Ady Croasdell
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Everything posted by Ady Croasdell
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Yes he did have a right to air his opinion but I had a right to respond when I thought it to be innacurate, out of date and unconstructive; you still haven't told me which bit you thought was constructive criticism. You're probably right about the name calling but sometimes it gets you like that. It did seem to have an agenda so I thought I'd give a bit back. I had no idea the chap/lady had been to 100 100 Club all nighters as I'm guessing his real name isn't Frankie Crocker so it might have helped if he had mentioned that in the first place or said his name instead of covering himself up. I started the thread as I had been reading the threads bemoaning the handbagging revival and thought the busy Lifeline, Xfire and 100 Clubs of late were another side to the story that could do with an airing. I was probably also reminding a few people we were on and there was a great line-up for those who like to hear new discoveries and great rare soul records too; there's an element of promotion in many posts but they are not neccesarily the over-riding reason for the post. I'm still not sure why you would make an objection to that. I don' think one post is detremental at all, in fact it seems to have got a pretty good buzz going on the night, but if it's innacurate then I'm afraid I'm not gonna let it ride. Thanks for the kind comments on the promoting lark, it's certainly been a lively ride. Ady
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I didn't see much constructive about it, could you point out the constructive bits please. My beef was that the club is not as described by the poster. I'm sure the clentele of the 100 Club has changed, over 34 years it always did do but we've come through a sticky patch and are having a great year so I think I am allowed to reply to the negative criticisms of someone who doesn't go any more
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May not have been intended but it came across as if you had a grudge. I'll reply tomorrow as its half term and I'm with my lad. The main point though is your well out of touch, the nights picked up a couple of years ago and we've had some blinding times recently.
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There are a couple of legal wrangles over Jewel Akens we need to sort they'll come out on different multi-sourced Various Artists CDs later. As will some of the others but not enough for a Vol 2. I think you'll be very impressed with the unknowns and unissueds on there; I was very pleased with them.
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I think that glamourises a particularly dumb post Andy
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Possibly change your tag to Frankie Crock of **** if you're going to come up with gibberish like that. Too many inaccuracies to even start on.
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Herb Newman’s Era Label was well established in Los Angeles by the time the soul era came about. With over 150 singles behind him by the time our musical story starts in 1962, Herb was a record label veteran. Tap to view this Soul Source News/Article in full
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Herb Newman’s Era Label was well established in Los Angeles by the time the soul era came about. With over 150 singles behind him by the time our musical story starts in 1962, Herb was a record label veteran. Originally more at home with straight pop records, Herb only occasionally dabbled in black music. Era’s biggest hit by a black singer was Jewel Akens’ ‘The Birds And The Bees’, which was pure pop but came out of a notable session by accomplished soul group the Turn Arounds. Two great sides by the group feature here, along with the full story behind that hit. But Akens could sing soul as well as pop; a great late 60s stomper, ‘Your Good Lovin’’, written and produced by Eddie Daniels, debuts on this CD. We also found a little-known New Breed R&B gem from one of Jewel’s more obscure groups, the Composers.Herb Newman already had a future soul star on his roster in the young Brenda Holloway who recorded as half of the Soul-Mates earlier in 1963. A track by the Lovemates, another boy/girl duo featuring Brenda, is also included, along with her 1964 solo outing for Catch. http://youtu.be/UmwMcOqdNns Another future soul chart-maker was Jimmy Lewis who had just one Era release, arranged by Northern Soul hero James Carmichael. Jesse Davis’ ‘Gonna Hang On In There Girl’ was a rare soulful departure for the nightclub singer but the Sherlie Matthews composition sounds awesome