Tlscapital

IMO Soul Drummer is a good tune, Gypsy Woman is really good and so is Special Girl. All hailing from one of the best at it from the Fania gang. But as far as 'soul' only Spanish Maiden comes as a proper cross-over fit of the two genres. There are plenty others worthy tunes if you're into that that are worth a mention. But gracefully that have not been played at NS nighters. For the 'Latin Soul', 'boogaloo' and other of the likes are really nothing I fancy to hear out. And surely nothing I expect to hear at a NS night. I suppose like many others punters. Just like any other sounds I love or dig that I acknowledge when I attend such events expectedly but not at a NS night. Because it's not that. Not a 7" "scene" ? Well there's no 'rare' latin soul 'scene' going on as such with dee-jays plenty about competiting. But judging by the numbers of 45's issued at the time I don't think it's right to claim that it was focused on LP's. Only the fans of the genre need those highly rated LP's for they have plenty of LP only winner tunes and the broad 7" production back then was not that infinite and diverse like the soul was in comparison. With few only LP artists too.

Exactly I concur as the OP stated " the records that would have formed the models for most black music of the 60's" and this example is exactly that. Not only going by the numbers of covers or popularity to advocate of the popularity of a song (which in a way imposes itself into a genre) but setting new trends in sounds by breaking the classic 'mold'.

Johnny Moore early classic in its most desirable demo format in EX-/ VG+ condition. And if ever listen here below to the actual real 'A' side most sweet 'sweet soul' treat ! The first original version to the later fantastic Tyrone Davis re-interpretation on Dakar. Needle drop and lift soundclip and images of the actual record offered here for sale. walk like a man.mp3

Yes as I replied to Mal C on acetate or carver. More power to that !

Yes totally forgot (had to look it up !) that it was featured on that nice 'Across The Board' CD. That oddly mixes cross-over & modern soul sounds in coherence finishing with an odd uneven NS selection. Remembering I could only play it up to Otis Clay 'You Hurt Me For The Last Time' where after that point I had to cut it off. And I do love my NS sounds but not dished like that. Where on the Kent comp Chuck Carter's flows and stands out amongst all the other gems. Harsh me ? Mmh very partial maybe Got my Chuck Carter Brunswick 45 as NOS from the "USA Imports" stocks with hundreds of other goodies before I got the Kent comp. As a late teen (16 to 18 years old) got to love those wonderful soul productions Brunswick dished out and this one like the odd Tracie Robbins proved to be instant disappointment. Got the Kent comp. and loved Harboro Horace's word on it. Agreeing I only kept Chuck Carter's best on the Kent comp.

Kent comp 'Sophisticated Sounds - Soul For The Connoisseur' was released in 1988. What Charly comp would release such a sweet soul thing ? Or an early Soul Supply CD.

Acetate or for the common people a Kent previously unreleased from the Brunswick vaults material. Utter class in comparison with it's sole 45 'I can't help myself'. Which even without comparison is of no real musical interest IMHO.

Hello again Taylor, thanks for coming directly on here. So actually they're not PEYTON but PAYTON. And they are 3 brothers confirmed as Ellery, George and Halsey PAYTON. Like some depicted on this 1961 photo with those 3. Them being your uncles and grand father. Then there's the other members of the band that for some got replaced. Together with Charles HUDGINS, George BRITT and Gene EVANS would this sextet be the 'home base' for the group formation of the Royal Robins al the way to the Soul City ? Or were there more comings and goings at different times ? Then there's that other member John (Buster Pete) Milford WIGGINS whose name appears more than once...

One felt pen big 'X' on the A-side of the label. Slight ring wear on flip with a tiny paper 'chip' off the label. Few superficial scuffs on vinyl but nothing ugly. Rare 'pops' (hear sound clip) for a strong EX- contender. Free registered shipping. broke game.mp3

This is the WEE second release that was press at the same time and pressing plant that of the Vee-Jay release FWIW. Which in real beside the label's variant is of no greater value or interest IMHO. The very first local Oakland, Cali WEE press features a different take / mix that sounds slightly different. That can be of interest to some. Although the 2nd take / mix has the preference of most. Mine too.

So I guess the take on your CD is yet another recording than this fab live one of Jake Moore. Is it ?

