Dave Moore

Just an update on the appearance of The Four Perfections at New Century Soul’s 11th Anniversary Allnighter on the 29th of his month. The Civic Hall in Radcliffe will witness history in the making, with the very first and probably only ever appearance of the group on a UK stage. Event appearance In preparation, the guys have been rehearsing their song-list in Philadelphia and have it nailed! Stone Foundation are currently on tour in Japan and are including the music for the show in their live gigs as we speak! An extra addition to the band is a baritone sax which will really put the icing on this particular musical cake! I can reveal that amongst the songs the group will be singing is an outing they wrote in the early seventies called “If You And I Had Never Met”. Yep, the very same song released by Magic Night on Roulette Records. There may well be a couple of other musical surprises on the night too. Commemorative 45 In order to mark this event for the collectors amongst us, Neil Rushton has commissioned a fully licensed, commemorative 45 of the groups Party Time classic “I’m Not Strong Enough” on a fantastic looking label designed to incorporate the original label’s look and the New Century Soul event. The New Century Soul commemorative 45s will only be available at this unique night and any profits will be donated to the group themselves. So... Saturday Night, the 29th November 2014 looks like being a fantastic night, the guys are well up for it, the band are well up for it and we’re all well up for it! See you there.... Dave

Date Of Induction : 01 November 2014 Category : Post Production The name Richard Popcorn Wylie has always been a legendary one in Northern Soul history , to see his name in the credits on a 45 is likely to quicken the heartbeat, knowing that the record you are about to hear will usually be very special, like a guarantee of quality. As older record collectors will testify, when young and still learning, if you saw the name R. Wylie on a 45 you bought it blind! You knew you wouldn’t be disappointed! Richard Wayne Wylie was born on 6th June 1939 in Detroit, his family was very musical and he was taught piano by his mother. By the time he was at Northwest High School he had formed his own band Popcorn And The Mohawks, with Popcorn appearing on stage in full Mohawk Indian head dress. After gaining a following around the teenage clubs and school hops in the Motor City, they recorded a 45 for Johnnie Mae Matthews's Northern label Popcorn And His Mohawks - "Pretty Girl b/w You’re The One" — Northern 4732, but when it was released in 1960 it attracted little local interest. (1) Released from their contract by Johnnie Mae, Popcorn and the rest of his group continued to play the clubs and during a set at the famous Twenty Grand Club, were spotted by Motown engineer Bob Bateman. They were subsequently signed to Berry Gordy’s Motown company and saw a 45 release in each of the next three years from 1960 onwards. The first of this trio, Popcorn Wylie - "Custers Last Man b/w Shimmy Gully” — Motown 1002, delivered disappointing sales, which isn’t surprising when you listen to it. It’s a strange tale of a soldier of the 7th Cavalry who appears to have been digging a hole since the Battle Of The Little Big Horn and who quotes song titles! The second outing fared no better as Gordy’s company raided its vaults for the song that had been their first real smash when they released it on Barrett Strong. Popcorn and The Mohawks — “Money (That’s What I Want) b/w I’ll Still Be Around” - Motown 1009, however bears little resemblance to Mr Strong’s outing with Popcorn battering the keyboards to create a raucus, boogie woogie styled rocker! Mr Wylie had actually played the piano on Strong’s original. The next year’s offering was the band’s last 45 on the logo for this stint at Motown, although Popcorn would return a decade later for a rerun with Gordy’s empire. Popcorn and The Mohawks — “Real Good Lovin’ b/w Have I The Right” — Motown 1019, was another up-tempo rock n rhythm performance that highlights the musicianship of the performers involved but once again didn’t connect with the record buying public. In addition to recording his own band Popcorn would also hit the road playing behind Gordy’s newly emerging soul stars, many of whose hits he had also played on in the studio, including The Miracles — Shop Around, The Marvelettes — Please Mr Postman and the fantastic outing by Mary Wells — Bye Bye Baby. After falling out with Berry Gordy, he left Motown in 1962 ,and was signed to Epic, a label on which he released four singles including a Goffin and King song, "Brand New Man", (which was issued in UK by Columbia). None of these records were successful, so Popcorn decided to stop performing and concentrate on writing and producing records. His first production was for a young female singer that would gain recognition from soul fans with her later Topper recordings Pricilla Page- My Letter b/w Dreaming - Rose G 500, a 45 that would albeit strangely, also see a release on the Alcor imprint with a different publishing credit, which was based in LA. The list of Popcorn’s mid sixties independent song-writing and production works, in and around the Detroit recording scene, reads like a who’s who of the city’s copious talents of the era, with names including, Theresa Lindsay, The Volumes, Yvonne Vernee, contributing to his impressively growing soul cv. Meanwhile, over at 3246 West Davison, Ed Wingate who had been recording his earlier releases in New York had decided to relocate his operation within his home town of Detroit and had purchased an old electrical store, employed legendary engineer Bob d’Órleans to refurbished it as a recording studio, thereby establishing Golden World Records. Wingate was on the hunt for local talent to utilise the new facility and offered Popcorn, along with a number of other emerging musical luminaries, an opportunity to write, perform, record and produce. (2) Popcorn would subsequently collaborate on a series of 45s with the likes of Ronnie Savoy, Joanne Bratton, Freddie Gorman and Sonny Sanders amongst others and although he would contribute to many of The Reflections releases on the label would also be involved in such classics as the lilting, Juanita Williams — “You Knew What You Was Getting” — Golden World 18, the crash, bang, wollop and pounding, Carl Carlton — “Nothing No Sweeter Than Love” — Golden World 23 and the smoother but equally uptempo, The Adorables — Oh Boy — Golden World — 25. Popcorn would see his name appear on over 20 sides for Ed Wingate’s iconic label but it was a chance meeting at Magic City Studios at 8916 Grand River, with another young up and coming song-writer and producer that would inextricably link the two forever in the eyes of soul fans. Enter into our story a certain Mr Tony Hester. When Popcorn and Tony Hestor became song-writing partners they proceeded to carve a niche into the psyche of Northern soul fans that would rival and indeed surpass many others. Their names would become as famed as the Mirwood team of Carmichael/Smith/Relf, the Brunwick soul royalty of Davis/Sims/Sanders and for some die hard Detroit soul fans the quality of their Northern Soul output would rival that of Motown Giants: Holland - Dozier - Holland. Just a cursory glance of their collaborations throws up classic after classic. Although both would continue to write solo and even in conjunction with others, it was the magical names of Wylie and Hester that became joined at the musical hip and encouraged soul fans to buy records bearing their name, whether they had already heard them or not. In the mid - 60's a group that had previously topped the US Billboard charts had seen their career stall somewhat as the musical styles developed. The doo wop, dreamy ballads they’d enjoyed such success with had now become the fare of yesteryear and they needed a shot in the arm so to speak. The Platters line-up had gone through a number of major changes over the years and in 1966 when they were signed to the Musicor label and produced by Luther Dixon comprised, David Lynch, Herb Reed, Sonny Turner, Nate Nelson and Sandra Dawn, It was his quintet that would see their balladeer repertoire updated, initially by Mr Dixon and then by Popcorn. The team of Dixon-Wylie-Hester would, between them, deliver a fistful of 45s that became sought after by soul collectors starting with, The Platters — ‘With This Ring b/w If I Had A Love’ — Musicor 1229, which it has been rumoured was a collaboration between Popcorn, Tony Hester and Luther Dixon’s wife Inez Foxx. It’s a fantastic song, built on a simple, romantic message, on which Sonny Turner solidifies his lead vocal role and the group’s harmonies are about as tight as they come. The second outing to come under the scrutiny of vinyl hungry soul fans was, The Platters - “Washed Ashore (On A Lonely Island In The Sea) b/w What Name Shall I Give You My Love” — Musicor 1251 which saw Popcorn take over the production reins completely on a song he and Tony Hestor had written. With a Sonny Sanders arrangement, Popcorn elicited one of the all time great performances from the group that once again stars Sonny Turner up front and centre but owes so much to the people around him. From its teasing piano intro, through the group’s angelic, ‘Ooooo’s and Aaaaaahs’, past the mid song break so favoured by Northern soul dancers, right to Sonny’s fading “Gone....Gone...Gone”, it’s a great example of how Popcorn’s talents could leave you wanting to play his songs again...and again....and again. The final production we highlight here from the group, The Platters — “Sweet Sweet Lovin’ b/w Sonata” — Musicor 1275, once again saw Popcorn and Sonny Sanders furnish the tools for the group to deliver a fantastic up-tempo, raucus dance record that became an instant classic with UK’s ardent soul fans and still gets nods of approval today. Popcorn’s involvement with The Platters left us with a fantastic set of songs that have that magical element that turns good records into great records... they make it all sounds so effortless. Musicor issued a couple of albums on The Platters featuring their collaborations with Dixon-Wylie-Hestor-Sanders and I’d wager their “Going Back To Detroit” — Musicor LP #2125 sits proudly on most collectors shelves. By 1967, Mr Wylie was in full flow. Constantly in demand his writing and productions skills would grace dozens of record labels and his name became synonymous with outstanding soul records, not only from his native Detroit but nationwide. One artist that benefitted from an injection of Mr Wylie’s ‘know how’ was Jamo Thomas. Popcorn and his some-time song-writing partner Herman Kelley had written a song themed on the en vogue espionage films and TV series popular at the time. Recorded by Chicago based singer Luther Ingram, it hit the shops in January 1966 as, Luther Ingram and The G-Men — “I Spy For The FBI b/w Foxy Devil” — Smash 2019, a great atmospheric dancer that unfortunately didn’t quite cut the mustard in terms of chart action. When fellow Chicago based singer Jamo Thomas recorded it and released it as Jamo Thomas And His Party Brother Orchestra — “I Spy For The FBI b/w Snake Hip Mama” — Thomas 303 (3), in April a few months later, it managed to slide unobtrusively into the lower reaches of The Billboard Hot 100. Picked up by Polydor for a UK release it made The Top 50 and became a club classic from then on. Mr Wylie had a UK Pop hit! On the back of that success, Popcorn Wylie also wrote Jamo Thomas’ follow up single, Jamo Thomas — Arrest Me b/w Jamo’s Soul — Thomas 304 and although these 45s were recorded in Chicago by legendary producers Monk Higgins and Boris Gardner, the pumping, driving relentless beat of Detroit’s ‘sound’ is ever present. Luther Ingram would of course become an icon on the Northern soul club circuit with yet another Wylie penned song that would reach classic status, Luther Ingram — “If It’s All The Same To You Babe b/w Exus Trek” — HIB 698 which saw both the vocal and the instrumental sides grace the turntables. Penned by Popcorn and recorded at Golden World Studios in a moonlighting session by The Funk Brothers, Neil Rushton, after a conversation with Robert Bateman says he (Bateman), took the tapes to Mercury studios in New York and overdubbed strings to create the 'orchestra' feel. Bateman says he sold about 5,000 copies, before achieving a distribution deal from Jerry Wexler at Atlantic Records. He was trying to capture a similar sound to The Four Tops and in doing so, produced a stone classic of the Northern Soul scene with a record that still fills dance-floors even today. Popcorn was by now working alongside many of Detroit’s artists, writers