macca

I thought I had when I emigrated in 1991, then about 5 years later, walking past a bar in town I heard the voices of east harlem 'cashing in'. what a jolt to the senses! another four years later, an old mate said he was coming over to a soul do in my neck of the woods. I decided to check it out. it was mostly modern & crossover I think, with people like edu from barcelona on the decks. I was hooked again. Have made tons of friends here who are passionate about their soul, their soul dos and life in general.

The question many people ask themselves is 'does it have a place alongside X, Y, Z records?'. Would it be incongruous for whatever reason? Many good Soul records were spurned in the 70s simply because they were deemed 'commercial chart fodder' or simply because the divs would be dancing to it on a Saturday night at 'Annabelles' nitespot. Of course, there was no way that records like Young Hearts Run Free, Love Machine, Car Wash etc were ever going to be enjoyed solely by the select few. I personally think that Duffy doesn't fit into a northern/rare soul context. I might be wrong.

Enjoy your rediscovery of your dancing feet mate though I suspect the scene that you grew up on 68-72 was a far cry from what later became 'northern' soul in the mid 70s, with the championing of contemporary releases and the consequent change in tempo and dance styles. I arrived on the cusp of this change and managed to embrace the two genres, though I baulked at the Disco that became popular around 76-77. In the last few years I've got into the slower, midtempo stuff recorded 68-74 commonly known as Crossover today, though admittedly many self-styled uptempo terrorists consider it inappropriate for the dancefloor. Go with what grabs you best and try to keep an open mind, something I denied myself for years.

No need to be snotty, Roburt. I've contributed to the thread constructively.. twice in fact. My comment was more to do with the true definition of Hootenany rather than with Joe & Eddie, whom I don't consider really representative of that particular folk phenomenon, which I think you might have been able to glean from my posts. The Chambers Brothers, Sonny Terry & Brownie McGhee often played Hoots, token blacks in a sea of white faces to show how 'right on' the Hoot folks were, probably... You're also assuming a lot regarding those records you think I should go and play. Mac,

and I'm sirhan-sirhan...

Bugger all to do with Soul, this thread.

More like this... https://youtu.be/BImWFB6eeJc As opposed to this... https://youtu.be/-wGgvbHcgyc

It was also used in some folk circles to satirically to refer to the clean, safe, wholesome, ersatz folk of groups like the Kingston Trio which were being marketed by the major record companies at the time of the 'folk scare', i.e. 1958-1964... For every one of those artists there was a Rick Von Schmidt, Dave Van Ronk, Bob Dylan etc... Dylan used to lampoon them from the stage...

Just listened to it again. It doesn't seem that odd to me now. The problem was mine, evidently.

That's the first positive word I've heard about BC. What about Paula Durante - If He Were Mine. Its peculiar tempo confused a lot of folk, unlike the cod Motown 'You're Not My Kind'.

Bernadette Castro Get Rid Of Him? Don't remember anyone liking it. Heard Vincent play it in the same set as Matt Lucas. Sublime to the ridiculous or what?

This was a floor packer early 78. Reminds me of Brian Rae.

Remember a fair few dancing to Wakefield Sun at The Fleet in 1978. Also remember Soul Sam playing Esperanto at the same venue and likening the intro to Levine tap dancing. Why on earth would Sam play that record other than to have a larf at Levine's expense?

even dreadful stuff that nobody seemed to like had its followers... peggy march, muriel day...

This thread is not necessarily about bad records is it? Just very unpopular ones, right? That Brian Hyland thing was godawful but loads of f***ers danced to it. Same goes for Ben Zine.

I used to love the French Fries. Great atmosphere at Cleggy, Peterborough, everybody shuffling in unison.

Didn't they have another sound played around 77?, 'baby's gone away', had it on a st.ives tape. Ginger Taylor?

gary haines - keep on going and debbie fleming- long gone they used to get hammered. today?

All you do-runners take note!

seven years from this thread, is it still a 1200 quid sound? did JM update his price guide? richard is in the UK now. wonder if he brought any spares with him. tremendous tune.

a couple of posts below the grandson's post we have this little snippet of invaluable session data. "David and Ruben played bass and Guitar on this single and¯»¿ did the vocals. The record was produced and arranged by Max Uballez. Some parts on the track were done in a follow up session by Max Uballez and The Romancers band. The Mariachi arrangement was done by Max Uballez. Using The Ralph Ventura Sr. Mariachi, Ralph Ventura Junior was the trumpet for the Romancers band. The Romancers were the studio band for Rampart/Linda/faro records." Clearly a hispanic pedigree for this classic tune, but then again it's written all over it, innit? Makes me want to search out Max Uballez and the Romancers. :-)

art robles grandson posted on youtube about a year ago. his moniker is trobles91. might be a good place to start. robles (oaks) is a spanish surname so I think it highly unlikely that those photos are of the rampart majestics.

I've always been partial to Ivy Hunter's recordings too. Get him over here! Looking at Lee Field's recent performances, reports I've had from Richard Caiton's show at Soul Essence, it's evident that some of these artists are still capable of captivating audiences. I'd love to see Charles Mintz do his stuff.

Echo Pete's words. Cool off by a mile.

beautiful and fitting post pep. lots of respect.