Geoff

I've got Come Back Baby by Wilson on a CD. It was the single before In The Midnight Hour, I think it was his first on Atlantic. It's my favourite track by him. Played in clubs at the time. Always thought it would go down nicely nowadays. The female singer is creditted to Tami Lynn, but was told it was someone else some time ago, but can't remember who. Unfortunately can't post a music file, hope someone else can oblige

Awesome, sums up why I love beat ballads. Absolute illustration of what soul is all about. IMO of course. I should know this, but what is the other side of this record? Can't remember at the moment, and was it the A side?

Don't worry Paul, I think I'm unembarassable (is there such a word?) after my alcohol intake at Boomerang, lol.

Yes, I must plead guilty to this faux pas. Guess it was nerves, and I didn't realise till halfway through. Sure I went bright red. Think Nige and Carms played an instrumental of a Rotations track at Maria's do in Thorne on Saturday, not sure if it was deliberate. Good dancer though.

I remember hearing about the Upper Cut club, but never went there, might have felt a bit nervous there, lol. I went with Lesley to see the Stax revue at the Finsbury Park Astoria, one of the best live shows I've seen. No boring British acts to start the show, soul stars from the onset. I think Otis got the biggest response, but may be wrong, a long time ago, but I can still see him striding up and down the stage. As regards Jimi Hendrix being referred to as a soul singer, his first 3 singles, Hey Joe, Purple Haze and The Wind Cries Mary all got in the Record Mirror soul top 10. I think any artiste who was black was regarded as soul, unless obviously MOR.

First heard it played by Paul McKay at Soul In The City. He had a spare so bought it off him. I've played it out a couple of times to nice comments. In fact, Little Reg bought a copy off Paul after I played it at the Blue Skies alldayer last year. Will the fact that it isn't a rare dear record stop it being massive?

Thanks for the sounds posted, great stuff, quite a few new to my ears. Never Let Me Go is an old Johnny Ace song, it's been revived by the Impressions and Aretha Franklin among others. Sorry I can't contribute any sounds at the moment, but when my PC problems are sorted out I will have a go.

Thanks for that, quite a few there that I don't know. I will look out for it.

That's a great selection there Al, don't know all of them, would love a CD, lol. Seriously though, so many good ones, I'm playing my CD of Beat Ballad Bliss as I type this, Jerry Fuller's Turn To Me has just started, wonderful. Is there a volume 2 of this, and if so what is on it? I've got Beat Ballad Heaven on Goldmine, but otherwise the only other CD is one from a friend. Are there any other legit ones around? Don't want to repeat what's been said about beat ballads, but is it mainly a man thing? Usually it is blokes gliding around to them, or that is my experience. No offence to Jo and any other ladies into them big time. My wife used to like them, but never to the extent I did. I remember raving over the Masqueraders' How Big Is Big, and she just said it's okay. But our tastes did vary. Just played Lenny Welch's I'm Over You. Soul heaven.

Cheers Ady, I'd like that. The only people I'm in touch with who went to these clubs are my close friends. And none of them have kept on being such an obsessive soul fan as I am. Won't be at the 100 tonight as am off to Thorne very soon. But will try to get down there soon. My worry is that a proper all nighter might leave me dead for the whole of week. Powers of recovery wane with age, lol. Not sure really if there is a proper definition to a beat ballad, usually just know it when I hear it. Personally I can glide round the floor to slowies like How Big Is Big but too slow for some people. Classic beat ballads for me would include The Panic Is On, The Drifter, Lonely People Can't Afford To Cry, I Never Loved Her Anyway. Would anyone regard the Volumes' The Same Old Feeling as a beat ballad? I thought it was, but someone disagreed. Doesn't really matter, for me the whole genre is marvellous. Just hits you in your heart.

The Tottenham Royal was a Mecca dance hall, similar to the Orchid, Purley and the Streatham Locarno. Played soul and R&B records, but also the hits of the day. Every time I hear Let's Go by the Routers I am back there. Long After Tonight Is All Over was originally issued in 63, but my recollections of hearing it as the last record at the Royal was when I used to go there with Lesley in 66 and 67. Current British releases were played in the clubs I attended, but some records must have been American imports as I remember hearing many tracks well before release here. And many that were not released here on 45 at the time. As for writing about my experiences, well Little Reg's book is a good read, not sure if anything in my life is that interesting. I do feel that the Mod scene has never really been documented as it was. I've got a couple of books about it, but they left me dissatisfied. Hard to explain what I mean. There was another one that I meant to get that took it right back years before, but I can't remember the title. Dr Bob Jones has posted on the Mod scene in the past, are there any other old Mods on here? I remember Ady Croasdell mentioning that one of the Scene DJs attends the 100 Club sometimes. It would be interesting to talk to him or her, the playlists would be fascinating, or at least for me.