and producers whose names at the time remained hidden from their own homeland’s public but who’s same names generated intense interest over the ocean in the darkened, all-night soul clubs of UK. Names like Solid Hitbound, Don Davis, Palmer Records, Dale Warren, Groovesville, Mike Terry, Groove City, LeBaron Taylor, Barney ‘Duke’ Browner etc along with a whole slew of others would reverberate in record bars around the country as Detroit’s golden era of soul leaked its secrets. One such luminary whose labels would bear Popcorn’s name was Ollie McLaughlin an Inkster based DJ who had started his own labels and would eventually achieve a mountain of success producing Barbara Lewis and Deon Jackson. (4) In addition to Popcorn's own solitary outing on Ollie’s Karen label, Richard ‘Popcorn’ Wylie — “Rosemary’s Baby b/w Instrumental” — Karen 1542, an eerily atmospheric dancer based on the movie of the same name, he was also responsible for a number of other 45s on McLaughlin's logos, including 45s by Jimmy Clark. The fantastic but often overlooked Jimmy ‘Soul’ Clark — “Tell Her b/w Hold Your Horses” — Moira 104 is a masterpiece of late 60s Detroit flavoured dance music whilst the slightly earlier release, Jimmy Soul Clark — “If I Only Knew Then b/w Do It Right Now” — Karen 1539 puts Mr Clark’s Popcorn penned outings on ‘two for two’, in terms of quality. Songs by Popcorn would also be recorded and released on Ollie’s labels by The Fabulous Counts, The Excels and Belita Woods. By early 1967 Popcorn had moved into the realms of record label ownership. Operating as an independent from his basement at 3044 Taylor and with his own songs now registered with his own publishing company A La King Music, (named after his mother Althea King), it would seem a prudent next move. He therefore established two labels, Pameline, (which he named after his three daughters) and Soulhawk. When these two logos came into existence it probably didn’t cause so much as a musical ripple in DTown but for soul-fans a few years later, it would be an event of thunderclap proportions. There followed over the next couple of years, a series of records released that, when viewed through the eyes and ears of devoted soul fans, equals any other individuals’ Northern soulful legacy in terms of quality. The early and mid seventies Northern soul DJs playlists were peppered with A La King songs performed by a plethora of differently styled artists. It’s impossible to highlight all of the records by Popcorn that made it to UK dance-floors but some of the highlights are, The Detroit Executives — ‘Cool Off b/w Sho Nuff Hot Pants’ — Pameline 2010, a real quality production built around a song based on teaching a girl the latest dance craze after which the song is titled. This was also the backing track to the release on Sammy Kaplans label, The Mighty Lovers — “The Mighty Lover b/w Soul Blues” — BooGaLoo 468 which itself was released as The Ideals with “Dancing In The USA” on the flip side BooGaLoo # 108. Nestled on the flip of the uptempo funky A side of, The Innocent Bystanders — “Crime Dosent Pay b/w Frantic Escape” — Pameline 302, sits a magnificent vibe laden, sax burping, piano tinkling almighty slab of music that is often held up as one of our man’s finest moments. It’s a veritable musical juggernaut! It must have been some studio experience as Popcorn counted the musicians in and then proceeded to batter his way through the animated Dave Hamilton produced vibes on his piano, until Mike Terry’s growling almost threatening, baritone sax came in support! There’s simply nowhere to hide from this outing, feet start tapping immediately as James Jamerson's Precision Fender and Robert Finch's drum lay down the metronome like bottom end, then whoooosh, you’re gone, dancefloor demands your presence, best to just surrender and get down to it! Although Popcorn is also associated with Jimmy Clark via his releases with Ollie McLaughlin, it’s really the Soulhawk outings that highlight just what a powerhouse of a team Popcorn and Tony Hester’s songs and Jimmy’s vocals were when combined. Add to this combo a Mike Terry arrangement, a bunch of Motown musicians quietly going about their business without Berry Gordy breathing down their necks and hey presto... a pair of classics in the making! Jimmy Clark — “Sweet Darlin’ b/w (Somebody) Stop That Girl” — Soulhawk 001 was the initial release for Popcorn’s new enterprise and he came out of the starting blocks with all musical guns blazing! With The Vibrations and The New Holidays, Popcorn had vehicles to push his boundaries and both groups would release quality 45s that would sit somewhat dormant for a number of years until revived by soul fans across the Atlantic and records like the New Holidays — "Maybe So Maybe No b/w If I Only Knew" — Soulhawk 1008 are seeing their time in the spotlight at last. No tribute to Popcorn could ever be considered complete without at least a tip of the hat to a number of 45s that are intrinsically linked to him. The 45, Larry Wright — “Sweet Sweet Kisses b/w It’s Okay With Me” — A Go Go 541 with its driving beat, handclaps, deep deep bass subtle sax interludes, guitar break and drum fills galore is, vintage mid sixties uptempo Detroit dance music and the flip is a gorgeous mid tempo affair, the evergreen, Stanley Mitchell — “Get It Baby b/w Quit Twisting My Arm” — Dynamo 111 sounds like it could easily have been recorded at the same session as The Innocent Bystanders. One of Popcorn and Tony Hester's most talked about and currently in-demand sides, is Margaret Little — Love Finds A Way b/w I Need Some Loving - Genebro . Quite who Ms Little was, had been the subject of some conjecture or indeed how she came to record for Popcorn, but that UK erstwhile soul detective Andy Rix finally located her and the detailed story of the daughter of Fortune recording group The Four Kings and the 'Gene' of Genebro Records can be found by using the soul source search facility. I guess the actual 45 in question is something of a 'marmite' outing but both sides are very good musically, with "Love Finds A Way" being a perfect foil for a Northern soul dance-floor in particular, despite Margaret's less than great vocals. The backing track is unbelievably good, bearing all the hallmarks of superb Detroit musicianship. The song is penned by Tony Hester and Popcorn and arranged by Mike Terry so it’s really only to be expected. In the mid seventies with the Northern Soul scene sustaining its momentum, the search for fresh, different and rare records became a huge money spinner for record dealers and collectors alike. Many people began to search the shops and warehouses across the USA and once the record stores were exhausted of stock, the next move was to contact the artists, producers and musicans themselves, to see what they had to offer. One such UK record dealer was John Anderson, the operator of Soul Bowl Records in Kings Lynn, Norfolk. He also had a record label Grapevine Records in partnership with Wigan Casino's greatest DJ Richard Searling. He had become close to Popcorn, and with Popcorn being very prolific in the studios, for every song that made it to wax, many more were left on master tape, forgotten about or had even been discarded . Mr Anderson obtained some outstanding tracks from the vaults off Popcorn by various artists lots of which were first aired at Wigan Casino via Richard Searling on acetates or dubbed from master tapes. One that particularly resonated at the time was by Betty Boo, the ex member of the Golden World femme group, The Adorables with, “Say It Isn’t So” which gained a UK release, eventually appearing on John Anderson’s RCA backed Grapevine logo. Of course the popularity of Popcorn’s work meant that UK collectors were beating a path to his door and after one such trip by UK DJs and collectors, Richard Gilbert (Gilly), Guy Hennigan and Chris King more unknown and unissued masters were unearthed by Popcorn and different versions of existing songs sat side by side with completely new songs being heard in UK for the first time and on the back of this visit came a number of performances in UK by the man himself starting with a night at the Top Of The World Allnighter where Popcorn performed a selection of his songs both that he'd recorded himself and written for other acts. Four years later Popcorn was back, John Buck putting together two live shows, one of which took place at the old Carousel building in Manchester that had housed allnighters in the seventies. John recalls picking Popcorn up in a gold coloured Rolls Royce and that Popcorn had a great time seeing the tourist sites of London as well as being able to hook up with Edwin Starr, then a UK resident and who hadn’t seen Popcorn since those heady Detroit days. Popcorn would return to UK shores in 2000 and appear at the Motown and Northern Soul Great Yarmouth Weekender alongside a number of other iconic soulsters whose stars shone brighter in UK than at home. When Motown left Detroit the writing team of Holland Dozier Holland had already severed their ties to the company and established their own companies in the city. This led to Popcorn’s involvement on the writing and production side on a number of the seventies anthems including, Laura Lee — “I Need It Just As Bad As You b/w If I’m Good Enough To Love, I’m Good Enough To Marry” — Invictus 1264 and what is arguably the most popular post Motown 45 by the HDH team, Eloise Laws — Love Factory b/w Stay With Me - Music Merchant 1013. Strangly enough Popcorn would enjoy his biggest hit on a subsidiary label owned by the Giant Motown company that he’d left a decade earlier when, in 1971 he scored with, Popcorn Wylie — “Funky Rubber Band b/w Instrumental” — Soul 35087 which was just after he’d co written with Edwin both sides of, Edwin Starr — “Time b/w Running Back And Forth” — Gordy 7097. Popcorn’s outings would continue to enthrall his fans and when surrounded by musicians like Dennis Coffey, James Jamerson, McKinley Jackson, Paul Riser, Gene Page etc it’s no surprise that the comment “He never made a bad ‘un”, is usually the departing comment when in conversation about his work. But there, right at the core of his musical legacy is his raw talent, an ability to create stirring music. Music that tuned a whole generation of soul music fans into the delights of Detroit soul outside of Motown. And he did that right up to his work on his Extrasensory Perception album (ABC # 834 ) . The last years of Richard Popcorn Wylie's life were creatively pretty quiet, but he fully deserved a rest after many years of producing ,writing and singing stunning Soul music .Many people from the Soul scene kept in touch with Popcorn and never let him forget how grateful we are for his huge contribution to our music. Popcorn sadly passed away September 7th 2008 but thankfully he had experienced the euphoria of realising his life’s work was treasured and revered by fans all over the world. And it surely is. And that’s why Richard Wayne Wylie aka ‘Popcorn’ is an inaugural Inductee to our Northern Soul Hall Of Fame. Eddie Hubbard & Dave Moore 01 November 2014 Notes and References: Johnnie Mae Mathews was instrumental in the early careers of a number of Detroit based acts including The Temptations. Known primarily for her mid 60s Big Hit logo. Her children would continue her musical legacy as Black Nasty (the group who recorded ‘Cut Your Motor Off’) Ed Wingate’s Golden World Studios would prove fertile ground for a number of aspiring songwriters and budding producers as it grew to rival Motown’s A&R. George Clinton, Mike Terry, Sidney Barnes, The Hamilton brothers etc would all interact there, which led to lifelong friendships and professional relationships being formed that would heavily influence the city’s soul output over the next decade or so. The Thomas label was owned by Eddie Thomas, the manager of both The Impressions and Curtis Mayfield. It’s his name that forms he ‘tom’ in Curtom Records, a label he and Curtis Mayfield established together. Ollie McLaughlin named his labels after his wife (Ruth) and daughters, Karen, Carla and Moira. He also had a son Ira who is also record producer. Acknowledgements 1 Grateful acknowledgement to “Groovesville USA” Book by Keith Rylatt: www.groovesvilleusa.com 2 Grateful acknowledgement to the following for their assistance: Richard Gilbert, Rob Moss, Mark Speakman, Dave Thorley, Karl White and www.soulfuldetroit.com Discography: Listed below is a sample of Popcorn's work covering all aspects of his involvement in music be it as a performer, a songwriter, a producer or label owner, often wearing more than one hat on many the 45s. It's by no means complete or even comprehensive but gives a flavour of