 109 FABULOUS PEPS -With these Eyes/Love Of my life 110 LEE ROGERS -Love Of My love/How Are You Fixed for love 111 LIL SOUL BROTILERS - Ive Got Heart Aches/ What Can It Be 112 CONNIE VAN DYKE -These Words Wont Come/Dont do Nothing I Wouldnt do 113 BUDDY LAMP -Youve Got The Loving Touch/I Wanna Go Home 114 MAGIC TONES -How Can I Forget/Me And Mv Baby 115 INTERNATIONAL KANSAS -Evervbody Going Wild/Quitting time CITY PLAYBOYS 116 SILKY HARGREAVES -Ill Keep On Trying/ Love Lets Try Again 117 DON DE ANDRE TRIO -Sunny/ Watermelon man 118 LEE ROGERS -How Are You Fixed for Love/Cracked Up Over You 119 LEE ROGERS -How Are Vou Fixed for love/The Same things That Make You Laugh 120 BUDDY LAMP -I Wanna Go Home/Confusion 121 LEE ROGERS - Love Can Really Hurt You Deep/Love For a Love 122 BUDDY LAMP -Save Your Love/I Wanna Go Home 10001 FREDDIE BUTLER -Save Your love/(Bside not known) 10002 RUDI ROBINSON TRIO -I Want To Have Everything/Funny Listing taken from Soul Express Summer 1986

OK carrying on the interview series, Dave Rimmer respected DJ and also editor of one of top mags Soulful Kinda Music, agreed to give Soul Source a bit of time, read the results below: Dave Rimmer: Heres a interview with Dave before he embarked on his new career as webmaster! OK carrying on the interview series, Dave Rimmer respected DJ and also editor of one of top mags Soulful Kinda Music, agreed to give Soul Source a bit of time, read the results below: Q. OK Dave for the visitors who are not familar with yourself could you give a quick background on your involvement on the scene. (When you started and what you've done) You have to go a long way back for that. To 1972 in fact. That's when I started hearing the records my mates' older brothers were bringing back from The Torch and all the other clubs around then. My first real venture out on the scene though would have been the last allnighter at Va Va's in Bolton in 1973. My memory of that night is of being a very excited, and scared, thirteen year old who'd got to play with the big boys ! Originally from the Warrington area, Wigan was just a bus ride away, so that's where a lot of my youth was spent. I left the scene almost completely in 1978 though. Two reasons, one was the inclusion of so many crap pop records and instrumentals on playlists, and the second was I got a job in Wales which meant I had to start work at 6 am on a Sunday morning. By 1988 I was married, two children, mortage, responsible job, Mr Average, living in the Midlands, and bored. I kept seeing adverts for Northern Soul nights in Wolverhampton run by Pep, and eventually went to one. The first person I saw when I walked in was Pedro, who I'd not seen for nearly twelve years. It was like I'd never been away. In 1989 the idea was born for 'Soulful Kinda Music', and here I am ten years on from there, still attending 30 Soul nights a year and almost 40 allnighters a year. Q. How did you get into Djing ? and how did first time behind the decks go I'd done some DJing back in the Seventies, but only local youth clubs and Soul nights, I started DJing this time around in about 1995, again only local Soul nights, but people obviously enjoyed what I played because more bookings kept arriving. The first allnighter I DJ'd at was The Wilton, and I must thank Saus for getting me the booking, and I was nervous, believe me, I was nervous. fortunately I was on first so didn't have time to drink too much before I DJ'd, so it went ok.....ish ! Q. What current event gives you most enjoyment whilst djing It has to be the 100 Club in London. As far as I'm concerned it has the best DJs, playing the best music in the country on a regular basis. If you can DJ there, and do well, you can DJ anywhere. It's also the easiest allnighter to play records for the first time. The crowd are really receptive, and as long as the record is good will dance. There's nothing worse than playing a record, which you have faith in, to an empty dancefoor. Having said that, I enjoy DJing anywhere, I wouldn't do it otherwise. Q. Tip for the top, what underplayed gem do you reckon is gonna take off in near future James Conwell - The Trouble With Girls - 4J. It has been played at one or two venues, but hasn't really peaked yet, but I've noticed that the price has risen from about £15 to £70 in the last year, and that's always a good indicator that a record is going to break big fairly soon. Q. How would you describe the current state of the scene,healthy/fragmented/up? It all appears to be very healthy, lots of venues, lots of people coming back onto the scene, huge allnighters with1,500 punters through the door,two weekenders. Underneath though it is now very fragmented. The majority of the 'returnees' only want oldies, and I mean old oldies which has regressed the scene rather than shown any progression. There is also a strong attempt to get Modern Soul integrated into the Northern scene. I accept this could be thought of as progression. Personally I think it's just lazy DJs who can't be bothered to search for new Sixties things. And then