when blasted out of the speakers at Northern gatherings. Wigan (and elsewhere) favourites are provided by Othello Robertson’s ‘So In Luv’ and Billy Watkins’ ‘The Ice-Man’ and there are alternate versions of ‘A Slice Of The Pie’ and ‘Meet Me At Midnight’, each arguably better than the Jewel Akens and Cindy Lynn originals. Further unissued manna comes from the H.B. Barnum-arranged ‘Dance With Me’ by Billy Watkins and excellent alternate readings of ‘ Stand There Mountain ’ and ‘The Blue Shadow’ by ex-vocal group singer Vince Howard; Herb Newman had previously cut the songs on pop acts. There are Popcorn classics from the very colourful Bruce Cloud (check out the sleevenotes on him) and the glamorous and equally newsworthy Carol Connors. Both sides of Steve Flanagan’s Stafford monster ‘I’ve Arrived’ sound great alongside Melvin Boyd’s killer version of ‘Exit Loneliness, Enter Love’, produced by Miles Grayson. We throw light on Steve Flanagan’s identity but are still scouring the internet for Melvin Boyd. Although Era started out a million miles away from black music, by the late 60s it had embraced it and utilised some of its most accomplished talents. By Ady Croasdell 28 Oct 2013 Catalogue Id:CDKEND 405 Side 1 01 Preview The Ice-Man - Billy Watkins 02 Preview So In Luv - Othello Robertson 03 Preview I've Arrived - Steve Flanagan 04 Preview Meet Me At Midnight - Bruce Cloud 05 Preview Ain't Nothin' Shakin' - The Turn Arounds 06 Preview What Can I Do Now - Jimmy Lewis 07 Preview Exit Loneliness, Enter Love - Melvin Boyd 08 Preview My Book - Bruce Cloud 09 Preview I Wanna Know - Carol Connors 10 Preview Boomerang - The Lovemates 11 Preview The Blue Shadow - Vince Howard 12 Preview Echoes In The Night - Tommy Mosley 13 Preview I Get A Feeling - The Soul-Mates 14 Preview Run Away And Hide - The Turn Arounds 15 Preview I Need To Be Loved So Bad - Steve Flanagan 16 Preview Gonna Hang On In There Girl - Jesse Davis 17 Preview Your Good Lovin' - Jewel Akens 18 Preview Dance With Me - Billy Watkins 19 Preview Sir Galahad - The Elites 20 Preview A Slice Of The Pie - Bernie Byrd 21 Preview You And Yours - The Composers 22 Preview I Ain't Gonna Take You Back - Brenda Holloway & The Carrolls 23 Preview Stand There Mountain - Vince Howard 24 Preview Come On Home - Othello Robertson - See full details and uk online puchase with free delivery : http://acerecords.co.uk/era-northern-soul#sthash.EqaUaCbi.dpuf -
With the plethora of threads criticising the recent downward spiral in new discoveries and genuine rareties at many events, it will be interesting to see how many who bemoaned the lack of inspired DJs with top quality, not overplayed, sounds will make it down to the 100 Club this Saturday to hear Butch, Andy Dyson, Keith Money, Joel Maslin, whose records speak for themselves and myself armed with Pied Pipers and other unissued exclusives. It sounds like Lifeline had an excellent nighter and our last gigs the 100 Club anniversary and Xfire were rammed and buzzing so perhaps there is about to be a comeback for the more progressive end of the scene too. Discuss.
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It's like the 60s, if you went there you had no flummoxing idea how many were there, just that you'd had a hell of a night. Mind you 1200 sounds max.
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Doing A Small Ns Party For Halloween - Need Themed Songs
Ady Croasdell replied to a topic in All About the SOUL
Any version of Screamin Jay Hawkins I Put A Spell On You, his DeCca one is actually Northern. He did loads of other stuff like this. Johnny Watson Strange is good too. -
I stand corrected, it must have been Rare Soul up North and Old Soul in the Northants area. I never heard that term back then-pre-Northern.
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It was Old Soul hence the first bootleg label by Jeff King. Funnily enough that opretty much covers it-until the next great soul release comes along
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Thanks chaps. Ady
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Thanks, that was from the old sleevenote. What were the other releases?
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The Kent City release usually sells for £9.50/99
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That chapter was taken from the Goldwax Northern Soul CD booklet. In a nutshell it was erroneously licensed out by Goldwax when it was a Fame owned recording though recorded for Goldwax. The Kent releases are the only correctly licensed ones though I'm not sure it makes the others bootlegs, just wrongly attributed licensing. Either way the Kent one is the best sounding and the first fully legal version.