his legacy. The youtube clips at the bottom highlight the quality of his contribution. Popcorn and The Mowhawks - Custers Last Man b/w Shimmy Gully - Motown 1002 Theresa Lindsey - Gotta Find A Way b/w Wonderful One - Correctone 5840 Yvonne Vernee - Does He Love Me Anymore b/w So Much In Love - Correctone 3178 The Adorables - OOH, Boy! b/w Devil In His Eyes - Golden World GW 75 Barbara Mercer - Nobody Loves You Like Me b/w Doin’ Things Together With Me - Golden World GW 28 Little Carl Carlton - Nothing No Sweeter Than Love b/w Love True Love - Golden World GW 23 Juanita Williams - You Knew What You Were Gettin ' b/w Baby Boy - Golden World GW 18 Jamo Thomas - I Spy (For The FBI) b/w Snake Hip Mama - Thomas 303 The Platters - With This Ring b/w If I Had A Love - Musicor 1229 The Detroit Executives - Cool Off b/w Sho -nuff Hot Pants - Pameline 2010 Luther Ingram - Exus Trek b/w If It's All The Same To You Babe - Hib 698 The Mighty Lovers - The Mighty Lover b/w Soul Blues - Boog Ga Loo 468 Jimmy (Soul) Clark — (Come On And Be My) Sweet Darlin b/w Stop That Girl - Soulhawk 001 New Holidays - My Baby Ain't No Plaything b/w Maybe So, Maybe No - Westbound 157 Innocent Bystanders - Frantic Escape b/w Crime (Dosen't Pay) - Pameline 302 / Atlantic 2766 The Peoples Choice - Savin' My Lovin' For You b/w Easy To Be True - Palmer 5020 The Four Voices - Your Love Is Getting Stronger b/w With A Lonely Heart - Voice 1112 Larry Wright - Sweet Sweet Kisses b/w It's Okay With Me - A Go Go 345 Richard Popcorn Wylie - Rosemary, What Happened b/w Instrumental - Karen 1542 Sam Ward - Sister Lee b/w Stone Broke - Groove City 205 Stanley Mitchell - Get It Baby b/w Quit Twistin' My Arm - Dynamo 111 Margaret Little - Love Finds A Way b/w I Need Some Loving - Genebro 230 Laura Lee - I Need It Just As Bad As You b/w If I'm Good Enough To Love - Invictus 1264 Edwin Starr - Running Back And Forth b/w Time - Gordy 7097 Popcorn Wylie - Extrasensory Perception LP - ABC 834

Induction Date : 01 November 2014 Category : Outstanding Contribution A living legend to some, where do you start to map out the life and achievements of someone that has been at the forefront of the Northern Soul scene for so long, surely he has soul music running through his veins? Promoter, DJ, Record Dealer and Head of Publishing at Kent/ Ace Records, it’s because of his unending quest for the sublime music that we cherish that his name deserves to be one of the inaugural inductees into the Northern Soul Hall Of Fame. Born in Sheffield in 1952, Ady started on his journey into the world of Rare and Northern Soul in 1967 at the Frollickin' Kneecap in Market Harborough, a regular soul night, his first all-nighter would be at the deserted Kelmarsh railway station in 1969 which had been converted into a pub with dancehall, in the middle of the Northants countryside, half a mile away from the next building. He continued as an enthusiastic punter for the next 5 years buying vinyl as and when he could and, after university he snagged a job on a barrow on Rupert St market in Soho that sold 1000s of old 45s, before becoming a full time record dealer in 1974 making trips to the States twice a year. Ady, with his good friend Randy Cozens, formed the 6Ts Rhythm and Soul Society in August of 1979, because Randy wanted somewhere to listen to great music. The first event being held in a function room called Henri's at the Bedford Head pub in Maiden Lane, Covent Garden in London's West End. After a couple of successful months there they had a solid following and with the help of one of the first club mailing lists they sent out slightly amusing newsletters before each event and got the crowd to follow them to their next venue. This was a pub in West Hampstead called the Railway that had an upstairs function room called the Starlight Room (they also had a downstairs one called the Moonlight). The Starlight had originally been a mod club in the 60s, called the Klooks Kleek (Zoot Money's Big Roll Band did a very good live LP from there, Zoot/ Live at Klook’s Kleek Repertoire REP 5034), while the Moonlight was a pioneering London Northern Soul club that Ady had gone to in the early 70s where Mick Smith and David Burton played all the current Northern monsters to about 30 hardcore punters. The 6Ts was up in the Starlight Room and it went from strength to strength over the next year. The DJs in this period were Randy, Mick Smith, Tony Rounce, Tony Ellis, Terry Davis, Ian Clark and Pete Widdison, you may notice that Ady wasn’t listed. The music was original mod soul classics and similarly sounding classy dance records. However, they finally got kicked out of there, after one particularly wild evening when, amongst other mayhem, Pete was seen swinging off the rafters by the club's management. They then moved around London a bit, holding one-off dances at the Notre Dame Hall (Leicester Square), the Horseshoe by the Dominion Theatre (Tottenham Court Road), the 101 Club (Clapham), before getting their first date at The 100 Club. The first nights were more your Friday night beer laden parties and more and more R&B was getting played. However, Randy had hankered after getting a night going at his beloved Last Chance Saloon mod soul club from the 60s and as all their weekends were booked they went for a Friday all-nighter from 3am to 10am, where Ady started his Djing career, and probably about the same time he was nicknamed Harboro Horace by Randy, a nickname that he used on the sleeve notes of the compilation LP’s he had a hand in. So when the 100 Club management started a regular Friday club night rather than leave the place entirely they decided to try a Saturday all-nighter after the jazz had finished. This started at some time in 1981 and has been going on ever since. In fact, this year the 6T’s Rhythm and Soul Club’s 35th Anniversary was celebrated! The longest running all-nighter venue in the world. To celebrate the 6Ts brand and ethos Ady, beginning on the 5th Anniversary Allnighter, has issued a celebratory 45 on each subsequent anniversary and, in a kind of ironic way, many of these 100 Club Annivesary discs have become sought after records in their own right. 6Ts now has a reputation for being at the forefront of Northern Soul music, the music policy is the best of Northern Soul rarities, recent discoveries, unissued acetates and master tapes, a bit of modern, the odd R&B track and a smattering of oldies when needed/demanded. Ady, not wanting to rest on his laurels, decided to try and run a weekender for the same reason that Randy and he had started the 6Ts; i.e. no one else was doing it. A booking agency called TAC from Southend had run three or four good Northern/Motown weekenders in Great Yarmouth, which he had attended as a DJ and punter. He’d helped them with their bookings and sorted out the choice of songs for Chuck Jackson and Ray Pollard, amongst others. The weekenders there, although great, only lasted a couple of years, the profit margin was low and attendances were only average, though enthusiastic. As a student he used to visit a Hi-De-Hi style holiday camp in Cleethorpes where his mate's uncle was the comedian. He vaguely remembered it as having a great old-fashioned 60s dancefloor and revisited it to find it a perfect contender for a weekender. After a year or two of persuasion, he eventually talked them in to giving them a chance and the first event got under way. The acts booked were Mary Love, Tony Middleton and Willie Tee and they got an impressive line-up of the best Northern and Modern DJs operating at that time. However bookings were slow and with a month to go they were facing bankruptcy, they had to make a decision whether to pull the event or keep their fingers crossed. Of course it didn't run smoothly even with late bookings and “walk on” attendances pushing up the numbers. Willie Tee pulled out the day before the event, so everyone was given a £5 refund on arrival. Despite that, it was such a great weekend that they were sure they'd have no trouble filling the place once word got out. So the next one was booked for April 1994, 6 months after the first one. The line-up was Barbara Lewis, Lou Courtney and Betty Lavette, stunning in anyone's book, but the event’s finances still needed to be subsidized by Ady. Not to be put off, he realized that every 6 months was too much and decided to leave it until later in 1995 and at this point the management came to the rescue by saying why didn't they have it in June before the school summer holidays. Because of the move the crowds were appreciably bigger and have grown every year since. The event is now a sell-out, months in advance, testament to his dedication as a promoter. Since then there have been many memorable weekenders where people have said they've been better than the previous one. Artists have included Doris Troy, Tommy Hunt, Maxine Brown, Al Wilson, Bobby Hutton, Little Ann, Hoagy Lands, Sidney Barnes, The Velvelettes, Dennis Coffey, Willie Tee, Dean Parrish, The Diplomats (The Skull Snaps), the Mirwood Revue, Carl Carlton, Spencer Wiggins, Melvin Davis, Mary Love, Tobi Lark, Bettye Swann, Darrow Fletcher and recently the Weekender hosted the fabulous husband and wife team of Edna Wright (Sandy Wynns) and Greg Perry. In addition to his promotions and DJ contributions in UK, 'Horace' has also gone on to DJ in Italy, Germany and Spain and has even occasionally lectured on he subject of Rare Northern Soul. Way back in 1982 Ady visited Ted Carroll’s Rock On record stall on Golborne Road in West London, Ted later took a stall on the newly founded Soho market near Chinatown, not far from where Ady had his barrow, and he used to buy the 60s soul singles that the old vinyl merchant had plundered from warehouses and old shop stock on his travels. This interest in a music that was not particularly cherished in London at that time led to Ted asking Ady to stick together 15 singles from Los Angeles’ Kent and Modern labels and come up with an LP that would satisfy all those young mods who pestered Ted for some “soul like what all the original mods used to listen to”. Pinching the title from a popular Popcorn single of the time by Moses David on Tollie, Ady came up with “For Dancers Only” Kent 001, a selection of Northern Soul stompers, girl group floaters, male vocal harmonies and low down Rhythm & Blues, this was the start of Kent/ Ace records. He was then asked to rattle off a follow-up, when his first attempt flew out of the shops, that was the imaginatively named “For Dancers Also” Kent 002, the discerning public were soon hooked. A deep soul LP came next, followed by a collection of 60s soul classics, an LP of pure Northern Soul dancers, 70s soul sounds and many more sides of soul music’s polyhedron. Thirty plus years on, he is still coming up with black music compilations from the 60s and 70s that soul fans continue to support and enjoy. His eventually getting access to all the major record labels has given us, the Northern/ Rare soul fraternity music from the Okeh, Chess, RCA, Atlantic and even the mighty Tamla Motown vaults. This has meant the supply of sounds from this golden era is virtually limitless. Hugely influential independent labels like Stax, Goldwax, Fame, Westbound, Carnival, Mirwood, King, Scepter/Wand and others have learned to trust his integrity and have thrown open their doors saying “go ahead tell it like it was”. Smaller Independent labels such as Sounds Of Memphis, Dave Hamilton’s Detroit productions and GWP have come up with sizeable vaults that have delivered superb soul music that had frequently been unheard since its creation. Then there are the series like Mod Jazz, Modern Masterpieces, Northern’s Classiest, New Breed R&B et al that just keep on coming. It has allowed the public access to solo CDs from acts as big as the Impressions, James Carr, Candi Staton and the Staples Singers all the way through runaway successes such as Doris Duke, Sam Dees, Spencer Wiggins, who were previously only known by the cognoscenti, on to O.C. Tolbert, Jackie Day, the Minits and Vernon Garrett who weren’t that well known on their own blocks. The continued penchant for vinyl has left the rare soul lover with a pile of LPs and a growing 45s discography that would be enough to fill a DJs play box, what a great set would be played from it too, especially with the legendary Pied Piper productions recently added. With 300 plus CD compilations to date, the influence of Ady’s discoveries for Kent/ Ace records is seen all over the planet with mod and soul clubs cropping up in far flung places eager to enjoy the music of the 60’s and 70’s that have been rescued from obscurity. I guess it’s a testament to Harboro’ Horaces standing within the soul fraternity in that of all the ‘non musical’ people that could have topped the list of inaugural inductees Mr Croasdell was up front and centre by a country mile. David Hogenson & Dave Moore 01 Nov2014 Notes and references 1. Acknowledgement to Dave Rimmer’s http://www.soulfulkindamusic.net for some background information. 2. Acknowledgement to the official 6T’s website, http://www.6ts.info for information. 3. Acknowledgement to realmodworld.com for excerpts from an interview with Ady. 4. Acknowledgement to acerecords.co.uk for background information Discography: Horace’s Records 001 - Melba Moore - The Magic Touch b/w Tommy Hunt - The Pretty Part Of You 002 - Roosevelt Grier - In My Tenement b/w Lavern Baker - Wrapped, Tied And Tangled 003 - Hector Rivera - Chance For Romance b/w Playing It Cool 004 - Eddie Daye & The 4 Bars - Guess Who Loves You b/w Jimmy Armstrong - Mystery 005 - Ray Pollard - This Time b/w The Cairos - Stop Overlooking Me 006 - Little Johnny Hamilton - Oh How I Love You b/w Entertainers IV - Getting Back Into Circulation 007 - Carla Thomas - I'll Never Stop Loving You b/w Barbara Lewis - The Stars Kent/ Ace Records https://www.youtube.com/watch?v=T4zvtS4j7Ts