there are the collectors / Sixties Newies fans, who feel slightly pressured these days, because of the other two factions. Q. If you could change any part of it for the better , what would you change? It has to be the clashing of venues. Nobody profits from this, it just splits the crowd and nobody has a good night out. Q.. Scene is always looking back, Wigan, oldies etc but looking forward for a change, how do you for see the northern scene in say 5 years time? I would say that it could be quite disasterous. My own view is that in five years time all the people who have returned to the scene recently will have become very bored with hearing the same records again and again, and will have gone back to their slippers and cardigans. In the meantime a lot of the venues that try to play new stuff will have been closed because they can't cope with competition from radio advertising and expensive promotions. I honestly feel that when the 'returnees' leave again it will be left to a few to try and pick up the pieces because once the big numbers disappear, so will the promoters who put the big oldies events on. Q. You've recently started northern nights at Pigeon club in Bolton with aim of getting people away from the oldies rut, how have they gone down The aim of the Pigeon Club allnighters was simple. Run an allnighter in the North West which was not oldies dominated. The South has the 100 Club, the Midlands has Albrighton, Yorkshire, The Wilton, but the North West was dominated by oldies allnighters. We picked the Pigeon Club because it was small, and we could control numbers by making it all ticket. The instruction to the DJs was play what you want, but keep an eye on the dancefloor. That didn't mean they had to fill the floor with every record, as long as it was good Soul music, you don't have to have a full dancefloor. Fortunately for us, a lot of other people thought it was a good idea, and the first allnighter was a complete sell out. In fact we could easily have sold twice as many tickets ! As a result of this we considered finding a larger venue, but in the end decided to stay at the Pigeon Club because it is a venue we can fill, cover our costs on, and small enough for us to have a good night out as well rather than having to work all night. The next one is on May 29th, and there are still some tickets available, and we will be running the allnighter on the fifth Saturday of any months with five Saturdays so that we won't clash with any regular allnighters. The real test though will be in October when we are having to clash with Togetherness. Q. Whats your views on some of the well known 70s people returning to the scene ...? It depends on their motives for returning to the scene. If like me, they came back because they enjoy the social side, or love the music, great. If they came back because they could smell money to be made I'm not very enamoured of that. I don't mind anyone earning a living, but it pisses me off when people who have had no interest in the scene for twenty years suddenly reappear and try and dictate what I should listen to, and where I should go, simply because they have the money to finance it. Q. How would you describe a criteria for a soul record that you would play? It has to be one I like, thus it could be uptempo, midtempo, beat ballad, R & B, anything really. Price doesn't come into it either, I'm just as happy to play something worth a tenner as something worth £600 when I DJ. I must admit to playing some records which I don't particularly like, simply because I know they'll fill the floor. A recent example would be 'If I Could Only Be Sure' by Nolan Porter. I don't really like it, but always used to save it to play after something I was playing for the first time, if my first play bombed and cleared the dancefloor, I knew Nolan Porter would fill it up again, and after all, the majority of punters are there to dance, and they pay the wages. Q. On to lighter things, most people either have a well funny or a well sad "record" story that usually comes out after a few beer whats yours? I suppose it has to be the story about 'Can't Stop Looking For My Baby' by the Fantastic Four. I'd been after a copy for a couple of years, and just couldn't get one. Eventually I bought a copy, and then another copy dropped through my letter box the same week. Search for two years...nothing....then two copies within a week ! Q. Everyone has in their head their own golden period of northern , where the sounds the places and the people were golden whats era is yours My answer is a little strange this time. For me the golden period would have to have been the Stafford era, and I never even went. But so many great records came out of the Top Of The World allnighters, especially the midtempo and beat ballad stuff that I don't think there will ever be such a period of originality from DJs again. I'm still hearing things now that I've not heard before, and yet they were played at Stafford. As far as people go, I'm enjoying my time on the scene more now than ever before, so perhaps