Am not nostalgic. Coward ? But what's that got to do with it anyway ? Memories are past. Present is too close and future not yet to be told. Nostalgia in my book is like regret ; not good to live with. Especially in high doses. Being 'middle' age I was merely trying to share bits of my path to make my point that there are different ways to perceive and approach elders when one's a teen or a young adult. Not necessary in defiance but also just like one picks its peers at school going along with those that seem worthy of one's interest, able to teach and inspire for the better. Like with anything there's always a time and place where it happened 'best'. So I put it in my context at the 100 Club mid 1990's. Would my hook with the NS scene been that strong if not there and then for that matter ? I guess not. Even though I was crate digging long before and loved my NS sounds (mostly not only) and OVO records way before that. Only that 100 Club experience then made me see that scene differently. With respect for those who were therein then. Yet evidently with others less. Or much less. Age for me was never a 'sociability' factor in my book. Although for some elders as for other peers at school it seemed to be an exclusion factor on its own. For those last seclusion on 'age' factor seemed an evidence. Attitude and similar interest in music and its definition to some extent is all that I am seeking in the music 'nightlife'. Having been put off by the 'New Breed' thing then the NS oldies 'revival' and return from the 'dead' on the NS scene I've stopped traveling to attend nighters. As for today's scene it seems very active 'commercially' with plentiful of nighters about. Even with 'age' "segregated" circuits apparently. Not saying that they are effectively 'segregated' (today I could still walk in both circuits without being stopped at the doors upon presentation of a valid ID to attest of my 'middle' age) but because that seem to be a prevailing argument both ways 'preferably' by some or 'adversely' by others. Or by none like me and many others. As those journalists articles lines and subjects underline is an observable phenomenon happening. Adding poison to the debate without further contradiction like a proper reporter would for a proper article if ever. Doubling it up with racists assumptions. Both sides preaching 'tolerance' but that in fact isn't necessary that welcoming to different opinions. FWIW respect is shown not claimed. And tolerance is accepting not to agree on everything. But with for common ground to accept to discuss respectfully with arguments and not insults, not mixing-up facts with beliefs and / or sensitivity with susceptibility. As effectively witnessed on here again hard to find. No wonder both seem doomed. But such is the faith of most scenes. Some survive better than others. Here the 1970's NS lasted through thick and thin this long... Love it or hate it, it's a fact. In Belgium the Pop-Corn scene too. On a much smaller scale though. What other scenes lasted that long under a same 'banner' ? With for 'line continuity' some originators and newcomers on board ? To a critical point (early 1990's ?) for NS then raising the question of the 'scene' survivalism without 'young blood' new comers. Is that really a valid question one should ask itself ? knowing that institutions come and go. What was was. Whatever will be will be. Here a schism is happening apparently. Not on musical orientation apparently but on age. Is it some medical 'therapeutic obstinacy' before the doctors pulls out the plug ? Or is a 'second chance' at life ? The answer lies in its 'line continuity' factor IMO. Without individuals making the 'bridge' between them 'scenes' it clearly states this is 'our' thing. Making it somehow 'tribal' and secluded. While the 'New Breed R'n'B' and 'Pop-Corn' things for example intertwined the NS scene. Creating a new 'schism' onto the scene somehow but still under the same 'banner'. Same for the 'continental' Euro-NS scenes... While here a 'generation gap' NS lives in a parallel universe... Maybe something to consider for some forthcoming 'Mega' NS events with a Championship Dance Competition on wheel chairs with a to a TOP 500 most expensive NS records ever (with Notarial Certificate proof of overpriced paid for purchase) main room, a MS downstairs room next to the paramedic office and a little 'connoisseur' corner next to the loo. All accessible only for bold or white hair dee-jays and punters (and dancers hopefully). AND then have a roof-top terrace instead of room for 'young blood' dee-jays and dancers alike. Making the 'intertwining' happening.