Date Of Induction: 01 November 2014 Category : Mixed Group The Sapphires were a trio consisting of a girl and two guys. Their outings on Swan would consolidate a production team that would become legendary and whose names would transcend the Philadelphia city limits and indeed the borders of their home country and be regularly heard from the lips of rare Northern soul fans as far away as other continents. Discovered by fellow Philadelphian Jerry Ross, the group line-up of Carol Jackson, Joe Livingston and George Garner, when matched up with songs penned by Jerry Ross, Kenny Gamble and Joe Renzetti, arranged by the hand of Renzetti and under the production steering of Ross and Gamble, had everything that a brand new shiny 45 should need. In the case of The Sapphires they even had the advantage of having the musical tracks they were singing to played by Leon Huff, Thom Bell, Bobby Eli and Bobby Martin! Now that’s what you call a band! Their first outing on wax was the 1963 release of The Sapphires — “Where Is Johnny Now b/w Your True Love” — Swan 4143 which was recorded at Frank Virtue‘s Studios on Broad Street (1) and coupled an A side, skip along dancer with Carol Jackson, the songs author, lamenting the fact that her man doesn’t contact her, with a romantic ballad and the whole record creates a sound that certainly belies the fact that it’s the groups first outing and sounds ahead of its time insofar as it combines the future use of bass and drum and echo that would become so familiar in later productions. Although the 45didn’t manage a break out and only sold locally despite its obvious quality, the 45 did establish the group and its sound. Undeterred, Ross Associates and the group climbed the stairs of Virtue Studios again and this time exited with a little more success. The Sapphires — “Who Do You Love b/w Oh So Soon” — Swan 4162 would probably define the group outside of Northern soul circles as it delivered a chart position of #25 on Billboard’s Hot 100 in 1964 with its double dose of synchopated soul dance music written by Ross and Gamble. The same songs would also see a release a while later on the Philly based Itzy label (#5). With a top 30 hit under their belts the team enlisted that seminal early sixties group that seems to pepper many of that labels’ repertoires The Swans (2) and released the 1964 classic The Sapphires — “I Found Out Too Late b/w I’ve Got Mine” — Swan 4177. The 45 is a wonderful effort by all involved, from the pens once again of Gamble and Ross and arranged by Gamble and Renzetti who was surely guiding the young future record mogul, the A side is a floaty laid back dancer utilizing the extra female vocal input by The Swans to perfection. Ms Jackson is still front and centre and her voice is still the star of the show but this time supported by a light steely sounding guitar, a gossamer input from a Hammond B3 and even an almost hidden salvo from of all things…a trumpet. The sound of both The Sapphires and the production team was developing and I think this 45 was best from the group so far. It certainly provided an appetiser to the entrée that was to come. The final outing from the group on the Swan logo was The Sapphires - Gotta Be More Than Friends b/w Moulin Rouge — Swan 4184 which put the group in the studio alone having lost the Swans input. By now (1964), the group was in full flight with its songwriting team of Gamble and Ross creating their songs based on a deft touch of soul placed around quality, laid back sounding, backing tracks and this outing was no different. At this stage the group warranted an album release which was duly complied, consisting of all their 45s both A and B Sides but sadly, it would prove to be the only LP of their career. Jerry Ross, ever with an ear for a hit and an eye on the future decided to move with the times and, realizing the talent that was at the heart of The Sapphires, he secured a deal, in June of that very same year that would create some of the Northern soul scene’s most enduring group sounds of all time. This move meant a move to New York’s Bell Sound Studios for recording purposes but the writing and productions still seeped pure Philly. With the likes of the yet little known, Nick Ashford, Valerie Simpson and Melba Moore brought in to enhance the sound with backing voices (3) and Kenny Gamble and Thom Bell also contributing to the vocal mix, the team’s first release for the major label which was also penned by Gamble and Ross, The Sapphires — “Let’s Break Up For a While b/w Hearts Are Made To Be Broken” — ABC — Paramount 10559 delivers an exceptionally haunting beat ballad that evokes the atmosphere of a late night walk in a deserted city, whilst the flip is a samba orientated slice of middle of the road dance music written by former member of Kenny Gambles group The Romeos and Cameo’s then session guitarist, Roland Chambers and, on which the angelic backing voices of the aforementioned luminaries can be clearly distinguished. Their follow up 45, The Sapphires — “Thank You For Loving Me b/w Our Love Is Everywhere” - ABC Paramount 10590 featured a song on the A Side written by that prolific songwriting team of Boyce-Hart-Farrell it’s a finger-clicking and guitar led mid paced outing that uses interspersed chimes to add a certain charm but it’s also the flip that grabs the listeners attention. Written by Gamble-Ross and Renzetti the style of the Sapphires music is beginning to develop strongly by now with Renzetti arranging the laid back backing track that uses sweetening vibes to great effect alongside the soaring almost angelic backing voices that support Ms Jacksons clearly top quality, singing voice. Neither of the group’s first two outings for ABC Paramount yielded a chart position of note. The association with the label did yield however the exposure of appearances at the Paramount Theatre in New York’s Times Square, where the group played to packed houses at the Easter ‘Good Guys Show” in April 1964 alongside Sam Cooke, Jackie Wilson and Rufus Thomas amongst others. The next quartet of releases from the group, starting with a trio in 1965, are the ones that would elevate their status in terms of affection with rare Northern soul circles and create a legacy that would not only be part of Jerry Ross’ but would also exalt both the group’s and Joe Renzetti’s name into the bargain. The group’s sound was now full of that effortless vibrancy that Carl Jackson had always radiated but now it was symbiotic with arranger of this 45, Jimmy Wisner’s visionary arrangements and Ross’ deft hands, which controlled the mixing board. The end result was a masterpiece of sixties femme soul that still draws crowds of dancers to the dance-floors despite its 40 year tenure on DJs playlists. The opening middle ranged piano and vibraphone introduction to The Sapphires — “Gotta Have Your Love b/w Gee I’m Sorry Baby” — ABC — Paramount 10639 is nothing short of genius. In the age old tradition of sometimes “less is more” this short and simple portion of music has acted like an irresistible magnet the dancers of UK’s soul scene for over 4 decades. Carol Jackson’s sultry but equally sounding innocence as she lets her beau know how she feels in no uncertain terms, is a pure joy and the, now customary, groups angelic backing singers add just the right amount of atmosphere to the proceedings. With Wisner’s added horn riff midway preceding a short break before Carol and the other voices finish with a fade and repeating ‘Gotta Have Your Love” leaves the listener almost wishing to replace the needle back at the run in groove in order to enjoy that experience one more time. When describing music in a written form it’s difficult not over use descriptive terminology, especially when that music is the music you feel passionate about. But in the case of this particular 45 I’m going to use a word that you’ll rarely see drip from my musical quill as I save it for the very highest of accolades and in the case of this 45, for me at least, it’s use is wholly appropriate. This record is simply…magnificent. The next 45 from the group to grace the logo is another that has remained a firm favourite of both Northern soul fans and girl group sounds alike, written by another prolific and successful writing duo of Arthur Resnick and Kenny Young, (4) The Sapphires — “Evil One b/w How Can I Say Goodbye” — ABC Paramount 10693 is a little more uptempo than the previous outing but once again the use ‘echoey’ percussion and a layer of vibes create a perfect foil for singers to play against as Carol leads them in a tale of betrayal and hurt that’s resulted in her deciding that her ‘evil one’ must stay away. Another horn bridges midway this time arranged by Joe Renzetti, and a light tinkling piano as the sing fades highlights just how happy the team wee with the previous outing. Often described as Motownesque, the Sapphires ABC Paramount 45s are much more than that. They contain subtle but entirely different components that when all stitched together skillfully, create a big, all embracing almost Phil Spectorish sounding effect. Much of that was a team effort I’d wager as Renzetti and Ross guided different components together and literally built the sound they were after. Also, the use of Thom Bell and Kenny Gamble in the role of backing singers shouldn’t be understated. Although not the greatest solo singers in the world, both these future legends were accomplished tunesmiths and could hold a note. The third 45 of the year from the team brought us a version of a song that would also prove to be a hugely popular song by The Yum Yums, on the same label. The Sapphires — “Gonna be a Big Thing b/w You’ll Never Stop Me From Loving You” — ABC Paramount 10753 is a much pacier version than the Yum Yums outing though it starts off with a walking paced intro of bass guitar and tambourine which, shortly after the beginning, features a staccato baritone sax before a wild drum fill explodes and signifies that this certainly ain’t no pedestrian, lounge music affair. It fair motors along apace as Carol leads the group on a 100mph story of how hers and her man’s new love really is “gonna be a big thing’ against a breathless backing that seems like it contains just about every piece of an orchestra including a brilliant horn section. The Sapphires last vintage 45 delivered a sound that the group had nurtured and evolved but without much commercial success, The Sapphires — “The Slow Fizz b/w Our Love Is Everywhere” — ABC Paramount 10778. It’s once again full of the signature sound of Ross and Renzetti on this Pam Sawyer and Lori Burton penned classic. This 45 would see the end of The Sapphires as a recording group (although heir most popular Northern tracks saw a re-release on UK Probe label due to hat specific demand), but there was however, a track rediscovered when the vaults of record companies became targets for the collectable and oldies reissues market and “Baby You’ve Got Me” which proved to be a reworking of “The Slow Fizz” song gained a modern day release in the mid 90s on the UK Soul Series logo. It’s a slightly different guitar arrangement with a more prominent saxophone part but it still retains the signature sound of Ross, Renzetti and the Group with its upbeat, “echoey” big horn sound, stuffed full of vibrant beats and vocals. The Sapphires 45s are pure Philly musical gems that sparkle as brightly as anything the City Of Brotherly Love produced. A quick listen to the you tube videos attached lower in this tribute will no doubt testify as to why Joe, George and Carol worked their way into the hearts of soul fans and it’s a real pleasure to have them as inaugural Inductees in our Northern Soul Hall Of Fame. Kevin Horsewood & Dave Moore November 2014 Notes and References: There is a record by a group called the Sapphires on RCA from 1957 but his is a completely unconnected group. The Swans were utilized by many groups and artists for Swan Records but hey also released a number of their own outings on the label. Nick Ashford, Valerie Simpson and Melba Moore were first put together by Jerry Ross and would become his ‘go to’ backing singers on a number of projects before making their names as solo artists and songwriters. Artie Resnick and Kenny Young are probably most famous for writing the classic “Under The Boardwalk”. Discography: Swan Records Where Is Johnny Now b/wYour True Love - 4143 Who Do You Love b/w Oh So Soon - Swan 4162 I Found Out Too Late b/w I’ve Got Mine You Better Get Yours - Swan 4177 Where Is Your Heart b/w Gotta Be More Than Friends - Swan 4184 ABC Records Let’s Break Up For A While b/wHearts Are Meant To Be Broken - 10559 Thank You For Loving Me b/w Our Love is Everywhere - 10590 Gotta Have Your Love b/w Gee I’m Sorry Baby - ABC 10639 Evil One b/w How Could I Say Goodbye - ABC 10693 Gonna Be A Big Thing b/w You’ll Never Stop Me From Loving You - ABC 10753 The Slow Fizz b/w Our Love Is Everywhere - ABC 10778