the golden period is still happening. Q. Due to invading space aliens you've got 5 secs to get out of your house which just gives you just enough time to grab 3 records, which would you choose and why Johnny Mae Mathews - I Have No Choice - Big Hit .....Simply my all time favourite record Troy Dodds - Try My Love - El Camino....Used to be my all time favourite record until I heard Johnny Mae Mathews. Then I'd have to go back and fight the aliens off because I can't make my mind up over the third one, and couldn't bear to think of the aliens playing any of my records ! Q Book plug time!! Soulful kinda music is one of the top mags around, think you round issue 36 , how did it start, and any new exciting stuff planned. The current issue of the mag is number 37, and it's now been running ten years. It started because I couldn't find anything to read except Derek Pearson's Shades Of Soul. I can remember buying the first issue of Black Echoes, as it was called then, the first issue of Black Music, and bought Blues & Soul without fail. But ten years ago, Black Music has long gone, Echoes gives us about a page and a half, and Blues and Soul should be prosecuted under the Trades Description act. I can't find any Blues, or Soul in there these days. So to be honest I thought, "I can do that", so I did, and here I am ten years on. There is always stuff in preparation for the magazine, it can take nearly six months to research some articles, but at the moment there's nothing specific, you'll just have to wait and see. Q on soul source one of hardest things is getting new decent recent info, do you find the same for mag? As I said, it is hard work, and involves a lot of research, and requesting information from people. I'm fortunate with 'SKM' in that I have a lot of talented, knowledgeable contributors, so that takes a lot of the work off my shoulders. I think John Smith's motivation for writing explains a lot. His view is that unless it's written down now, the history and information will just disappear, simply because it was thirty years ago, and to put it bluntly, a lot of the artists who recorded the music we love, are now dead Q. Soul scene on internet has taken off quite a bit last couple of years with sites, mail lists etc do you think it can play a big part in scene in future? In one respect, yes. The net has provided me with a lot of enjoyment, talking about Soul music with people all over the world who I would neverhave 'met' if it wasn't for the net. But to me, the scene is also a social thing, and you have to be out and about on the scene to be a part of it. Q. Do you record hunt a lot on net, if yeah whats your best bargain find.and where:) I don't really bother record hunting on the net. I haven't got the patience to trawl though loads of crap just for one record. I tend to rely on connections I've made over the years for records. Q. Any chance of your current play list or a recent one It varies from venue to venue, and what I play this week might never get played again, or might be sold to finance the purchase of something else,but then I played last night are: You're Gone - Celest Hardie - Reynolds I'm In Love With Your Daughter - The Enchantments - Faro I'm Slowly Molding - Cody Black - King What Good Am I - Mickie Champion - Musette I'll Be Your Champion - Jimmey 'Soul' Clark - Soulhawk Can't Stop Looking For My Baby - Fantastic Four - Ric-Tic Crazy Things - Joe Douglas - Playhouse I'm A Good Woman - Barbara Lynn - Tribe Not Too Old To Cry - The Trends - ABC Paramount I Have No Choice - Johnny Mae Mathews - Big Hit A fair mixture of uptempo, midtempo, beat ballads, oldies and current niter sounds. Q Allright Dave cheers for the coffee but my tape recorders running out now, so gotta go, so to end with a bit of a "big issue" thing. Yeah old cd/vinyl thing,can you ever see the playing of cds.........................etc etc It's quite simple really........If a DJ wishes to use CDs fine, let him live with his conscience, but don't let him go on before me and start playing tracks off a CD that I've paid good money for on original vinyl. If you've got it on original vinyl, play it on original vinyl, if you've not....don't play it. Q Whats you favourite ender? It used to be 'The Drifter' by Ray Pollard, but now of course it's Johnny Mae Mathews. So there you have it as Johnny Mae Mathews played in the background and the Soul Source photographer was trying to take some shots of Dave, we were told by his minders that the interview was over, and to take our leave hence no photos. As we walked down the driveway of Dudley Mansion,still hearing the strains of" I have no choice "........ Thanks a lot Dave for above and if you want to find out about his Mag SKM goto fanzine section for contact details and clips of articles and reviews