Doowop is one of my favourite non soul styles of music. Interesting how it gradually changed from the Orioles to the days of the doowop revival prior to the arrival of the Beatles and the British invasion of the American charts. Quite a few doowop groups had a go at soul, e.g. Lee Andrews & The Hearts, The Charts (who remade Desiree as a soul song), Pookie Hudson & The Spaniels, the Del Vikings (hope that is the correct spelling) and others I can't think of now. Also the Volumes had an American hit with I Love You prior to their more mainstream soul records. I find the crossover between doowop and early soul very interesting. Please post up some doowop, can't contribute myself due to computer problems but would like to hear the choices of others.

When were they played at the Twisted Wheel? Several of them were played in London Mod clubs at the time of issue, 64 onwards. As far as I remember Jimmy Radcliffe was the last record played at the Royal ballroom, Tottenham, on Thursday nights, reckoned to be the best night. I adore the beat ballad style, so emotional. How about Prince Harold's Forget About Me? Hadn't heard that since 66 or 67 till a nice person did me a CD with it on. Others that spring to mind as I type this are Lenny Welch's Run To My Loving Arms and Little Anthony & The Imperials' Lost Without You. Both covered by Billy Fury in the UK and were hits. I've got a CD of Little Anthony made up of 2 of his LPs, Goin' Out Of My Head/Payin' Our Dues, got lots of beat ballads on it. And funnily enough, just received the Dreamlovers' You Gave Me Somebody To Love this morning. Pure bliss. Going to the triple birthday bash in Letchworth, and then Boomerang tomorrow, any DJs reading this please play a beat ballad or 2 for me please.

So glad you are back, Soul Source keeps me sane at work, sure I'm not the only one. I work in IT so can appreciate all your hard work, no fun rebuilding servers, etc.

As a person who gets an occasional DJ spot, I cleared the floor at Walls Of Heartache last year with September Jones' I'm Coming Home, never happened to Dave Flynn at the Dome so where did I go wrong? But my real problem is normally filling the floor, I usually do an opening set.

Personally never understood all the fuss about Soul II Soul, found their music not to my taste. All I really know about the gentleman concerned was the piece on NS that was on the series about soul in Britain. He obviously had no understanding of the Northern Soul scene, well that is his loss imo. As for the honours list, it's a bit of a joke, civil servants get gongs, etc, depending on their grade, but most get nothing, a few members of the public get honoured for their jobs, and sportsmen and women, entertainers, etc get honours, all a bit random, now probably has to be "inclusive", lol. Surely after the cash for honours business it is now totally discredited. Just my opinion of course, others may disagree, that is what free speech is all about.

Merry Christmas and a Happy New Year to everyone on Soul Source, may 2008 bring you everything you want.

Reading this has made me feel really sad. Remember browsing through racks of 45s when I was a kid. However, to be honest, I didn't buy any vinyl for years, only recently started again, and it's been via the Internet or through friends selling. I don't think there are any shops in my vicinity. Are there any shops in north London selling soul 45s and LPs? I would be interested to hear. Good luck to you all for the future, and thanks for what you've done in the past.

Sorry, haven't got that one, in fact haven't got a working DVD player connected at the moment.

Agree with all that's been said here, a true soul singer. I saw the Stax revue at the Finsbury Park Astoria (later the Rainbow), fabulous show, I can still see Otis striding up and down the stage. One of the endearing things about him was the way he got the lyrics wrong when he covered other people's songs, but that added charm to his versions. I remember hearing I've Been Loving You Too Long for the first time in 1965, just been packed up by a girl I really liked. Record knocked me sideways. And Respect still takes me back to the clubs of that era. I can remember when I saw the headlines about his death, a very sad moment for soul music.

I think "great dance records" sums it up.