Induction Date 01 November 2014 Category: Male Vocalist Roy Hamilton, during his illustrious 15 year singing career, was known by many nicknames: Mr. Rock and Soul, The Gentle Giant, and, most notably, The Golden Boy of Song. But few of these nicknames fully encompass the majesty of his voice, the influence he had on the artists of his generation, or the legacy his music has left behind. He was idolized by Elvis Presley, emulated by Jackie Wilson and Brook Benton and covered by the Righteous Brothers. His voice and legacy have earned him a place in the annals of history for years to come, and also sees him honoured as an inaugural inductee in the Northern Soul Hall Of Fame. Born on April 16th 1929 in Leesburg, Georgia, Roy began his musical journey like many of his peers by singing in his local church choir and began performing there at the tender age of six. He continued developing his singing within the church and, at age 14 when his family moved to Jersey City, New Jersey he became a featured soloist in the Central Baptist Church Choir. In high school, Roy was committed to becoming a singer and concentrated his school efforts towards the performing arts. He was a talented artist but also took up the sport of boxing, amassing six victories as an amateur heavyweight before leaving his pugilistic aspirations behind having become disillusioned by the violence in the sport. In 1948, Roy’s deep, rich baritone voice could be heard singing in a gospel quartet called the Searchlight Singers, however it was as a soloist that his real aspirations lay and the lure of a single spotlight led him to begin performing alone in the local clubs and lounges throughout New Jersey and New York, during which time he won a Wednesday amateur talent night at the Apollo Theatre, New York with his dramatic rendition of “You’ll Never Walk Alone” from the musical “Carousel” which later became his signature theme tune. He continued singing in local clubs over the next few years and it looked like his career may have stalled when, in 1953 he met his future manager, Bill Cook, a DJ who hosted a live radio program at the Caravan Club in Newark, New Jersey. Bill took Roy under his wing, and Roy was signed to the Epic label, a subsidiary of Columbia Records in December of that year, as his voice wasn’t thought R&B enough to join the ranks on the Okeh label. Within a month Roy Hamilton - “You’ll Never Walk Alone b/w I’m Gonna Sit Right Down And Cry” Epic 9015 was released and became an instant smash, staying in the Pop Top Twenty for two months. In January 1954 Roy topped the bill at the Trianon Ballroom in Chicago, with a big show that also featured Jimmy Reed, Big Maybelle, The Spaniels, Counts and Flamingos, the next month the same performers hit the stage at the Symphony Hall in Boston for weekend shows (LaVern Baker, Della Reese and the Erskine Hawkins band joined them in April for dates throughout the Midwest), also in February he returned to the Apollo Theatre where it all began, but this time as a headliner, along with Ruth Brown. In March he appeared at Birdland in New York for a week, and by May his first record was number one in the R&B charts, the first number one for Epic records. In June Hamilton was performing in a big show at Soldier’s Field, Chicago alongside Nat “King” Cole, Sarah Vaughn and The Orioles. He signed up for the big “Rhythm & Blues Show” with the Gale Agency in the same month, which also starred The Drifters, Counts, Spaniels, Faye Adams, LaVern Baker, King Pleasure, Rusty Bryant and Erskine Hawkins. He starred in the WNJR 4th July picnic with The Orioles, Big Maybelle, Larry Darnell, Joe Liggins, Nappy Brown, Varetta Dillard and Bull Moose Jackson. In September a show called “Kahl Music Presents” presents Roy Hamilton, Sarah Vaughn, Count Basie, Billie Holiday, Charlie Parker, Modern Jaz Quartet, Lester Young and The Drifters, this coincided with the release of Roy Hamilton - “Ebb Tide b/w Beware” Epic 9068 , a top five seller in the R&B charts and top 25 in the pop charts. Epic celebrated its first anniversary in November of 1954 and at their party was their biggest seller, Roy Hamilton. At the same time Roy Hamilton - “Hurt b/w Star Of Love” Epic 9086 was released, a song that would later be Timi Yuro’s first big hit. His version of the title song from the film ‘Unchained’, Roy Hamilton - “Unchained Melody b/w From Here To Eternity” Epic 9102 went head to head with Al Hibbler’s Decca version for top honours, selling more than a million copies and staying in the pop charts for over four months. A measure of the way that the recording industry embraced Roy’s dramatic vocal talent came when he was presented with the Downbeat Magazine’s Top Male Vocalist Of The Year Award in June 1955, and he was also lauded when ABC television personality Joe Franklin presented him with the Memory Lane Award for Best New Male Singer, later that same year. In mid-January 1956 Roy Hamilton headlined at the Apollo Theatre again, along with Ruth Brown, Charlie and Ray, and the Five Keys, subsequently signing on for a big travelling R&B show that toured the South for a couple of months. The bill included Bill Haley and his Comets, The Platters, Shirley and Lee, LaVern Baker, Joe Turner, Bo Diddley, The Turbans, Drifters and Five Keys. In late April Roy Hamilton was forced to cancel a few dates when he fell ill, later to be diagnosed as suffering from pneumonia and tuberculosis. On June 2nd 1956 he stunned the music world by announcing his retirement due to his illness and total exhaustion. A year after he announced his premature retirement he was back in the recording studio, he recorded Roy Hamilton - “The Aisle b/w That Old Feeling” Epic 9224, the same song that was recorded by The Five Satins and gained release as The Five Satins - “To The Aisle b/w Wish I Had My Baby” - Ember ( London# HL 8501). In July he makes his first public appearance since his return at an All Star Show in Atlanta. Helping to celebrate his return were LaVern Baker, Little Willie John, Nappy Brown, The Cardinals, and Burnie Peacock and his band. He soon followed this up with a short tour of Texas and Oklahoma with The Clovers, Buddy Johnson and his band with Ella Johnson, Johnny and Joe, Huey Smith, and The Spaniels. In October he appeared in a series of one-nighters in the South with The Clovers, Tune Weavers, Little Joe, Thurston Harris and Tally Ho Label owner Doc Bagby’s Combo, many of them join him at the State Theatre in Hartford Connecticut for a big show in November, hosted by George “Hound Dog” Lorenz. Roy’s live appearances were extremely successful and his shows were nearly always sell outs. At the end of 1957 he broke the box office records at the famous Howard Theatre in Washington D.C. Epic meanwhile kept the momentum of his recording career going by releaseing his newest recording Roy Hamilton - “Don’t Let Go b/w The Right To Love” Epic 9257, the first Rock and Roll record to be recorded in stereophonic sound which reached number 13 in the Hot 100 charts and stayed there for three months. He closed out the year appearing in DJ Paul Sherman’s show in New York with Al Savage and his band, Thurston Harris, JoAnn Campbell, The Dubs, Shells, Five Satins, and Deltairs. In January of 1958 Columbia Pictures releases “Let’s Rock”, a quickie film that featured many of the day’s music stars, Roy Hamilton, Danny and The Juniors, The Royal Teens, Paul Anka, Della Reese, and Julia La Rosa were all in the cast. This was followed by an appearance on legendary Radio DJ “Jocko” Henderson’s television show before the end of the month which led to a number of bookings throughout the country, including an appearance on the Dick Clark’s Saturday Night Beechnut Show, a forerunner of his nationwide American Bandstand success. In March, Roy signed on with Irwin Feld for ‘The Greatest Show Of Stars’ road tour which would last 80 days and starts with a tour of Canada. That same month he appears at the Paramount Theatre Los Angeles with Earl McDaniel. In November a Roy Hamilton Day benefit show at the Jersey City armoury is held to raise money for the Central Baptist Fund, Red Prysock, Joe Louis, Varetta Dillard and others appear in support. 1959 saw continued his hectic live show schedule appearing alongside such musical luminaries as Jerry Butler, The Spaniels, Pigmeat Markham, Maurie Leigh, The Madison Trio and The Rick Henderson Orchestra, Teddy Randazzo, The Poni-Tails, Connie Francis, Four Lads, and Clyde McPhatter. He stayed with the Epic logo for a decade, releasing more than 30 singles and EP’s on the imprint, but it’s his later MGM and RCA Victor recordings that led to the Rare Northern soul fraternity taking him to their hearts. In February 1964, whilst signed to the MGM label he delivered one of the seminal beat ballads of all time with, Roy Hamilton - “The Panic Is On b/w There She Is” - MGM K13217. Roy’s melodramatic vocal overtones could well have annulled the magnificent arrangement from Bert Keyes but right from the initial timpanic intro and following notes of a muted trumpet the song instantly becomes something special. When Roy’s vocal opens up with its passionate ebbs and flos, it proves to be the perfect foil for a beautifully crafted song. Roy’s clarity, his passionately strained, perfectly placed notes and his ability to make it all sound so seamless fit the song like a calf skin glove to a manicured hand. If you were to canvas fans and collectors alike as to what was their all time favourite beat ballad, there’s an odds on chance that this magnificent mid sixties outing would be up there in the higher echelons of any compiled list for sure. With “The Panic Is On” a hard act to follow Roy followed up six months later with, Roy Hamilton - “You Can Count On Me b/w She Make Me Wanna Dance” - MGM K13291, and whilst the song isn’t quite as strong as its predecessor, Roy tells his mournful tale of always being there for his girl over a great mid-tempo track that encompasses a fantastic set of female backing singers. A move to RCA Records in mid 1966, delivered a couple of 45s that would ensure that the musical legacy left by Mr Hamilton would be enshrined forever when he delivered up two 45s that went on to become iconic dance-floor fillers albeit 3000 miles from their place of birth in the RCA studios in New York. Sitting somewhat nonchalant on the flip side of the first one is the self penned classic, Roy Hamilton - “Walk Hand In Hand b/w Crackin’ Up Over You” RCA Victor 47-8960, from October 1966 and is a song that would become permanently glued to the name of Roy Hamilton, such was its impact. It's a fantastic, almost operatic performance by Roy as he relays the intensity of his love for his girl. The second of his RCA labelled stormers Roy Hamilton - “So High My Love b/w You Shook Me Up” RCA Victor 47-9171 from April 1967 is also a sleeping B Side and will probably need very little introduction to readers of this tribute with its powerful and vibrant backing track benefitting from an equally earthshaking vocal delivery from Mr Hamilton. In 1966 whilst in the middle of his tenure with RCA Roy also recorded a fantastic version of the Bacharach and David classic, “Let the Music Play” that lay dormant until those erstwhile soul detectives at Ace Kent in UK unearthed it and placed it on their 1997 Rare Collectable And Soulful