John Vincent A few months back JV gave soul source this interview before making his reappearance at Lowton: Cast your mind back to the 1970s, a time of flares, discos, Saturday night fever, white suits, 3 day strikes, afro's, and so on,well that's what it was like if you believe what you read in the present national media, as with all things the past gets changed quite often to fit the present. Similarly on the soul scene, some parts of the soul media would now have us believe that all the 70's were about was wigan, wigan, wigan, and the image of beer towels, 40 inchers and a high proportion of uptempo soul of a dubious content is often portrayed. Well for those who were knocking around then we know that it was just a little bit different than that, all the venues and styles of northern had their peaks and their lows, and 20 odd years later as we see increased media interest on the scene, it has been good to see that standing out from the rush of born again soulies rushing back, one of the most influintial DJs has turned up, with not much noise and not even with a eye to sell CD complitations Yeah Mr John Vincent is about to make a comeback at the next Lowton Civic event. Those who where around, remember the time when Samantha's had more clout than wigan, when Job Opening, The Champion, I'm Coming Home ruled the roost, good days yeah? For those not around back then, read on and you will understand why the reapperance of one of top DJs has caused such a stir...... For the first time in exactly fifteen years John Vincent former Wigan Casino jock and Northern Soul heavyweight will DJ at Lowton Civic on the 27th March. DJing since he was fifteen in a blues club called "The Esquire" in Sheffield,he certainly cut his teeth on the Black Music of that period, brought up through the club scene of the sixties, Vincent visited the original Twisted Wheel club on Brazenose Street where Roger Eagle was the DJ, "This scene had a big effect on me and set me off on collecting vinyl for the rest of my life". By the seventies Vincent was more involved with clubs than ever and started the Sunday sessions at Samanthas in 1970,after the Torch closed the decision was made to run a monthly all-nighter which eventually became the weekly all-night event in 1974 which became famous. Throughout this period Vincent jocked at Sammys every Friday and Wigan Casino on Saturday consequently all his sounds were getting constant exposure. "An incredible scene I always played right across the board I had no hang-ups on music styles it was all just Northern" One thing that Vincent still remembers and is still quite proud of , one saturday night he jocked at Cleethorpes Pier all-nighter AND Wigan Casino on the same night. "I was always up to tricks like that some of the things were just crazy,although I would like to think that the way I jocked did have some effect on the scene at the time.One saturday at the casino I played the Del Larks back to back,part one and two with two copies I had at the time,£7.00 each was the going rate,when I picked them up! Sequed music was not normally seen on the Northern scene but I kept at it whether it was the Del Larks or Saxie Russell,one of the other tricks was cramming, in other words more sounds into your spot,I used to clip the records this built up the adrenalin and if you got it right then it often turned into a frenzy of Northern.DJs then generally didnt play requests, so at Wigan I turned it around and asked for dedications. Which worked a treat! So you could play a monster spot and slip in all the dedications which they all loved and consequently a very full and vibrant dancefloor all the time. Power to the people!" When Vincent bowed out of Wigan he moved on to St Ives and Peterborough All-nighters and all though these were good they didnt come up to his expectations,having worked all the main venues and the infamous Northern Soul road show over a period of seven years,Vincent left the scene exhausted totally drained at what had been a non stop life,"three days sleep a week for seven years was catching up,I just could not keep it up". In a brief flurry in 1983 when he came back and did a clutch of big venues including Morecambe Pier but by 1984 he had left the scene for good. Or so he thought ,back in 1990 he started to programme Northern Soul tapes into his car, "at the time I was doing over 1000 miles a week in my job and I was getting fed up of listening to the drivel on the radio so I turned back to my first love,which I realised I had a missed a lot.So over the years I have been to a gig every week only I have been the DJ and the audience and my car has been the venue" So to the present day and Vincent for several years has heard the call for a return to do the Legendary Samanthas revivals and now with people generally showing a interest in getting him back behind the decks again,he's decided- "Well I thought once more with feeling the last year of the millenium,I will be at Lowton on the 27th nothing has changed,my style is still the same,one big mix solid gold Northern Soul, one hundred per cent originals,classics,obscurities and rarities" Well one thing's for sure its been a fun trip........... Maybe the first record might aptly be Rubin "You've Been Away" Check it out Lowton Civic on the 27th March 1999................