Well not here. Those elders that I encountered with whom I saw no 'malice', who had respect towards one and all without prejudice and evidently had knowledge on music and records (to impress me and learn from), who shared opinions on complex matters and had some taste of their own I 'gave a lot' of toss. Humbly I'll forever be grateful to them. Remembering them for giving me that. Even if with time some went... taking my own paths quickly from there on. Pulling strings of my own and taking all my liberties in taste, collecting and making my own opinions on it all. 54 and I still don't see 'age' as an Identity issue. It's evidently part of 'who' one is (physiologically at least) at one time or stage in life. Is it so relevant of one's compatibility factor in social interaction ? Never much for me really. Individually I mean. What is called the 'generation gap' on the other hand is effective in society phenomenon. Hence why it's used and abused by such who deal with society issues such as sociologists and politicians. Who for the most benefit by mounting such pre-defined 'social' groups against each other for the sake of 'power'. Divided we fall... Remember my first nights early nineties at the 100 Club and loved the music evidently but also the mix of crowd who were there only for the sake of NS music. Specifically sixties (or sounding so if later) sounding proper... no Wigan crap that always left me wondering from day one what got into those dee-jay's and dancers alike back then. Beside drugs. Anyway no dress code (I was a skinhead), a crowd of all ages and not only men... Uncoded and 'open' to one and all as long as one was respectful to all. Before the 2000 'Togetherness' statement that made it all fake IMO.

True like for everything. But how does one do them all ? Time and place for a playlist maybe ? Now I've visualized few others of these Peckham Soul videos like the Clovers, Bobby Womack, Towanda Barnes, Detroit Soul, George Kirby... As I said. Almost all classic sounds I love. Fitting the NS 'bill'. Indeed. Maybe in a creative set making some sense... But as "highlight" moments of a night I'm still not convinced... A bit like on another subject with dee-jays playing impressive tunes one after the other in the most uncreative way like a Soul Supply compilation... To a bore IME. Big deep pockets 'bling-bling' showing off on the decks to spoil the enthusiasm to dance. For me at least. That or for having more money than imagination. This example just to show it's not even about having the right expensive or elusive records. Going to a venue or a club with such a dee-jay line-up means different sound expectations and such. Meaning more on how to differentiate than to assimilate to and from the others. Sharing a common ground. Not a median sound into homogeneity at all times... Still leaving rooms for other "small" time occasional dee-jays 'expression'. These videos were posted. Hopefully representative enough of the nights I believe. Knowing how hard it is to organize and gather a relevant dee-jay line-up on no or little budget with sometimes the unexpected 'dance floor ram' call effect or to gather a crowd in such nowhere 'soul scene' land (Belgium) and to have a nighter that will please one and all is HARD. One or two local connoisseurs, many amateurs and mostly punters who shan't be able to tell what they danced to before or after if ever... Since a late teen I've tried to organize such nights since the late 1980's in Belgium (where I stil am) outside the regular Mod or Pop-Corn scenes that back then didn't match sound wise and public wise either. Unlike it does some now awkwardly IMO. And I admit not all nighters were memorable. Some were even memorable for the worst parts. At least making history in our memories. But to see them for what they are is a must. Being open to 'constructive' criticism is the way to evolve, improve or change what we do good and bad. True for young and old. New and experienced. You have what seems a great location there and a rather good organisation team, support and crowd going on with these. That is top notch. Hats off to you all for that ! What I've not seen in those vids is the 'spice' that makes me 'GO' when I hear 'one tune' or a 'whole set' even better... The NS sound at the right stages had that 'edge' that doesn't make it so or too accessible to mainstream. To keep it 'differentiated' and 'underground'. Free and loose from commercial or political imperatives. That was reflected in some sounds. Driven by the dee-jays competition to crate dig deeper into sounds and venture into new NS border lines to break the then 'politically' correct "guide lines" of the moment. At times creating schism within the scene (s)... Not to my liking but the so called 'New Breed R'n'B' or 'Pop-Corn' sounds introduced in the NS circuit by the mid to late 1990's is a late reflection of that for example. Then what some refer to as to the 'Euro-Scene' with dee-jays mixing more and more 'funky' sounds tell such 'schism' stories again. Not all the time to my liking either but that is most natural and understandable. Even if not to my liking I witnessed that some of these nights were 'HOT' with 'spices'... Peace.