CD ( Kend 141). Roy’s stirring performance once again fits the arrangement style of Bert Keyes with his use of a muted trumpet, timpani and this time embellished with subtle strings that add another tick in the musical box. For fans of Mr Hamilton’s dramatic RCA output there’s also a couple of other songs that are worth investigating, one of them nestling quietly away on his LP Roy Hamilton - "The Impossible Dream" — RCA LP3532. It’s a quality version of the Bacharach and David classic, “Reach Out For Me” which certainly rivals any other version of the song to have been committed to wax. The other one is a song that has adorned many a record room turntable over the years I’d wager and was actually his first outing on the RCA imprint, Roy Hamilton — “Heartache (Hurry On By) b/w Ain’t It The Truth” - RCA 8641. Although his rendition of the classic song on the B Side is also a great performance it’s the top side that really grabs you. A more soulful plaintive ballad would be hard to find and Roy’s emotional interpretation of a fantastic Bert Keyes arrangement delivers one of the truly great deep soul beat ballads. Unfortunately, Roy’s star was tragically extinguished when he suffered a stroke in New Rochelle, New York. Despite surgery, he passed away soon after on July 20th 1969, months after his 40th birthday, leaving behind his wife Myrna, and his two son’s Roy Hamilton Jnr. and Ray Hamilton. Roy Hamilton’s body of musical work was and still is enjoyed and admired by his peers, by industry insiders and by fans alike. Although he has made the shortlist for the Rock N Roll Hall Of Fame in Cincinatti, Ohio, his home country have yet to fully recognise his talents His induction as an inaugural Inductee into our Hall Of Fame is nothing short of fitting for a performer known as a ‘singers singer’. David Hogenson & Dave Moore 01 Nov 2014 Notes and References: 1. Acknowledgement to the official Roy Hamilton website: www.royhamilton.net for assistance. 2. Acknowledgement to http://home.earthlin...r/hamilton.html for background info. 3. Dave Rimmers www.soulfulkindamusic.net for assistance with Discography. DISCOGRAPHY Epic Records: Epic 9015 - You'll Never Walk Alone b/w I'm Gonna Sit Right Down And Cry (Over You) Epic 9047 - So Let There Be Love bw If I Loved You Epic 9068 - Ebb Tide b/w Beware Epic 9086 - Hurt b/w Star Of Love Epic 9092 - I Believe b/w If You Are But A Dream Epic 9102 - Unchained Melody b/w From Here To Eternity Epic 9111 - Forgive This Fool b/w You Wanted To Change Me Epic ? - Fascination b/w Cacaquinho Epic 9118 - A Little Voice b/w All This Is Mine Epic 9125 - Without A Song b/w Cuban Love Song Epic 9132 - Everybody's Got A Home b/w Take Me With You Epic 9147 - There Goes My Heart b/w Walk Along With Kings Epic 9160 - Somebody, Somewhere b/w Since I Fell For You Epic 9180 - I Took My Grief To Him b/w Chained Epic 9203 - The Simple Prayer b/w A Mother's Love Epic 9212 - My Faith, My Hope, My Love b/w So Long Epic 9224 - The Aisle b/w That Old Feeling Epic 9232 - (All Of A Sudden) My Heart Sings b/w I'm Gonna Lock You In My Heart Epic 9257 - Don't Let Go b/w The Night To Love Epic 9268 - Crazy Feelin' b/w In A Dream Epic 9274 - Lips b/w Jungle Fever Epic 9282 - Wait For Me b/w Everything Epic 9294 - Pledging My Love b/w My One And Only Love Epic 9301 - It's Never Too Late b/w Somewhere Along The Way Epic 9307 - I Need Your Lovin' b/w Blue Prelude Epic 9323 - Time Marches On b/w Take It Easy, Joe Epic 9342 - Great Romance b/w On My Way Back Home Epic 9354 - The Ten Commandments b/w Nobody Knows The Trouble I've Seen Epic 9354 - The Ten Commandments / Down By The Riverside Epic 9372 - Nobody Knows The Trouble I've Seen b/w Down By The Riverside Epic 9373 - I Let A Song Go Out Of My Heart b/w I Get The Blues When It Rains Epic 9374 - My Story b/w Please Send Me Someone To Love Epic 9375 - Something's Gotta Give b/w Cheek To Cheek (Unreleased as at Oct 2014)) Epic 9376 - Sing You Sinners b/w Blow, Gabriel, Blow Epic 9386 - Having Myself A Ball b/w Slowly Epic 9388 - Never Let Me Go b/w I Get The Blues When It Rains (Unreleased as at Oct 2014) Epic 9390 - The Clock b/w I Get The Blues When It Rains Epic 9398 - A Lover's Prayer b/w Never Let Me Go Epic 9407 - Lonely Hands b/w Your Love Epic 9434 - You Can Have Her b/w Abide With Me Epic 9443 - You're Gonna Need Magic b/w To The One I Love Epic 9449 - No Substitute For Love b/w Please Louise Epic 9460 - Excerpts From - You Can Have Her Epic 9461 - Excerpts From - You Can Have Her Epic 9462 - Excerpts From - You Can Have Her Epic 9463 - Excerpts From - You Can Have Her Epic 9464 - Excerpts From - You Can Have Her Epic 9466 - There We Were b/w If Epic 9492 - Don't Come Cryin' To Me b/w If Only I Had Known Epic 9520 - Climb Ev'ry Mountain b/w I'll Come Running Back To You Epic 9538 - Earthquake b/w I Am MGM Records MGM 13138 - Let Go b/w You Still Love Him MGM 13157 - Midnight Town - Daybreak City b/w Intermezzo MGM 13175 - Theme From "The V.I.P.'S" ( The Willow ) b/w The Sinner (El Pecador) MGM 13217 - The Panic Is On b/w There She Is MGM 13247 - Answer Me, My Love b/w Unchained Melody MGM 13291 - You Can Count On Me b/w She Makes Me Wanna Dance MGM 13315 - Sweet Violets b/w A Thousand Years Ago RCA Victor Records RCA Victor 47 - 8641 - Heartache b/w Ain't It The Truth RCA Victor 47 - 8705 - And I Love Her b/w Tore Up Over You RCA Victor 47 - 8813 - The Impossible Dream b/w She's Got A Heart RCA Victor 47 - 8960 - Crackin' Up Over You b/w Walk Hand In Hand RCA Victor 47 - 9061 - I Taught Her Everything She Knows b/w Lament RCA Victor 47 - 9171 - You Shook Me Up b/w So High My Love RCA Victor - Let The Music Play — Recorded 02 November1966 but unreleasd until issued on the 1997 Kent Cd - Rare Collectable And Soulful (Cdkend 141) Capitol Records Capitol 2057 - Let This World Be Free b/w Wait Until Dark AGP Records AGP 113 - The Dark End Of The Street b/w 100 Years AGP 116 - Angelica b/w Hang Ups AGP 25 - It's Only Make Believe b/w It's Only Make Believe (Only released as a promo copy) AGP 125 - It's Only Make Believe b/w 100 Years

Date Of Induction : 01 November 2014 Category : Post Production Most collectors of Northern Soul records will have the name of Weldon A McDougall III nestled in their 45s collection somewhere. A native of Philadelphia Weldon was born at the Mercy Douglas Hospital in West Philly and was raised by his mother Eleanor having been named after his father and Grandfather. His interest in music was sparked as a student at West Philadelphia High School where he first encountered George Tindley (Of The Dreams) and George Grant (Of The Castelles). As a schoolboy Weldon showed early signs of the entrepreneurship that would drive his ambitions throughout his life and could be found delivering the neighbourhoods newspapers on his trusty bike. One of his family customer’s son, Johnny Stiles later became a major influence in Weldon’s life when along with Luther Randolph, the trio established Harthon Records at 5994 Chestnut St in West Philly. Weldon’s early musical involvement came in the mid fifties when it seemed just about every high school student was in some kind of singing group. Weldon was no exception and he put together his own doo wop inspired quartet called The Larks. On graduation though in 1955, the call to serve Uncle Sam however interrupted the group’s progress and Weldon spent two years serving his country as United States Marine at Quantico Virginia. On discharge he returned to Philadelphia, reconnected with former Lark Pat White (who became Mrs Weldon McDougall), and set about finding a new lead singer. Approached by local singers Earl ‘Bill’ Oxendine and Jackie Marshall, Weldon and Pat on hearing them agreed that their new quartet was now complete. Mistakenly booked by Jocko Henderson, (the WDAS legendary DJ), for one of his Rocket Ship shows at Harlem’s famed Apollo Theatre (1) The newly formed quartet appeared on the same bill as Clyde McPhatter, Baby Washington and Shep And The Limelights. Despite not having even made a recording yet fellow Philly maestro, Bandstand announcer and record producer Jerry Ross recognised their potential and took the group into the Reco -Arts Studio. The resulting 45s would set the group off on a musical journey that would include releases on Ross’ own Sheryl label and further outings on Uptown and Tower, including of course the classic double-sider, The Four Larks — Groovin’ At The Go Go b/w I Still Love You” — Tower 402. (Pat White had left the group by this stage, split with Weldon and Vivian, Weldon’s second wife is the female lead on the 45). In tandem with his work with the Four Larks, Weldon also established Harthon Records who produced many classic Northern Soul 45s at Frank Virtue’s studio on Broad St. Amongst the lengthy legacy of The Harthon Trio of Weldon, Luther Randolph and Johnny Stiles are such outings as Larry Clinton — “She’s Wanted In Three States” — Dynamo 300, Herb Ward — “Strange Change” — Argo 3510 and The Cooperettes — “Shing A Ling” — Brunswick 553, as well as fantastic outings as diverse as Eddie Holman, The Victors, The Rotations, The Inspirations, Cliff Nobles and of course the hugely popular Shirley Turner — “World Of Happiness” . Of course the Harthon label itself gave us sought after discs by The Volcanos, The United Four, Bernard Williams, The Preludes and Lee Garrett. Whilst enjoying success with Harthon, Weldon also worked at Chips Distribution where he was instrumental in promoting soul re cords in particular. The gold stickers that became the trademark of Chips Distribution were an invention of Weldon’s. When the Harthon trio started enjoying notoriety from their Virtue Studio productions they formed Dyno-Dynamic Productions and along with Jimmy Bishop, the WDAS DJ and Harold Lipsius, the owner of Jamie Guyden established Arctic Records with Weldon’s discovery, The Tiffanies kicking off the labels output. The label’s most successful artist, Barbara Mason was also mentored by Weldon. Of course Dyno-Dynamic, via the Arctic label, (and it’s short lived sister: Frantic), produced many Northern Soul classics by Barbara, The Volcanos, Herb Johnson, and the Arctic label itself contributed a whole slew of Northern Soul classics from Honey and The Bees, The Temptones, Kenny Hamber etc. Undeterred by the Arctic deal turning sour and leaving the trio bereft of any control, (2) Weldon and the guys continued producing records that would hit the spot thousands of miles away in UK. From Marva Lee’s wonderful interpretation of the Gene Chandler classic and Nella Dodds’ version of the Supremes to the fantastic pounder by Irma and The Larks and he haunting Intentions 45, Weldon was at the heart of the mid sixties Philly Sound. So much so that as Gamble and Huff gained in stature they employed Weldon as their promo man and it is Weldon’s cartoon image that gave Philadelphia International Records part of its marque and later Berry Gordy would call upon him to do that very same job, (amongst others), for his Motown empire. Weldon was prolific photographer and was rarely seen without a camera within an arms length and his archive of photographs is legendary. Part of his photographic legacy led to him and Bill Dhal creating a book, recording his time at Motown during which he took thousands of distinctly personal and informal photographs of Berry Gordy’s superstars. Weldon had another endearing hobby too. Every Friday afternoon he would ‘disappear’. His love of the movies would never diminish and he went to the cinema every week in order to be transported to that cellular world of fantasy. To talk about movies with Weldon was to be enthralled, almost childlike, as he sang the praises of spending a few hours in what he often described as a separate, wonderful world. Always ready to help Philly bound soulfans, he became a friend to many, including your author and his ever present, big beaming smile was always a sight that I never tired of. Weldon sadly passed away in 2010, a raconteur, a man that could sell sand to the Arabs, he would be over the moon to be included in The Northern Soul Hall Of Fame. It’s an honour and privilege to have been part of his tribute as he is recognised in such a way and becomes a founding Inductee into the Soul Source Northern Soul Hall Of Fame. Dave Moore 01 Nov 2014 Notes and References: According to Weldon, Jocko thought he had booked Don Juan And The Meadowlarks! The Harthon trio were duped into thinking that Arctic Records was established as a vehicle for their own productions and that they were co owners. This turned out to no be the case. Discography : The following listof records are all records that Weldon was involved with in some way, either as artist, a producer or a label