Budweiser Label Listing For a change here's some info on one of the 80s collectable labels. Budweiser Showdown label came into being due to the beer people holding a competition, each area would have a contest with the winning group having their song pressed onto record and entering the national competition. It ran for about 7 years in the 80s and as you can imagine had a varied mix. Listed below are 25 of the best modern type soul ones. This label is also very popular in Japan with some commanding 3 figure prices PRESTON A. RAWLINGS - Forever Lover 12" 1987 San Digego BSR 731 HOTLINERS -Cold-Hearted 12" 1987 BSR 722 KOOLEY -Count 2-3 / AFTER 5 -Baby I'll Try 12" 1987 Miami BSR 719 CRESCENT CITY BAND - My Everything 12" New Orleans BSR 721 JEAN PAUL MARTINEZ -With You 12 ' 1987 Houston BSR 714 ELANS - Private Love Affair 7 " 1985 Atlanta BS 511 ROBERT OWENS - Must Be Lovin' You 12' 1988 Kansas City BSR 819 PROMISE - Betuna 12" 1988 Nashville BSR 825 CROSSWIND -Get Ready 12" 1987 Baltimore BSR 702 MALIK My Love 12" 1987 Boston BSR 706 QUINTEN WILSON -Just A Dream 12 " 1987 Tampa Bay BSR 735 SIR PRIZE -Never Can Find the words 12" 1987 Richmond BSR 727 HARRIET ADAMS Special Kind Of Lover b/w ALFREDA GERALD - Your Loves Got A Hold Of Me 12" 1988 BSR 801 CIHERYL HUNTER -Do It Right 7" 1985 Birmingham BS 509 RITA + CO-The Right Touch 12" 1988 Houston' BSR 833 ELLEN WRIGHT & LACE - Do You Want My Best Friend 33 rpm 12''1986 Seattle BSR 630 ROBERT ONVENS - In your Lifetime 12 " 1987 Kansas City BSR 715 FLAVOURS -On The Strength 12" 1989 Detroit BSR 913 BASIC BLACK - lt's All Over 12" 1989 Columbia BSR 912 CHAZ - Go for Love 12 1987 Pittsburg BSR 725 ROB & DANA So Glad 12" 1987 Carolina BSR 708 CHILDREN OF DESTINY - Be My Lady 12" 1987 West Palm Beach, BSR 736 CLASSIC REVUE - Don't Stop Knockin' 12" 1988 Baltimore BSR 803 MARY P. JACKSON - Your Touch Your Smile 12" 1987 Rochester BSR 728 MARLENA CHARLES - Indeed Your Love 12" 1989 data from soul undeground fanzine

Jr Walker Discography HARVEY 113 TWIST LACKAWANNA/WILLIES BLUES 1962 HARVEY 117 CLEOS MOOD/BRAINWASHER 1962 HARVEY 119 GOOD ROCKIN /BRAINWASHER 1963 SOUL 35003 MONKEY JUMP/SATANS BLUES 1964 SOUL 35008 SHOTOUN/HOT CHA #1 R&B,#4 Pop. 1965 SOUL 35012 00 THE BOOMERANG/TUNE UP 41U R&B,#36 Pop. 1965 SOUL 35013 SHAKE AND FINGERPOP/CLEOS BACK #7 R&B,#29 Pop. 1965 SOUL 35015 (IM A) ROAD RUNNER/SHOOT YOUR SHOT #4 R&B,#20 Pop. 1966 SOUL 35017 CLEOS MOOD/BABY YOU KNOW YOU AINT RIGHT #14 R&8,#50 Pop. 1965 SOUL 35024 HOW SWEET IT IS(TO BE LOVED BY YOU)/NOTHING BUT SOUI 1966 #l R&B,#18 Pop. SOUL 35026 MONEY(THATS WHAT I WANT) Part 1/Part 2 #35 R&B,#52 Pop. 1966 SOUL 35030 PUCKER UP BUTTERCUP/ANYWAY YOU WANTA #11 R&B,#31 Pop. 1967 SOUL 35036 SHOOT YOUR SHOT/AINT THAT THE TRUTH #33 R&B,#44 Pop. 1967 SOUL 35041 COME