Roburt

Well if we insisted on a OSO (Orig Soulies Only) or OCO (Orig Casinoites Only) policy at NS events, the scene would have died off years ago. Can't see what all the fuss is concerning OVO mesen, as long as people are dancing the DJ's are achieving their aim. ............ HOPE THAT strict Boba don't delete this as being 'off topic'.

Richard didn't jump from Hallam to Red Rose, he was pushed. The local (Sheff area) West Indian listeners used to write in asking for a ska / reggae / local WI news show. Hallam didn't want to give them this, so they told RS to incoporate ska / reggae cuts into his existing soul show (making it a black music show). RS said he had a mate (Dean) who could provide him with a couple of 'classic' WI tracks each week and (under protest) he'd play these. But Hallam wanted him to play what the locals wanted including new reggae stuff (if I'm remembering correctly). So the Hallam lot said NO to his suggestion & insisted he made it an all inclusive black music show; RS declined and so quit and went off to Red Rose. Within 2 weeks all his old audience had been lost by whoever the replacement DJ on Hallam was. With Red Rose (Preston) being just about on the coast, he was almost instantly getting listeners as far afield as Llandudno. Those folk would write into Red Rose who couldn't believe how 'far flung' their audience now was (at least for Richard's show). Of course, Hallam would never admit they had cocked up in forcing him out.

Another thing about being a UK local radio DJ ....... you only got paid by the hour & only for the time you were actually 'on air'. So although RS would travel across from Oldham (via Mancaster) and spend most of Saturday driving, buying stuff, preparing for the show, broadcasting and then heading home ..... ....... he was only paid for 2 hrs work a week. He would spend far more on 'new release' vinyl each week than he earned from Radio Hallam. The stn contended that each of it's DJ's could pick up loads of extra bookings (& therefore fees) coz they had their radio shows ... so their pay from the stn was secondary income. However, as RS lived in Lancashire, he took few local gigs due to his profile with Radio Hallam (he did DJ in Church Warsop & @ Clifton Hall in Rudarum .... but both those gigs were attained via his NS profile not coz he was on Hallam). Around that time, he did stop spending big money @ the Bowl and started playing lots more new release MS on his soul club gigs. So at least he got some 'extra use' out of the vinyl he originally bought for his Hallam slot.

RS had to hit the floor running at Radio Hallam in the early 80's. As I understand the tale (he's know better but ain't on here), he used to visit the radio stn as part of his RCA / Grapevine promo work. The usual Hallam soul show guy (who used to have a NS spot with the 45's supplied by Worksop's Pete Ward) quit the show at very short notice. Richard was visiting the stn at the 'right time' & was asked if he wanted to step up & help them out. He took the chance & his radio career was launched. He developed a 'show concept' overnight & stuck with it throughout his 'Hallam' period. Opened (@ 6pm) with a few newies, mixed in a few old goodies & then it was the NS spot around 30 mins in. Back to a mix of new US & UK releases mixed with fine oldies (all genres) then the deep soul & jazz spots before 7pm. 'Record of the week' straight after 7pm and then more mixing of new & old stuff through to 8pm. A bit of gig news was thrown in and a few dedications for people who had written in. I visited him at the stn quite a bit & his 'way of working' was wonderful to watch. He would visit a couple of record shops around Manc on the Sat morning & then call in at another specialist shop outside Sheffield (in a suburb up the hills towards Manc). He'd then pick up the new UK stuff that had been sent to the stn with his name on. So by around 3pm he would have his record box & all the new stuff available and he'd set about sorting out what he would play that night. He would skim through (say) 10 import 45's, 10 import LP's, 10 new UK 45's and 5 UK LP's all in under an hour. He'd select what to play, mix in a few from his record box and the show would be ready. What got me was that he'd spend about 5 / 6 minutes only listening to each LP but would just about always pick up on the best 2 / 3 tracks off each album within that time. ALWAYS AMAZED ME HOW HE COULD DO THAT & GET IT RIGHT SO OFTEN. But he was also flexible .... about 10 mins before the slot, he'd sometimes say to me ... you're picking the stuff on the NS slot today, pick 3 tracks out of your box & I'd have to do just that.

RE: start a debate around payment of artists at the time,or near the time,of recording. A few posts on the IRONY thread in ALL ABOUT THE SOUL section deal with issues close to this.

Non- hit groups (& there were 1000's of those) along with their producers & record labels were always seeking out that illusive hit. The best way most tried to achieve this was by seeing what type of sounds were dominating the current soul 45's chart & making a similar sounding track. Thus, if a group / solo artist hung about on the recording scene for some years they would put out cuts influenced (at different times) by the likes of the Impressions, Uptown New York cuts, New Orleans influenced stuff, Motown, Stax, James Brown, Funkadelic, Norman Whitfield stuff, Hi / Al Green stuff, Philly International tracks, etc. Thus an act could (& did) make records that had them sounding like many different artists .... all in a name of trying to secure a hit. Many acts had a psychedelic sou era but then moved on to 'the next big thing'.