owner. It’s by no means complete or even near exhaustive but gives a good flavour/account of some of the Northern Soul 45s that he contributed too. Sheryl Records Four Larks - It's Unbelievable b/w II Can't Believe It - 334 Cleopatra - Heaven Only Knows b/w My Darling - 334 Four Larks - Let's Drink A Toast b/w There Is A Girl - 338 . Priority Records Irma and The Larks - Don't Cry b/w Without You Baby - 332. Fairmount Records Irma and The Larks - Don't Cry b/w Without You Baby - 1003 Scepter Records Irma & The Fascinators - Just A Feeling b/w Lost Love - 12100 Uptown Records The Four Larks - Tower 748 - That's All That Counts b/w You And Me — 748 The Four Larks — I’s Unbelievable b/w Keep Climbing Brothers - 761 Tower Records The Four Larks - Another Chance b/w Rain - 364 The Four Larks- I Still Love You (From The Bottom Of My Heart) b/w Groovin' At The Go-Go - 402 The Four Larks — I’ve Got Plenty b/w Can I Have Another Helping Please — 450 Argo Records Herb Ward - Strange Change b/w Why Do You Want To Leave Me - 3510 Arctic Records Tiffanys - Love Me b/w Happiest Girl In The World - 101 Barbara Mason - Come To Me b/w Girls Have Feelings Too - 102 Volcanos - Baby b/w Make Your Move - 103 Cindy Gibson - Step By Step b/w Whisper You Love Me Baby - 104 Barbara Mason - Yes I'm Ready b/w Keep Him - 105 Volcanos - Storm Warning b/w Baby - 106 Kenny Gamble And The Floaters - Down By The Seashore Part 1 b/w Part 2 - 107 Barbara Mason - Come To Me b/w Sad, Sad Girl - 108 Herb Johnson - Gloomy Day b/w Carfare Back - 109 Volcanos - Help Wanted b/w Make Your Move - 111 Barbara Mason - You Got What It Takes b/w If You Don't (Love Me,Tell Me So) - 112 Kenny Gamble & The Romeos - Ain't It Baby Part 1 b/w Part 2 - 113 Volcanos - (It's Against The) Laws Of Love b/w Inst - 115 Barbara Mason - Don't Ever Want To Lose Your Love b/w Is It Me - 116 Barbara Mason - I Need Love b/w Bobby Is My Baby - 120 Volcanos - Lady's Man b/w Help Wanted - 125 Barbara Mason - Poor Girl I'm In Trouble b/w Hello Baby - 126 Volcanos - Make Your Move b/w You're Number 1 - 128 Barbara Mason - You Can Depend On Me b/w Game Of Love - 134 Barbara Mason - Oh How It Hurts b/w Ain't Got Nobody - 137 Barbara Mason - Half A Love b/w Slipping Away - 142 Barbara Mason - Don't Ever Go Away b/w I'm So Good For You - 146 Barbara Mason - Take It Easy b/w You Never Loved Me - 148 Barbara Mason - You Better Stop It b/w Happy Girl — 154 Harthon Records Luther Randolph & Johnny Styles - Crossroads Part 1 b/w Crossroads Part 2 - 424 Luther Randolph & Johnny Styles - Talkin' 'Bout You Part 1 b/w Talkin' 'Bout You Part 2 - 426 Joann Jackson & The Dreams - Georgie Porgie b/w The Mob - 427 Luther Randolph & Johnny Styles - Criss Cross b/w I Fell Pretty - 429 The Twilights - It's Been So Long b/w She Put Me Down - 134 The Twilights - Shipwreck b/w For First Time - 135 Bernard Williams & The Blue Notes - Needless To Say b/w Focussed On You - 136 Lee Garrett - I Can't Break The Habit b/w Baby, Please Don't Go - 137 The Volcanos - Gotta Be A False Alarm b/w Movin' And Groovin' - 138 The United Four - She's Puttin' You On b/w Go On - 139 The Preludes - Deeper Than That b/w Shiggy Diggy - 140 Lee Garrett - I'm So Glad Part 1 b/w I’m So Glad Part 2 - 141 The United Four - Look At Her Now b/w One More Year - 142 The Volcanos - Take Me Back Again b/w Aw Shucks - 146 The Body Motions - False Alarm b/w Putting You On - 103074 Wand Records Nella Dodds - Come See About Me b/w You Don't Love Me Anymore - 167 Nella Dodds - Finders Keepers Losers Weepers b/w A Girl's Life - 171 Inspirations - Kiss And Make Up b/w Love Can Be So Wonderful - 182 Nella Dodds -Com Back Baby b/w Dream Boy - 187 Atco Records Marva Lee - If You Can't Be True b/w Too Bad Too Sad - 6367 The Sweet Delights - Baby Be Mine Paul's Midnight Ride - 6601 Philips Records Intentions - Don't Forget That I Love You b/w Night Rider - 40428 Victors - Hurt b/w Not Only A Girl Know - 40475

Date Of Induction: 01 November 2014 Category : Pre Production When the name of Van McCoy is uttered in record bars of soul clubs around the world it’s in revered tones. That’s hardly surprising given that Mr McCoy could lay claim to being the most prolific independent record producer as far as Northern Soul productions are concerned. Not only a producer but a songwriter, arranger and sometimes artist himself the world acclaimed him for the international smash dance hit “The Hustle” but for those in the know, his contribution to music was a mountain of songs spanning 3 decades and to see him honoured as an inaugural inductee into our Northern Soul Hall Of Fame highlights the special relationship that fans have with his musical legacy. Born Van Allen Clinton McCoy on January 6th 1940 in Washington DC, the second of two sons to Norman and Lillian (Ray) McCoy, young Van would quickly become immersed in music via his families’ commitment to the local Metropolitan Baptist Church and his attendance at both Monroe Elementary and later at Dunbar High School. As Washington desegregated its school system, Van found himself graduating from Roosevelt High School where he was an honor student before enrolling at the city’s Howard University in order to major in psychology. It was while a High School student that Van, along with his brother became a member of his first group The Starlighters who gained enough exposure to appear at some of the prestigious stages of the day including the Howard Theatre in his home town, the Apollo Theatre in Harlem and Philly’s Royal Theatre. A proficient pianist from an early age, he and his elder brother Norman Jr, (a violinist), had attended music classes conducted by Howard University’s Dr H Johnson where they were taught the intricacies of music and excelled at understanding and translating it from idea to paper. Singing in choirs, performing in church and building his repertoire of skills at summer visits to his Grandmother’s home, (who also played piano and taught music) and success with The Starlighters all led to Van’s decision to forfeit college after two years and seek out a life of music in a professional capacity. On moving to Philadelphia in 1961 he furnished a song on Tally Ho Records for legendary label owner Doc Bagby before establishing his first record label company Rock’n Records, where he delivered three singles including Van McCoy — “Never Trust A Friend b/w Mr DJ” — Rock’n 101, the flip side of which highlights Van’s penmanship. He also collaborated with Philly’s Jerry Ragavoy on a song paced with Imperial Records by local group The Silhouettes, a collaboration that would shortly lead to the two emerging song-writing icons working together on a number of other artists including Irma Thomas. Having struck a distribution deal for his Rock’n label with Scepter, this liaison led to him being employed as an independent staff writer for Florence Greenberg’s Wand/Scepter company in New York and later, having taken up a similar position with Columbia’s April Blackwood set up, Van became a sought after songwriter and producer creating successful outings for a number of artists that included the high flying Shirelles and led to great exposure for Van and his talents. Over the next few years the musical maestro would write, arrange and produce a veritable treasure chest of soul records for a who’s who of soul music on labels as far apart as Tuff in New York to Imperial in LA and just about every musical stopping off point in between. Most fans would probably have become aware of his work when his name appeared on two iconic 45s of the mid sixties, the first one was a 1964 release that gained recognition in UK Betty Everett — “Getting Mighty Crowded b/w Chained To A Memory” — Fontana 520 (US Vee Jay 628) whilst the second, released six months later in April 1965 was Barbara Lewis — “Baby I’m Yours b/w I Say Love” — Atlantic 2283. Van had now laid the foundations for a run of soul songs that could quite possibly allow him to compete with a couple of others for the title of most prolific Northern Soulster. During his early sixties period he also wrote songs for a young lady he'd met named Kendra Spotswood who Van would release a couple of Van McCoy penned outings on the Philips logo as Kenni Woods and she and Van would soon become engaged. They stayed engaged for five years before deciding to go their own ways romantically. Of course during their relationship Van would pen one of the most enduring songs of our genre for his girlfriend, albeit she released it under yet another pseudonym Sandi Sheldon — “You’re Gonna Make Me Love You b/w Baby You’re Mine” — Okeh 7277. One NY label that would also see a series of songs from Van McCoy was Tuff and Van and Kendra would also release a record as a duet on that imprint, The Fantastic Vantastics - Oh Happy Day b/w Gee What A Boy" - Tuff 406, the flip side of which is a great 'Spectorish' sounding girlie shuffler. There's also a McCoy family connection with Tuff as Van's brother Norman would also release a 45 on the label under a pseudonym Ray Raymond - "It Breaks My Heart In Two b/w She's Alright" - Tuff 409. Van both wrote and produced the disc which delivers up a similar sound to the Righteous Brothers signature sound which was popular at the time. Space just simply won’t permit me to highlight all of Van McCoy’s output but I’ve chosen a few that I feel will vindicate his induction to our Hall Of Fame. First up, The Sweet Things — “I’m In A World Of Trouble b/w Baby’s Blue” — Date 1522, the second of two Date outings that Van wrote and produced on the female trio, it’s a full blown stormer with an instantly recognisable intro, combining vibes, a crashing drum beat and a echo-ing horn riff. The girls pull off a fantastic vocal performance as they tell the story of how life has fallen apart since the departure of their beau. Despite the somewhat sugary lyrics and the lamentable tale, the song is a perfect slice of upbeat, uptempo Northern Soul. Detroit had no shortage of talented songwriters during its soulful heyday but even The Motor City couldn’t resist a Van McCoy song, Theresa Lindsay — “It’s Love b/w Good Idea” — Correctone 1053 delivers a heavily string laden mid tempo dancer, that Theresa makes her own as she relays her impassioned tale of love at first sight. Van's name would adorn many labels often in collaboration with a whose who of Northern Soul stars. His work with The Spellbinders produced some stone classic sides as did his association with Chris Bartley and two of his songs that that he also produced and were released on Bobby Reed would become sought after 45s by both Northern Soul and Cross Over soul collectors on both sides of The Atlantic. Erma Franklin, Ex Supreme original Florence Ballard and De Dee Warwick all benefited from the maestros touch a sages of their careers Philadelphia and Van McCoy will always be entwined and I’ve chosen a record that encapsulates his work there and with people that were integral to the city’s musical landscape. Written by Van and his song-writing partner Joe Cobb, recorded on the label owned by Gilda Woods, the wife of legendary DJ Georgie Woods, recorded at Sigma Sound Studios as the seventies dawned and probably recorded by the emerging MFSB ensemble Brenda And The Tabulations — “Why Didn’t I Think Of That b/w A Love You Can Depend On” — Top And Bottom 411 is a wonderful, bounce-along dancer that once again places Van’s sugary love bound poetry over an up-tempo dance track. Van must have liked the musical half of the song as he released it as an instrumental in its own right as Van McCoy Strings — “Sweet And Easy b/w If I Could Make You Mine” — Share 102. From a 45 that probably sits on most collectors shelves to one that most certainly doesn’t and for most probably never will, Billy Woods — “Let Me Make You Happy b/w That Was The Love That Was” - Sussex 213. When discovered by famed record dealer UK John Anderson in the mid seventies only a handful of copies made the Transatlantic journey. Since those heady days at least half of those few copies have since deteriorated due to DJ play. I only know of four still clean copies. The outing is a perfect vehicle for Van’s immense talents. From the opening subdued guitar licks and drum beats, through to the eventual full orchestral instrumentation and arrangement combining lush, almost angelic strings, a metronome like backbeat, all interspersed with pitch perfect backing singers and an on-point Billy Woods, it’s a Van McCoy masterpiece. Who else could get away with lyrics as simple as “Wipe Those Teardrops From Your Eyes, ‘Cos Everything Is Gonna Be Alright” or “La La, La La La La La La”? The final 45 I’ve selected to highlight individually, is something of an indulgence for your author. When we embark on our musical