SEE ABOUT ME/SWEET SOUL #8 R&B,#24 Pop. 1967 SOUL 35048 HIP CITY Part 1/Part 2 lt7 R&B,#31 Pop 1968 SOUE 35055 HOME COOKIN/MUTINY #19 R&~#4 2 Pop. 1968 SOUL 35062 WHAT DOES IT TAKE(TO WIN YOUR LOVE)/BRAINWASHER Part 1 1969 #1 R&B,#4 Pop. SOUL 35067 THESE EYES/IVE GOT TO FIND A WAY TO WIN MARIA BACK 1969 #3 R&B,#16 Pop. SOUL 35070 GOTTA HOLD ON TO THIS FEELING/CLINGING TO THE THOUGHT THAT 1970SHES COMING BACK #2 R&B,#21 Pop. SOUL 35073 DO YOU SEE MY LOVE(FOR YOU GROWING)/GROOVE AND MOVE 1970#3 R&B,#32 Pop. SOUL 35081 HOLLY HOLY/CARRY YOUR OWN LOAD #33 R&B,#75 Pop. 1970 SOUL 35084 TAKE ME GIRL,IM READY/RIGHT ON BROTHERS AND SISTERS 1971#18 R&B,#50 Pop. SOUL 35090 WAY BACK HOME (vocal)/Inst. #24 R&B,#52 Pop. 1971 SOUL 35095 WALK IN THE NIGHT/I DONT WANT TO DO WRONG #10 R&B,#46 Pop. 1972 SOUL 35097 GROOVE THANG/ME AND MY FAMILY #46 R&B 1972 SOUL 35104 GIMME THAT BEAT Part 1/Part 2 #50 R&B,#101 Pop. 1973 SOUL 35106 I DONT NEED ND REASON/COUNTRY BOY 1973 SOUL 35108 PEACE AND UNDERSTANDING(IS HARD TO FIND)/SOUL CLAPPIN 1973 SOUL 35110 DANCIN IIKE THEY DU ON SOUL TRAIN/I AINT THAT EASY TO LOVE 1974 MOTOWN 1352 WHAT DOES IT TAKE(TO WIN YOUR LOVE)/COUNTRY BOY 1975 SOUL 35114 YOU ARE THE SUNSHINE OF MY LIFE/UNTIL YOU COME BACK TO ME(THATS WHAT IM CONNA DO) UNISSUED SOUL 35116 IM SO GLAD/SOUL CLAPPIN #43 R&B 1976 SQUL 3511 8 YOU AINT NO ORDINARY WOMAN/HOT SHOT 1976 SOUL 35122 HARD LOVE/WHOPPER BOPPER SHOW STOPPER 1977 WHITFIELD 8861 BACK STREET BOOGIE/DONT lET ME GO ASTRAY 1979 WHITFIELD 49052 WISHING ON A STAR/HOLE IN THE WALL #89 R&B. 1979 MOTOWN 1689 BLOW THE HOUSE DOWN/BALL BABY 1983 MOTOWN 1708 RISE AND SHINE/CLOSER THAN CLOSE UNISSUED WASHINGTON HIT MAKERS 1007 ILL GO WHERE YOUR MUSIC TAKES ME 12" E.P.s SOUL 60701 SHOTGUN (Shotgun/Road Runner/Shake and fingerpop/Cleos mood/ 1965 Do The Boomerang/Cleos back). SOUL 60702 SOUL SESSIONS (Good rockin /Shake everything/Mark Anthony[speaks]1966 DecIdedly/Brainwasher/Three Four Three) SOUL 60703 - ROAD RUNNER (Im a] Road Runner/How sweet it is[to be loved by 1967 you]/Last call/Pucker up buttercup/Baby you know you aint right/Twist lackawanna)

The info below is taken from the sleeve notes of the Atco LP "Love Makes The world Go round" which is well worth digging round for. Over the past few years Detroit has emerged as one of the major sources of record talent in the United States. From the motor city and the surrounding area have come such important record artists as The Supremes, Barbara Lewis, Mary Wells, Martha and The Vandellas, and many others who rate high on today's record scene. The latest artist from the Detroit area to gain the big time is Deon Jackson, whose hit recording, Love Makes The World Go Round, has made him known in many more cities throughout the country than just Detroit or his home town of