I think you're simplifying things quite a bit. When the skinhead thing hit, there was revived interest in 60's ska / reggae 45's. Same again in the Two Tone era and then again with Madness & UB40 fans. Just when beat up old ska / reggae 45's went thru the roof (value wise) I'm sure others (Pete S) can identify much closer than I could .... but it was a good few years back.

Back in the day, an American based soul artist had to have a record on the charts to secure a decent number of live gigs. If you didn't have a hot record, you were 'old news' & couldn't land any live gigs. A new 45, especially if it was played on the radio, would secure them a chitlin circuit tour that could run to 12 to 16 weeks (starting in New York and playing week long engagements in Philly, DC, Baltimore, Norfolk, Pittsburgh, Cleveland, Detroit, Chicago, St Louis, Memphis, Atlanta, Miami and such like). So even if they never received a cent in record royalties, it was worth them having a new 45 out as it could help them earn up to $10,000 in live show fees. By the early 70's, the top soul acts were earning really good peformance fees ... BUT .... they started putting them on in bigger arenas (to help cover the promoters higher artist cost's) and so engagements dropped from 7 night stints to 1 / 2 night stints in each city. So , coz they were doing less gigs, they still only ended up with the same total in fees. Unfortunately, lesser artists (the support acts) fees didn't increase that much but they also suffered around a 70% reduction in bookings. Artists who hadn't been 'hot' for a while would end up playing regular gigs in the UK (& elsewhere in Europe) from the mid 60's thru to the 70's, as audiences here didn't care about hit 45's. That was coz hardly any soul 45's made our pop charts, so the lack of chart hits didn't really matter here. Thus the likes of Ben E King, Jimmy Ruffin, Oscar Toney Jnr, Jnr Walker & more were always over here back then. Others soon followed & quite a few settled here.

Seem to recall some of the later Artistics cuts & other stuff out of Chicago (Chi-Lites, Lost Generation, etc.) being quite psychedelic soul influenced (but then by 69, any group influenced by the Temptations was going psychedelic).

Wake up our kid ...... there was a separate thread on those EMI releases recently (see just above the top of the 'LOOK AT YOUR BOX' forum). In Summer 1967 (when I was a regular at the Nite Owl in Leicester every Saturday night), I would visit Walsall (there was a Nite Owl regular who lived there who I got mates with). There was a great ska / reggae shop in the town back then (no idea of its name anymore though). I had just about 100% moved onto only buying soul by then, so I hate to think what great rare ska 45's I passed on the chance of buying.

However they mellowed out a bit and backed other vocalists up on more soulful tracks ........ ......... Linnie Walker was one such singer ........... https://www.youtube.com/watch?v=3hMRCMtgrcM

The non-brass players in the Soul Agents added one members younger brother to make themselves back up to 4 strong and became the rock group Black Merda. They cut stuff for Chess (& were heavily influenced by Hendrix) ...............

SOME INFO on the happenings behind the Emkay Records releases in 1979 ........ Tony Hart was the man behind the Hartsong Corporation that ran Spirit Records (a contemporary Christian rock label). He hooked up with Kent Washburn (who took the post of Vice President / General Manager of Spirit Records) after Kent left Motown Records. Kent was tasked with the job of developing a new sound (an R&B / rock fusion) for gospel artists signed to the label (Randy Matthews, etc.). The Hartsong Corporation had been set up in part to exploit a tax loophole. The Corporation produced and acquired masters that were then sold to investors to allow them to take advantage of tax credit rules. As long as records were pressed up and distributed, the product could be ‘sold on’ to investors who could then claim back more than they had paid as a tax write-off. Kent had some unused masters cut in St Louis in the mid 70's that were available and so these were utilized by Hartsong in this manner. As Hartsong’s own Spirit label only handled Christian product, Kent’s tracks were released on his reactivated Emkay label and a small number of each release were pressed up. These were ‘distributed’ as required under the tax laws but all that really happened was a few copies were sent to local DJ’s and industry people, some copies were passed along to the investors with the remaining (small amount of stock) going straight into a warehouse. So the public remained totally oblivious to the existence of these records. In all there were 12 releases on the Emkay label in 1979; 10 No. 45’s + 2 No. LPs. Six of the 45’s were soul outings with four being rock .............. EM1001 - LP - A LIFE IN A DAY by JUSTIN THYME -- JAZZ/FUSION EM1002 - 45 - MIDNIGHT FERRY / TAKE A BREAK FOR THE FEELING by COMMONGROUND -- COUNTRY ROCK EM1003 - LP - FREE LOVE by FREE LOVE (MARCUS KELLY & WESTMORELAND CO.) -- SOUL EM1004 - 45 - ONE WAY TICKET / DON'T BURN NO BRIDGES by THE HYPNOTICS -- SOUL EM1005 - 45 - THE LONE RANGER / NEVER MAKE YOU STAY by THE HYPNOTICS -- SOUL EM1006 - 45 - TURN ME ON / GOT TO GET AWAY by ACT III -- SOUL EM1007 - 45 - JUST KEEP ON LOVIN ME / I WANNA BE FULLY LOVED by THE LOVE SET — SOUL EM1008 - 45 - I COULD STAY ALL NIGHT / DON'T SURPRISE YOURSELF by CHARLES DRAIN - SOUL EM1009 — Kent has no idea what this was & it’s likely that no release under this number occurred. EM1010 - 45 - TAKE ME BACK / I GOT TO HAVE YOU by OTIS WILLIAMS -- SOUL EM1011 - 45 - LORD WON'T LEAVE IT ALONE / COUNT ON WINNING by COMMONGROUND -- COUNTRY ROCK EM1012 - 45 - UNDERHANDED MAN / GRAVE DIGGERS by THE STAR SPANGLED BAND -- ROCK EM1013 - 45 - NONCHALANT FIASCO / THE WAR SONG by THE STAR SPANGLED BAND -- ROCK