journeys as youngsters there are certain records that hook themselves into you and never let go, records that we revisit every now and then and grow to appreciate as old friends that evoke magical memories. Jackie Wilson — “I Get The Sweetest Feeling b/w Nothing But Blue Skies” — Brunswick 78028, is one such record for me and sure enough there, on the 45 that evokes so many memories, amongst the legendary Chicago icons, sits the name of the maestro himself, front and centre. Philadelphia would again feature in his legacy when he returned there and hooked up with famed WDAS Radio DJ Jocko Henderson and together they formed Vando Records, a label that would primarily be the vehicle that produced such fantastic records by Chris Bartlett, but that also includes sought after 45s by Tony Talent and Art Robins. Of course the general public would come to acknowledge Van McCoy during the mid seventies via the disco boom and many people on the Northern Scene tend to dismiss this era of his work as too ‘flimsy’. His 1976, worldwide smash Van McCoy and The Soul City Symphony — “The Hustle b/w Hey Girl Come And Get It” — Avco 4653 put his name in lights selling over eight million copies and won a coveted Grammy Award, ensuring that the name of Van McCoy was enshrined in music forever. For soulfans his seventies work with David Ruffin is hard to beat and their1975 collaboration on David Ruffin — “Walk Away From Love b/w Love Can Be Hazardous To Your Health” — Motown 1376 continued a relationship with Berry Gordy’s artists that stretched back to The Marvelettes rendition of Van’s “When You’re Young And In Love”, almost a decade earlier. Van McCoy, musician, song-writer, arranger, record producer, label owner and publishing company owner, always the innovator, a setter of musical trends and never a follower, tragically had his life cut short at only 39 years old, when he passed away from a heart attack at his home in Englewood NJ on 6 July 1979. One can only imagine the beautiful music he took with him. I’ve listed a discography below but due to space have had to limit it to Northern Soul outings but I’m pretty sure he’d forgive me for that as we proudly induct Mr Van Allen Clinton McCoy into our Northern Soul Hall Of Fame as an inaugural inductee. Dave Moore 01 Nov 2014 Notes and References: Record scans from There’s That Beat! Archive. Sheet music from Dave Moore collection. Acknowledgment to Dave Rimmer’s www.soulfulkindamusic.net website for assistance. Acknowledgment to Chris Lalor’s article “The Sweet Soul Sounds Of Van McCoy — There’s That Beat! : Issue #2 Dec 2006 Final collage courtesy of Jason H Thornton Discography: Van McCoy's discography would take up pages and pages of our forum and therefore I have only included specific records that represent his contribution to our music. I'm sure Mr McCoy would approve. ABC Records Florance Ballard - Love Ain't Love - 11144 Atlantic Records Barbara Lewis - Baby I'm Yours - 2283 Avco Records Soul City Orch. - The Hustle - 4653 Brunswick Records Jackie Wilson - I Get The Sweetest Feeling - Jackie Wilson I've Lost You - 55321 Buddah Records Toni Lamarr - Just In The Nick Of Time - 10 Capitol Records The Jades - Ain't It Funny What Love Can Do - 2281 Cobblestone Records Vonnettes - Touch My Heart - 703 Constellation Records Gene Chandler - I Can Take Care Of Myself - 169 Date Records Sweet Things - I'm In A World Of Trouble - 1522 Domain Records Yvonne Carroll - Stuck On You - 1018 Golden World Records Barbara Mercer - Doing Things Together With You - 28 Imperial Records Irma Thomas - Some Things You Never Get Used To - Jamie Records Mark Jackson - I'll Never Forget You - 1357 Kapp Records Ruby & The Romanics - When You're Young And In Love - 615 Loma Records Bobby Reed - I'll Find A Way - 2089 Maxx Records Kenny Shepard - What Difference Does It Make - 322 Gladys Knight & The Pips - Stop And Get A Hold Of Myself - 334 Maxwell Records Faith Hope And Charity - So Much Love - 805 Minute Records Clydie King - I'll Never Stop Loving You - 32032 Mira Records The Darletts - Lost - 203 Modern Records The Marvellos - In The Sunshine - 1054 Motown Records David Ruffin - Walk Away From Love - 1376 Okeh Records Sandi Sheldon - You're Gonna Make Me Love You - 7277 Philips Records Kenni Woods - Can't He Take A Hint - 40112 Sylvia Shamwell - He'll Come Back - 40149 Lonzine Cannon - You Still Love Her - 40190 Lonzine Cannon - Quit While I'm Ahead - 40240 RCA Records Faith Hope & Charity - To Each His Own - 10343 Reprise Records The Blossoms - That's When The Tears Start - 0436 Share Records Ad Libs - Nothing Worse Than Being Alone - 106 Sussex Records Billy Woods - Let Me Make You Happy - 213 Tiger Records Dee Dee Warwick - Don't Think My Baby's Coming Back - 103 Top And Bottom Records Brenda And The Tabulations - A Love You Can Depend On - 411 Vando Records Chris Bartley - Sweetest Thing This Side Of Heaven - 101 Tony Talent - Gotta Tell Some About About My Baby - 3001 VeeJay Records Betty Everett - Getting Mighty Crowded - 628 Jerry Butler - I Can't Stand To See You Cry - 696 Wingate Records Juanita Williams - Some Things You Never Get Used To - 008

Inducted: 01 November 2014 Category: Mixed Groups Ask any northern soul fan about the Exciters and they probably won’t mention their number 4 hit from 1962. They will however, tell you about the buzz they get from dancing to “Blowing Up My Mind” or their live performance at Wigan Casino, or even the record that launched Ian Levine’s career as a record producer. Although members of The Exciters had performed previously, (Herb Rooney had been a member of The BelTones and The Continentals in the late fifties and, whilst a member of the Masters in 1961, met Brenda Reid who was a member of that group’s sister outfit The Masterettes. Formed in Queens New York City, The Exciters initially consisted of Herb Rooney, Brenda Reid, Lillian Walker and Carol Johnson and initially burst into onto the music scene via the song-writing and record producing talents of Broadway’s Brill Building multi talented legend Bert Berns and record producing maestros, Jerry Leiber and Mike Stoller in November 1962, courtesy of their US No 4 hit The Exciters — “Tell Him b/w Hard Way To Go” — UA 544, a song later covered with some success by Billie Davis in the UK and Dean Parrish in the US albeit with a subtle change of title to “Tell Her”. (1) Mr Rooney and Ms Reid were romantically linked and eventually married. Their next three releases the following year couldn’t quite match the success of their inaugural release although the A side of one of them, The Exciters — “Do Wah Diddy b/w If Love Came Your Way” UA 662 would furnish a hit for 60s Brit pop group Manfred Mann on Ascot Records (#2157) Signing with Morris Levy’s Roulette Records in 1964 and despite coming under the production auspices of fellow Brill Building maestros Hugo Peretti and Luigi Creatore, the group struggled to gain any National Chart success although they enjoyed some local success with The Exciters — “I Want You To Be My Boy b/w Tonight Tonight” — Roulette 451 and the team produced a great atmospheric ‘popcorn’ styled outing that Herb Rooney had co written on the top side of, The Exciters — “Are You Satisfied b/w Just Not Ready” - Roulette 4594. The group’s final outing on the logo is something quite special though. Written by yet another Brill Building legend Bert Berns, The Exciters — “There They Go b/w I Knew You Would” — Roulette 4632 delivers an uptempo, raucus dance performance so typical of the group’s repertoire with that signature guitar ‘chank’, Brenda’s impassioned vocals and an almost ‘too fast’ beat. Bert Berns would flutter into the group’s lives once again when they left Levy’s operation but stayed local to New York by signing with his Bang Records. At the production helm of one the group’s Popcorn Soul classics, The Exciters — “A Little Bit Of Soap b/w I’m Gonna Get Him Someday” — Bang 515, Mr Berns reworked the old Jarmels 45 (Laurie #3098), in fine fashion and Brenda pulls off a great interpretation. The very next 45 release saw the group gain favour a few years later albeit 3000 miles away when The Exciters — “Weddings Make Me Cry b/w You Better Come Home” — Bang 518 was picked up by DJs on the emerging Northern Soul scene in UK. With its infectious beat, chanking guitar, and once again Brenda leading the group vocally from the front with her tale of love’s betrayal it was a founding 45 for a scene developing on mis-hit 45 imports and despite Mr Bern’s involvement it sank without any real impact in the US. Alhough recognition via the Billboard Hot 100 was sporadic for their 45s, they did however score some recognition when they featured on the soundtrack of a number of movies over the years including, “Bikini Beach” in 1964, The Big Chill” in 1983, “My Best Friend’s Wedding” in 1997 and “Monsters Vs Aliens” 2009. A move to Bang subsidiary Shout Records saw them release two 45s on the logo, both of which have gained plays over the years on the Northern Soul turntables. The Exciters — “Number One b/w You Got Love” — Shout 205 is great dancer co penned by Herb and the flip of The Exciters — “Soul Motion b/w You Know It Ain’t Right” — Shout 214 is a superb outing full of atmospheric echo and of course Brenda dominates the vocal proceedings with a pitch perfect performance. The sudden death of Mr Berns in 1967 affected The Exciters as it did many of his musical beneficiaries but they hooked up with producer Larry Banks at RCA the next year and it was whilst at the giant US record company that they recorded the ,“Caviar & Chitlins” — RCA 4211 album, which has long been held in high regard by soul fans, containing as it does the huge northern soul anthem ‘Blowing Up My Mind’ and the lesser-known and equally great dancer ‘Movin’ Too Slow’. Lifted off the album, The Exciters - “Blowing Up My Mind b/w You Don’t Know What You’re Missing — RCA 9723, was initially released in 1969 as a 45 on RCA and then again in 1972 as a legitimate re-issue with a different catalogue number due to the demand on the UK soul dance floors, where they had already latched on to the record. Post-RCA, the Exciters released one more LP and a 45, following which the supporting vocalists who had added so much to the group’s sound, Lillian and Carol, retired. In 1975, looking for a record contract, they linked up with Ian Levine, where together, they came up with The Exciters - “Reaching For The Best b/w Keep On Reaching” — 20th Century 1005, which reached number 31 on the UK Pop Chart and is often held up as the controversial DJ’s finest Northern Soul production outing and put the Ex Mecca DJ on the road to becoming a successful record producer. When the record was released in the Netherlands he must must have been apoplectic when he saw the rather strange picture sleeve it was issued in! On June 19th 1976 The Exciters appeared live on stage at Wigan Casino where they took the roof off. Probably taken aback by the sight of 2000 fans before them Herb and Brenda responded in kind and the Allnighter went down in the annals of Northern Soul folklore. The Exciters furnished the Northern Soul scene with two iconic 45s, a legacy of great dance music and what is regarded by many as one of the best live performances ever by a soul act in UK. It’s a pleasure to see them as inaugural Inductees into our Northern Soul Hall Of Fame. Kevin Horsewood & Dave Moore 01 November 2014 Notes and References: Many people think the Exciters’ version of Tell Him is the original outing but it was in fact originally recorded by Gil Hamilton (aka Johnny Thunder) just prior and released on Capitol #4766 Acknowledgement to Dave Rimmer's website at www.soulfulkindamusic.net Acknowledgement to There's That Beat! Archives www.theresthatbeat.com Acknowledgment to www.cat45.com Discography : United Artists Records Tell Him b/w Hard Way To Go - 544 He's Got The Power / Drama Of Love - 572 Get Him / It's So Exciting - 604 Do Wah Diddy Diddy / If Love Came Your Way - 662 We Were Lovers (When The Party Began) / Having My Fun - 721 We Were Lovers (When The Party Began) / Having My Fun - 830 Roulette Records I Want You To Be My Boy / Tonight, Tonight - 4591 Are You Satisfied / Just Not Ready - 4594 My Father / Run Mascara - 4641 There They Go / I Knew You Would - 4632 Bang Records A Little Bit Of Soap / I'm Gonna Get Him Someday - 515 Weddings Make Me Cry / You Better Come Home - 518 Shout Records You Got Love / Number One - 205 You Know It Ain't Right / Soul Motion - 214 RCA Records If You Want My Love / Take One Step (I'll Take Two) - 9633 Blowing Up My Mind / You Don't Know What You're Missing ('Til It's Gone!) - 9723 Blowing Up My Mind / You Don't Know What Your Missing ('Til It's Gone!) - 1035