I'm not sure you are entirely correct about segregation in pop music. There were pop, country and western and rhythm and blues charts (in Billboard and Cashbox I think). During the 50s Elvis Presley, Bill Haley, Carl Perkins and Jerry Lee Lewis had hits in all 3 charts. Little Richard, Fats Domino, Larry Williams, Jackie Wilson and many other black rock'n'roll/rhythm and blues singers had hits in the pop charts as well as the R&B ones. As far as I know the earliest black record (in an R&B mode) to get in the pop charts in the USA was the Orioles version of Crying In The Chapel. It is possible that the Dominoes' 60 Minute Man got in the pop charts, 51 or 52. There were attempts to cover rock'n'roll hits by Pat Boone and others, but they were swept aside when the teenagers of the time heard the originals by Fats Domino (Ain't That A Shame) and Little Richard (Tutti Frutti and Long Tall Sally) and others. In the early 60s Brook Benton was one of the biggest stars prior to the "British invasion". Certainly some of his records then wouldn't sound out of place at an R&B night now, imo. There were certainly problems when package tours were in the segregated southern states, but black singers on independent labels did get in the US charts. Did anybody buying the Isley Brothers Motown records not know they were black? Surely not, they'd appeared on Ready Steady Go earlier plugging their then current release The Last Girl. Going back to the original question of the thread, I am sure it was just records DJs reckoned would fit in with the other sounds they were playing.

Hi Tony, I didn't actually hear this one played at the time, heard it much later, probably in the 80s, from compilation LPs and on the radio. It all depended where you went, just as nowadays. I can only remember a fraction of what was played, but every now and then I hear something that rings a bell for me. The Cheater is a great record imo, would have loved to dance to it in my youth.

A uni tour sounds a good idea, to be paid to talk about the thing you love. Wonderful. If only. I do worry that I am a bit of a bore on this old stuff. Stop me if I go on too much.

I'm never going to get any work done at this rate, lol. Live acts certainly appeared in the clubs I used to attend. As I said earlier the Flamingo was more a live act club, than a record club (the dreaded word discotheque come to mind, just came into general use then). I didn't see any live acts at the Last Chance or La Discotheque, but the Scene had plenty, the Animals, possibly the Rolling Stones, I think Bo Diddley joined in an impromptu jam session when he visited it; and I remember a group doing one of those nonstop sessions, think it was Them, but can't swear to it, think it was supposed to go on for a week. I am not a big fan of going to see live acts now, and I remember being cheesed off when that was going on. But I tried to see all the American artistes who toured the UK during the 60 and 70s, so it may have been me being annoyed at missing a Tuesday night session there. One thing that is certainly different from now is that clubs were on most nights of the week, e.g. the Scene was actually a place, unlike when the CSC was on at the Dome on a Friday every 2 months. The Flamingo was open most nights, might have been a lot of jazz on possibly. And the Marquee was open most nights, and that was a live venue. Hope you can understand what I am saying in this paragraph. Most of the groups you mention would have appeared in clubs all over the country and wouldn't have appeared on the package tours in theatres or cinemas till they'd had hits. I suppose if you run a club in those days and you had to put something on each night, live acts were essential. They had their followers, I used to go to the Marquee every Friday for a quite a long time in middle 64 to see the Yardbirds with Eric Clapton, at the time it seemed totally brilliant, he was fantastic, but of course using Freddie King and others as his inspiration. I attended some of the recording sessions there for 5 Live Yardbirds, and when I heard it some years later, it didn't have the magic. So I guess live music is strictly of the moment. Also used to get along there when the Who were on. My mates had seen them earlier on than me, might have been in their High Numbers incarnation. I used to get to the Marquee when the Moody Blues (with Denny Laine) were on, they were really good live. Prefer that band to the later Nights In White Satin stuff. All the early beat groups did loads of cover versions. The Beatles did long stints in Hamburg clubs, therefore needed a big repertoire, the CD Beatles at the Beeb is almost all covers. Lesley was a big Stones fan, used to go to Eel Pie Island to see them before we started going out together, often spoke of hearing songs they didn't include on their LPs. I found the Stones' covers more annoying than the Beatles, as I thought it was taking the credit from the black American singers I liked. Nowadays I am much more tolerant, their records must have interested people in searching for the originals. Your para about soul and pop is correct imo. I suspect most of us have put soul on a slightly higher level than pop, most of us like to be a bit different in our musical taste, and the emergence of really obscure records has exacerbated the trend. Let's be honest, we are all highly protective of our underground scene, and want to keep it exclusive.