Ann Arbor. Deon Jackson's singing style is warm, sweet and appealing. He is a pop singer through and through, one who can be enjoyed by teens or adults. His favorite singers include Tony Bennett, Johnny Mathis, Barbra Streisand and Dionne Warwick. He enjoys singing ballads, especially those with meaning, the type of song that has something to say. He .s an avid follower of Broadway show material. Deon is looked upon by many music industry observers as the hottest new young male singer to come along during the 1960's. In his early years Deon Jackson wanted to be a musician. He studied both clarinet and drums in grade school and became proficient on both instruments. But in 1960, while in high school in Ann Arbor, he formed a singing group with some of his school friends and started his singing career. The group played high school dates and built a reputation among their fellow students. Deon also did a lot of singing as a soloist while in high school, and performed in local talent contests. In his spare time he concentrated on writing songs. Deon's professional career started in 1962 when music business veteran Ollie McLaughlin (discoverer and producer of Barbara Lewis) heard him sing one of his own songs at a high school concert. A few months later he recorded Deon singing one of his own songs, You Said You Love Me. A short time after that he recorded Deon in another one of his own compositions, Come Back Home. Although neither one of these records became a national hit, they both sold well in Detroit. Ollie McLaughlin became Deon's manager, and the singer spent two years perform. ing at record hops and dances, local club dates and one-nighters in the Detroit area. He also spent considerable time on his songwriting. In the spring of 1965 McLaughlin heard a new Deon Jackson tune, Love Makes The World Go Round. He liked it so much he quickly had Deon record it and released it in late 1965 on his own Caria label. It became an immediate best-seller in Detroit after being introduced by Robin Seymour on his bandstand show "Swingin' Tirre" on CKLW-TV in the winter of 1965. As Ollie McLaughlin says: "Robin believed in it all the way." After breaking loose in Detroit Deon's recording turned into a nation-wide Top Ten smash. Since that time Deon Jackson's life has become a whirlpool of activity. TV shows, radio and magazine interviews, club dates, one-nighter tours, concerts and travel have become a regular part of his life. As one of the most exciting new young singers on the record scene he is in demand everywhere. Deon Jackson's winning performances on this album show why he has quickly become a favorite with the younger set, and has won acceptance with adults as well. At the age of 20 Deon Jackson is on his way to a bright and successful future. BOB ROLONTZ