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Well you asked for it: On 27 July 1967 two of Spencer Wiggins’ Goldwax recordings, ‘Let’s Talk It Over’ and ‘We Gotta Make Up Baby’, were mixed by Stan Kessler at Sam Phillips’ Memphis recording studios. Presumably intended as a 45, the project was inexplicably shelved. Goldwax 45s were released on Spencer later that year and in 1968 and 1969, so this single may have been pulled on musical grounds, perhaps being somewhat dated for Spencer’s audience, who would have been buying his records for their more southern soul content by then. This, however, is speculation. What we know did happen was that Spencer moved on to Fame Records in 1969 and these two tracks, along with ‘Cry To Me’, ‘Water’, ‘Love Works That Way’, ‘Love Attack’ and ‘Love Me Tonight’, were sold to Fame. Of these only ‘Love Me Tonight’ was ever issued as a record on Fame and only after strings and other sweetening had been added. Ten years later and the Japanese reissue company Vivid Sound cut a deal with Quinton Claunch to put out a series of LPs of Goldwax material. In the early 90s they revived that deal for CD and were given access to more tapes, some of which included unreleased tracks by Goldwax artists. Inadvertently, there were still copies of Fame-owned masters included in the cache and Vivid Sound unwittingly gave these tracks their first public airing. As if that wasn’t complicated enough, the free enterprise of the Northern soul scene then enters into the mix. Spotted as an absolute future monster (please excuse the language non Northern types), it wasn’t long before some enterprising DJs were getting acetates made up of the track and spinning it out at Northern soul venues. Inevitably, due to the quality of the recording, it went massive and, as sure as night follows day, was pressed up onto a vinyl single for selling on the scene to satisfy the high demand. So much so that two separate pressings came out at roughly the same time. One on the Torch label licensed from the UK arm of Vivid Sound and the other on the Soul Series logo. Both labels appeared only for these one-off pressings. Being aware of the Goldwax/Fame contract, we applied to Fame for clearance on this and the other tracks, but their licensing policy was up in the air at that time. When things were eventually sorted out, they told us the track dated from Fame’s EMI period and we should apply to them. Armed with the contract, this was duly done and the results are here for all to hear. Though technically now a Fame master, it was undoubtedly a Goldwax recording. The track in question is so atypical of Goldwax and so perfect for the Northern scene that there were actually queries as to its provenance. It has the most solid and infectious beat of almost any 1960s soul recordings, which inspires dancers to rush to the floor and give their all. This coupled with Spencer’s fabulous performance, girly backing vocals right on the button and unbelievably appropriate breaks make it a contender for one of the greatest out-and-out Northern soul songs of all time. Only the fact that it was not issued until the 90s has stopped it from being more famous.
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They were going to do Birds And The Bees with him still as part of the group but didn't fancy the song and didn't like Era putting his name first so left him to it.
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All sorted now. Thanks to SS regulars yet again
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Hi Res (300 dpi min) scan needed please. CDs and credit in return people Ta Ady
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Professionals On Groove City - New Bootleg?
Ady Croasdell replied to Premium Stuff's topic in Look At Your Box
Definitely and some great music was discovered and legitimately released. I was just pointing out the original deal was a license. Some of it was iffy though, I'm not sure if a couple of the Detroit label stories should have been in the deal just because they were recorded at Universal. -
That's sad, she was a first rate singer, I love the Roker stuff
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Professionals On Groove City - New Bootleg?
Ady Croasdell replied to Premium Stuff's topic in Look At Your Box
I'm pretty certain that the first deal was a five year license not a purchase. Unfortunately with Goldmine it was all so murky and they put out so many deliberate untruths that the bits they may have done legally are in doubt too. I had not heard that they had re-licensed the material and don't know if I'd believe it without evidence anyway -
The link doesn't work i think there's an extra space before the address. Cut and paste into your browser works.
