Garethx

It's vinyl.

I might be missing something fairly obvious here but the only thing the Spencer Wiggins shares is the title. It's a completely different song to the Deena Johnson, Brad Lundy one.

Teri Thornton pic cover:

Cheers Pete and Tony. Hard to believe it wasn't massive at any of the big nighters of the '70s. It has all the ingredients. Difficult to do a bad version of this great song really. A couple of versions not mentioned above which I think are particularly good are by Grant Green on Blue Note and Byrdie Green on Prestige.

Where was the Susan Rafey version played first on the Northern scene?

A worthwhile read. Very little of it deals with 'garage bands' generically (in the sense of The Kingsmen or The Sonics) but it's fair to say that the whole phenomenon was so large that these acts were all in a sense 'garage bands'. A large amount of these groups in the South East used R&B as their template and immersed themselves in the whole thing: playing soul covers, backing soul artists and touring with the R&B stars of the day. In the region and at that time soul and R&B were the predominant mainstream pop music. Particular highlight for me was seeing the photo of Scotty Todd performing. A shame he didn't make more records as his Philips 45 is one of the greatest of all Blue Eyed Soul recordings.

John Edwards. James Phelps is a great 45 for the ballad flip too. The others all pale a bit to be honest.

As an aside and not really anything to do with the original query but the Verve 45s split roughly into black issues for Jazz and blue for R&B. Yellow demos for the black series and light blue demos for the royal blue ones. Some titles are on both black and blue issues. Tommy Yates springs to mind.

Issue is far rarer.

wrong topic.

The Charles Mann on Lanor is a white guy. There's a photo of him on Sirshambling.com

Anyone got any photographs from the above venues they would be willing to contribute to a project in the very near future? Basically pre-Wigan really. Not just at the venues themselves, but people travelling, meeting afterwards etc. Thanks in advance for any leads, gareth

Don't agree with this at all. The price is not going to go down. This wasn't generally imported to the UK and most copies came via a handfull of collectors. Was out of demand for a few decades but is firmly on the radar again and has been for the last six or seven years. You are not going to stumble over multiple copies of this 45 in Memphis where it's from, or practically anywhere else. The only copies available are from other collectors. It's a very good record so prising it from other collectors isn't going to be easy. Why should the fact that a record would not get into your personal top 50 have any influence on its market value with anyone else? If you mean a generally acknowledged all time top 50 of Northern greats then I suppose we all might as well give up if only those fifty records have any value.

Sad news. So many great records.

Surprised Daryl Pediford on Kryptonite has made it to auction. Great record but was imported in quantity by Record Corner and others as a new release.

A good 45. Made a note to look for one since it was discussed here some years ago and it just doesn't turn up much.

Sorted for this now thanks to all who got in touch.

RIP George.

Hi has anyone got a copy of The Sunday Times magazine Feb 76 article on the NS scene by Gordon Burn which they would be willing to lend for a project? TIA for any leads gareth

Thanks for clearing that up Dave. That Pharoah Sanders album has an absolutely brilliant ballad called "Love Is Here" with vocal by Phyllis.

For me the cream Righteous Brothers track is "See That Girl" on the "Just Once In My Life" album. The title track of that is great too and is also a single. "Hung On You" is a classic too. They're a funny old group. For years–until recently in fact–I never could get into them. Maybe because of the gargantuan success of "You've Lost That Loving Feeling"–but there are some absolute gems in their back catalogue. Just beautiful songs by some of the best songwriters of all time: Goffin & King, Mann & Weil etc. Beautiful arrangements on some of them too. The solo Bobby Hatfield single "Hang Ups" on Verve is great too. To be honest I'm not a huge fan of a lot of the earlier Moonglow stuff. A lot of it was unreleased at the time and then trotted out once the Philles and Verve material became massively popular, by Atlantic/Atco who came to hold the rights and really should have had more taste than to do such a crass cash-in.

Good point Paul. I don't know who's actually singing on that album, but Phyllis's autobiography and Wikipedia page both state she was definitely in the group, maybe just as a touring member. On listening to it again it could be her, but then again might be Terri Bryant too.

This used to get an occasional spin at George Jackson nights in London. A beautiful Philly ballad from Phyllis's first group, The New Direction.

I can't believe the vitriol being levelled at this piece of inoffensive pop house. I'd never heard it until this thread and was expecting far worse. I wonder what grates so particularly about it? It actually takes a fair bit of skill to make something so inane but insidious. I go along with Davie in that people have a right to listen or dance to what they want to without being told off about it. The interesting thing to me (and might be useful for a separate topic) is Ian's point about getting 800 people in one room on any part of the UK soul scene to dance to a record these days not being particularly easy. Think back to the huge dance floors of the past and maybe one can excuse some of the more inane and/or accessible tunes played. If that video looks embarrassing to people because they're dancing to Bob Sinclair would it make it any less embarrassing if the same people were dancing in the same way to some of the mega oldies which John Manship has been auctioning in recent times and which people have been salivating over in other current topics? Are Larry Clinton or Gwen Owens any more 'underground' in any way after thirty five years of being pressed, re-issued, blasted on youtube to a global audience etc.? Or are we just obsessed too much about the format? Is it not really all just about the price tag? Of course it's nice to see these classic originals in nice condition, but is building a scene around those particular artefacts any more legitimate or indeed any more to do with 'Northern Soul' than this?