Yep, you're right it was "Hurt So Bad" ..... it's all coming back to me now ,,,,,,,,, I didn't use to really listen to the track, I was usually ribbing Richard about Spurs losing again as the show started. I came round for the Northern slot about 30 mins in & the jazz & deep soul spots as it approached 7pm. The studio was quite small and RS + the newsreader were in there at 6pm on the dot .... RS would spin this instro as the newsreader left & I crept into the 2nd chair in there.

I'm a sad git these days ............. having to answer my own question ........... Dr. York & his York Records was Brooklyn based (Hart St) in the 80's. Hi Voltage cut for One Way Records who were also Brooklyn based in 82/83 (Dahill Rd). Jody Records were also based in Brooklyn. In the 80's they put out stuff by the likes of Bo Rye, Alex Alexander & Eddie Hailey. There must have been other soul labels based in the borough in the 60's / 70's though.

I always thought he opened up with "Soul Sauce" by Cal Tjader but my memories shot these days ... .... (though I was a regular studio guest on the show back in the 80's).

... and a message 4 luck ... to bring up my 2200th post here. OK, I'll make it a real post ........... .......... the Seven Blends (who were on live @ the Peppermint Lounge in Feb 62) .....

Another ad for shows at the Peppermint Lounge ......... ... this one is from its early days (start of 1962) ........

Most NY area record labels back in the 60's used Manhattan addresses. There was the likes of De Jac that had a Long Island address and quite a few with New Jersey addresses .... ... but apart from 521 Records, which soul orientated ones operated from Brooklyn addresses ??

RE: - ................ 1960's Music largely played on UK release a few imports, increasing as the decade went on. - Early 1970's - Loads of imports on OV. Loads of new discoveries coming through from Soul Bowl, Levine, SS, and a host of others. Still some UK releases. Probably some early boots played at soul nights, Got to agree with the above but I'd add that initially Soul City shop started getting in decent supplies of OV US 45's, then the likes of F L Moore joined in, closely followed by B&S's Contempo Record Sales set up. Of course the boots such as 'Soul Sounds' out of Leicester started appearing around 69. Don't recall seeing any Emidiscs at all in the 60's (it was easier / cheaper / better to send off to the likes of Randy's Rec Shop in Gallatin to get hold of copies of the US OV version of deleted UK soul 45's). Mind you, as I 'left the scene' in the 70's and was just buying new release / non NS imports back then .... I never came across / used the term OV till much more recently.

RE > will be a volume ........... 2 too. I'd pay gud munee to see Ady in a Tu Tu.......

Well the 1st post on the thread was about how Huey P Meaux (the Crazy Cajun) put out a load of soul stuff (LP + 45's) to take advantage of this late 70's US tax scam .... and I replied that the same scheme (tax break reclaim stunt) resulted in all the Emkay label 45 releases in 1979 (Hypnotics, Charles Drain, Otis Williams, Love Set, etc). Think Robb posted as well (as I had a notification that he had commented on a post I'd made ... but can't access his post).

Got it (after is was recommended on here) but not found the time to actually read it yet.

Only been to the 'resurrected' Wheel a couple of times, both being in the last 2 years ..... back in the day (68 - 71) it was every week at 1st and then as & when I could fit it in around the girlfriend / wife's requirements. Have to say, I enjoyed myself almost as much on the final two visits as I did back in the day. The 'new' Wheel was true to the ethos of the old club .... as I am sure will be the relocated club. Don't know if I'll make it along to the new place (live too far away really & I am now approaching my 64th b'day) but really glad I made the effort in 2011 and last year.

Can't you recover the thread ?