Going along these words I've looked at one other of the videos from that night playing the Carstairs 'it really hurts me' (nothing as bad as Silvetti I mean). Yet it left me as to how I pictured these 'Peckham' nighters as "borrowers" in the nicest and respectful way that I can think of. Meaning here to point out that they seemingly rather try to 'portrait' a sort of Wigan 'era' sound that could also fit a "broad" Club crowd. A crowd made of seemingly regular punters mostly into 'alternative' club sounds (like the shop advertises) featuring the NS bit amongst many other genres. My point being that I wouldn't qualify such an event representative of the NS scene in the future nor even just of today... Seems more like a 'calibrated' commemorative night of a certain era of NS more than what the NS scene is in its essence like from the early days of 'Rare Soul', to NS and MS to today. With dee-jays pushing sounds of their own (not necessarily rare) and 'taste of their own' for punters and dancers following these tunes... I mean focussing on tunes more than on 'what is or was'. Like a revival 'scene' does. The scene evolved some ever since music wise and in my mind should still to be 'the scene'... Certain that I would enjoy such a 'Peckham' nighter. Still I wouldn't live it like a NS event. For the same reasons I still don't dig week-enders and other 'fancy' events. Where most is just too pleasing, predictable and safe. Soundwise too. Preferring the tense, risky and adventurous nighter adventure in sounds and atmosphere. But that's only me. Not putting down for that or other matter the 'Peckham' brigade, organisation or crowd. Far from it. Or even the other "young" detached wanting to remain on their own (the today "woke" or left wing paranoid either 'you're agreeing with all that we feel IS or your against we') 'borrowers' of the NS label, stigmas (working class "elite") and partial heritage. Just saying that in my eyes they're else. Not it. Nor a continuation of it as is. Unlike the NS kept going through the decades. Never stopped happening. Even in its lowest of down days. It kept on. With 'die hards' records collectors, bricks & beer matts collectors (LOL), clubs, dee-jays, dancers and punters old and new (few but still). But it kept on. Will they do appart ? Or joining in even ?

Lovely item on the label indeed. Shame about the tune though that is...

Brown as in the USA's refers to Mexicans and Latinos in the general broad sense of it. European and Caribbean migrants alike. Meaning I guess as I'm not in 'hip' to such today 'woke' language if ever...

Not mentioning that Sonny Liston fight per se but that Cassius Clay yield as 'THE UPSET' before winning the fight for title, theme, lyric and charismatic imprint.

Memories by the score with this one... On Pama of course !

Care to elaborate in a constructive way here as to why, what or how 'not the best' ? As I respect the label and have already commented in such manner to matter with Alex Sabinas with previous releases of his. And here I have not jump on it yet as I would have gone mostly for that Carolyne Crawford if ever. That sounded great on mp3 but I know that the "analog" mastering process for monoral 45rpm can be hazardous some or most of the time...

The alas casual liberal "victimized" ideology morphed into 'everything paranoia' once again I am afraid. Being 'younger' (born in 1970) and not UK continental (no regular punter) although white face I often felt 'looked down' upon in such secluded from mainstream or commercial 'underground' environments. Such were always my experiences before in other circles too. Meaning to point out that I did not only experienced that in the northern soul arena only but in others circles too. Needing most of the time to be introduced through pairs in order to be 'openly' welcomed faster if ever. Argument Number 1. Argument Number 2 ; could the ever so growing numbers of young 'wannabe' dee-jays expected to be 'regarded' on the simple fact that they 'bring' a so called "fresh" light to it as opposed to 'old'N'dusty' sods sounds be a legitimate argument ? Not in my book. It's wrong as it is caricatural lacking humility. Hence the reporter's title for that chronicle 'Meet the Young DJs keeping the Northern Soul alive'. How's that not presumptuous ? As it was agonizing until they... IMO once again that old worthless debate. Hopefully it's not all 'black or white' and / or caricatural even if it can be that bad either ways sometimes.

FWIW I believe that most stocker black copies of the Tempos came out from one or more NOS stash finds while the promos dripped one by one from past auctions and sales. Likely both pressings are evenly rare and did poorly publicly. As for preference mine still goes for Joe Matthews. More typical of mid sixties 'clean' cut Detroit soul which I stil love. While the Tempos full on reverb both on the backing track and vocals makes it sound 'bad' to my ears. Shame.

Brothers quartet who had their first session in Chicago with a dull like draw with 'we like girls' on Zacron. After what came this deal to record in Detroit where they benefited from the supervision and the accompaniment of master chefs Dennis Coffey and Mike Theodore. This single of theirs was released sometime by late 1967 or early 1968 on Smash who was then still editing funded "independent productions" from Detroit and Chicago alike. This Scott Brothers 45 here is undoubtedly their best 'connoisseur' still not widely known tune. scott brothers smash.mp3