Garethx

Guy played it a few times right at the tail-end of Stafford. Never heard it out subsequently. The other side, "It Will Be" is probably a better record, but not for the UK nighter scene.

Sold one of these a couple of years ago for about £100. A pretty good record, and fairly rare too, but I don't think the majority of punters know it.

Tony Clarke was also in They Call Me Mr Tibbs. Ketty Lester appeared in many TV shows in the 70s like Streets of San Francisco. Hattie Winston appears in Ted Danson's current show Becker. What about Al Green's various appearances in Allie McBeal? Agree with Billy Freemantle regarding Toussaint McCall in Hairspray: a scene which still sends shivers down the spine. BTW, Ruth Brown also starred in this movie.

Christian. I agree that Walter Wilson "Love Keeps Me Crying" is total crap, but the other side is really fantastic. Steve Guarnori played it as one of the enders at Yarmouth's Soul Essence this year and I was amazed that such a tremendous piece of soul resided on the other side of the above mentioned mediocrity. My comment about the price being a bargain refers to the record's rarity alone. I think we all agree it's a tough one to find.

A 25 count box is a load of a 'rare' record. Probably enough to satisfy demand at the time among the record hounds. Virtually everyone I know had a copy at that time and you couldn't leave the house without hearing it. I even heard it at a wedding reception. It probably takes at least two years these days for a record like that to become ingrained in dancers' minds on a nation-wide basis: hence a second wave of demand and less realistic prices for 45s like this. A couple of things spring to mind about current/recent Manship auctions: Walter Wilson probably a bargain; Hermon Hitson on Sweet Rose looking cheap at the moment. Can anyone confirm that a small quantity of these have emerged?

Wow! Over two grand for the Hamilton Movement. I distinctly remember a flurry of copies appearing about two and a half years ago, from, I am reliably informed, Japan. I remember in the record room at Cleethorpes that year: Butch had a copy at £800. Someone picked it up, showed it to a very well known modern collector and said "how much should I pay for this?" Said collector replied "about three hundred less than you're about to: there's loads of them..."

Can't remember what the lp is called, but it's on Demon and is unfortunately long deleted, certainly on vinyl, maybe on cd too. It's from one of a series of albums containing previously unreleased Hi tracks and was released in about '87.

At Fish Ain't Bitin' in Manchester a couple of months ago, Steve Cato played an incredible 45 by Ben Branch on (I think) Checker: a version of the standard "Motherless Child". It was one of the greatest records I've ever heard in a club. Deep but uplifting, with an enormous swell of sound and great presence. Fans of the late 60s Dells sound would definitely appreciate this. Over the years I've spun a few gospel things out: Glenn Jones & The Modulations on Savoy; Don Bryant & A Chosen Few; and a personal favourite: "Not My Home" by Mike Heyward on I Am (do any modern soul fans know this lp? this bloke is one of the best unknown vocalists ever).

Stu I would have thought the idea of broadening the musical policy at midweek nights from 60s only is essential rather than interesting. I have the utmost repect for the dedication of the promoters of SITC, but I reiterate my call for greater inclusiveness. I've heard Paul McKay play crossover and 70s soul at other venues, and he has an excellent collection. The idea of keeping some of those records at home to play SITC is strange to me. It's the building of fences around playlists that I find is making the nights less interesting musically. Vivo's is a pretty ambitiously-sized venue to fill in any case. If the musical policy alienates those who would like to hear good rare soul of every kind, then it really will continue to be an uphill struggle for the foreseeable future. I also don't personally think an oldies only format would be palatable either. The midweek venues should be a place for musical experimentation and relaxed socialising rather than an attempt to fill dancefloors. I don't believe London has ever been a place where a reliance on The Northern Soul Top 500 has been necessary in the past, and I hope it isn't now.

Jeez. Where to start on all of this? I think it's true to say that the scene in London is undergoing a period of real transition. But a couple of points seem really obvious to me. There are only a limited number of nights that people can actually commit to attending per month, both from practical and financial points of view, and doubly so this close to Xmas. But in the same way that London can only sustain one regular monthly allnighter, it can probably only sustain one regular midweek venue on a monthly basis. London already has, for me, the best 'nighter in the country in the form of the 100 Club. Nowhere, bar Lifeline, can match it musically and, on a good night, the atmosphere is unbeatable. I hope and pray that we as London soul fans don't start to take this event for granted. Attendances at midweek sessions such as These Old Shoes, Soul In The City etc. are an area of obvious concern. In the last few years promoters seem to have forgotten that the scene in London (apart from the 100 Club, which counts on the patronage of followers from all over the country) is a very small one, and one which does not necessarily want or need events such as SITC on a monthly basis. SITC in its current form always clashes with Mark Houghton's A New Chapter at Smersh, splitting potential attendances for both nights. It's too easy to say that these particuar events cater for different types of punter: they don't necessarily. I love soul music from all eras, but don't get that from events such as SITC or TOS. The unwrittten 60s Only policy of these respective clubs are, to me, crucial in limiting their appeal. if these events broadened their musical policy to include the very best in records from across the eras of rare soul, then I'm sure they would begin to prosper. Midweek events should endeavour to be more inclusive, not less so, especially in such a period of transition. The halcyon days of a few years ago with a regular monthly Friday event at either Scenesville or Capital may seem a long way off now, but I'm sure that someone will step in to fill the void. The New Century night in London in the New Year seems to be a good place to start. The roster for this event seems spot on: Ady, Marco, Terry Jones etc. Crucially, something for everyone, and a step in the right direction.

Don't use the alcohol-based products for cleaning styrene records. These tend to melt the surface and remove the sheen, producing a dull grey finish that will look crap. Also, take care if using cotton wool. A lot of cheap 'cotton wool' isn't cotton at all, but rather a synthetic fibre which will have the effect of a very fine grade wire wool. A soft cotton dish cloth and some diluted washing up liquid seems to do the trick. If you play the record while damp as stated above any debris in the grooves will be disturbed. A rinse with luke warm water will finish the job. The dumbest thing I ever did was attempt to use nail polish remover to deal with a couple of tiny blemishes on a vinyl copy of Bill Brandon's "Street's Got My Lady". Even though it was twenty years ago I can still see the 'smoke signals' coming off the plastic as it melted before my eyes.

What is this "styling spray" of which the young people speak?

Agree with those who mentioned Al Green's various cover versions. He has the uncanny ability to make other peoples' songs truly his own. My favourite by him at the moment is a stunning live recording of Sam Cooke's "A Change Is Gonna Come" from the soundtrack of the Michael Mann / Will Smith film "Ali". It was recorded with backup from Booker T & the MGs and the Memphis Horns at an MTV Hall Of Fame concert in the mid 90s, and is quite simply staggering in its intensity. A true moment of musical history, where he wrings every last ounce of emotion from one of soul's greatest songs.

Two compilations from the early 1980s completely changed my head about soul music: the Lost Soul series on Epic and Pure Soul on Kent.

Is there an icon for "We've all had a drink" when a topic descends into "madness"? It would look like the little smiley man pushing two opponents apart with an exasperated look on his face. Jamie: Willie Wade is on Nite Life, and I think it's brilliant. The epitome of the kind of 60s Northern that appeals to modern soul fans too.

Think people want this now for the vocal of "Like A Rolling Stone". I hadn't heard this until Mattbolton played it to me off the Keith Money cd. Excellent stuff.

The Electrifying Cashmeres is the only good take on this song, in my opinion (and I include Jr Walker). The Bay Brothers 45 must be one of the lamest attempts at making "soul" in recorded history. A James Last lp track could summon more grit.

Smersh 5 Ravey Street London EC3 nearest tubes Old Street, Liverpool Street Third Wednesday every month.

The postal system is far from a disgrace. It always amazes me that people knock it. Try getting a courier firm to get a letter from one end of the country to another in under twenty four hours for under 30p.

Selling Green Onions on original UK London EP and a Seven Souls on OKeh. Items are at: https://search.ebay.com/_W0QQgotopageZ1QQsa...osortpropertyZ1 Thanks in advance for any interest. gareth

Tiny Powell was from Oakland, California. Had a record on the same label as Eddie Foster's "Closer Together", Ocampo, called "Get My Hat" among others. Was in the same gospel group as Emorise Kelly and (maybe) Buddy Conner...

Here are some records I put on and took off again at the last George Jackson (third Wednesday of every month, Smersh, East London)... Sam Dees "Easier To Say Than Do" Lo Lo Arthur Conley "I'm A Lonely Stranger" Jotis The Internationals "Lead Me On" Spring Jerry Washington "I've Come A Long Way" Excello Nat Brown "If This Is What You Want, Go Ahead" Selma Bobby McClure "To Get What You Got" Hi Willie Hightower "You Used Me Baby" Fame Margie Alexander "Can I Be Your Main Thing" Atlantic Spencer Wiggins "I Can't Be Satisfied" MGM Sounds of Memphis Don Hollinger "Until I Find You" Atco Troy Seals "Mama, Hold My Hand" Rising Sons The Masqueraders "Please Take Me Back"/"How Big Is Big" Bell Otis Clay "Tired Of Falling In And Out Of Love" One-der-ful Al Johnson "Love Waits For No Man" South Camp Little Beaver "Blind Man" Saadia Clarence Reid "Otis, Heaven Will Welcome You" Tayster The Ascots "Just A Few Feet From The Guttter" American Playboy Tip Watkin "You Deserve The Right To Be Called Father" Flower George Jackson "My Desires Are Getting The Best Of Me" Fame Bill Wright "You Can't Let Your Left Hand Know" Midtown Elvin Spencer "Lift This Hurt" Twinight Benny Harper "My Prayer" Harper Soul Rance Allen "There's Gonna Be A Showdown" Gospel Truth Doris Troy "Face Up To The Truth" Capitol Vic Marcel "You Still Got Me" RCA Delilah Moore "It Takes Love" Middle Earth Larry Marks "Looking Through The Eyes Of Love" Pala Sam & Dave "Everybody's Got To Believe In Somebody" Atlantic

Don't let Christian H hear you say "...of all places, Sweden"!