Chalky

Its been around 150 or so for quite sometime. Not that much demand hence the price staying stable.

Sure it has been discussed on here in the past Mike. The one I’m referring to isn’t Tony Turner on Musicor but a Motown acetate (?) of a vocal to 6*6.

Not quite sure about the death of the scene but yes it has changed and continued to change. It went through the 80s with little intrusion from the outside and went back underground only to re-emerge in the 90s and commercialisation continued unabated into what it is today, largely a parody of what it once was.

The one played out is a genuine motown press that John Pugh owns isn’t it, played it at 100 Club. Terrible too.

Watch this on silence and I wouldn’t have believed they were dancing to Epitome of Sound, the guy in the middle especially. Don’t get me wrong they got the moves but they aren’t dancing, just doing tricks. There used to be a time and a place to do the spins and tricks in a record but now it is all the way through and totally out of rhythm to the record in question. I know its a dance comp but give me a proper dancer with good footwork who does the tricks and spins in the breaks and appropriate places or preferably just one with classy footwork As I said great at the tricks as are a lot but they ain ‘t dancing anymore.

For those who need to put a face to the name....

I don't disagree but many don't travel. It is very regional with many. You go to a venue and still the large majority are nearer and some have one foot in the grave than the nappy. Also will they be there when commitments come calling, work house and a family etc etc? I hope it does continue in whatever capacity and shape others see fit, no other music comes close nor the lifelong friendships you make.

But a helluva lot who went to nighters did drink before the niter, on the coach, at a nicer warm up etc. To say there was never any beer (I know you don 't but other have and still do) is way off the mark.

Take those out who have been around the block and leave just the youngsters and you won't have enough to run a nighter, not of those who travel anyway. They make up a fraction of the scene. Don't get me wrong, they are all enthusiastic, energetic and many have a deeper love for the music, collecting etc. But there isn't enough to sustain a future, not as we know it today. Maybe that isn't a bad thing, change is as good as a rest so they say and maybe it will have to change to some degree to carry on?

A other two hours great listening from Dean's special guest Stuart Cosgrove. Educational but entertaining, just how it should be.

someone slap him

It's far too sanitised as you say (I said this last week to someone) and over analysed now. I loved the travelling, the having to go out to hear a certain record or Dj, the sense of not knowing what was going to happen. Now you more or less know the night before if happens. There are a lot of people who missed most of that who seem to be more interested in laying down rules that most didn't give a sh*t about at one time. Far too many idiots these days more interested in acronyms and pigeon holes and the music seems to come down the list for many. We managed pretty well without any of it not so long ago.

The Laddins were an all male line-up for most of their life except for a brief period and one 45 when Frankie Gearing joined. Laddins biography courtesy of Andrew Hamilton...... Originating from Harlem, NY, in the mid-'50s, the Laddins carved an unspectacular recording career from 1957 to 1964 on a succession of hotdog-stand recording companies. The originals members were David "Pinky" Coleman (lead), Ernest "Micky" Goody (first tenor), Early "E.J." Marcus (lead/second tenor), and John Marcus (baritone). Bobby Jay (bass) joined in 1957 and missed seemingly their only early photo session, which depicts the Laddins as a quartet. They scored a now-sought-after single that did little when released, entitled "Did It," on Central Records in 1957. Disappointed, Central allowed scheduled releases for 1958, "My Baby's Left Me" and "I'm Falling In Love," to gather dust. "Yes, Oh Baby Yes" appeared on Grey Cliff Records in 1959; but history repeated itself as proposed follow-ups, "Eternally" and "So Long Darling," never were released. Their next release was "Come On" on Isle in 1960; but its pre-picked successor, "A Certain Kind of Love," was shelved. Initially, companies loved the Laddins, but withdrew the adulation after their first singles with the labels bombed. Their most popular failure came courtesy of Theater Records in 1961. The two-sided pleaser, "Oh How I Hate to Go Home" and "There Was Once a Time," was their only known release on the short-lived label. After two 1962 releases, "I'll Kiss Your Teardrops Away" b/w "If You Need Me, I'll Be There" on Angie and "Try, Try Again" on Groove, the Laddins left the Big Apple for the Big Orange (Miami, FL). You seldom hear of entertainers leaving New York City for recording opportunities, but that's exactly what they did the winter of 1962. In the interim, Angie unleashed "Push, Shake, Kick and Shout" in late 1962; Bardell Records reissued it in 1963. The Laddins refreshed their lineup with new lead singer Yvonne "Frankie" Gearing, Alfred Ellis, and Dizzy Jones, joining Goody and the Marcus brothers; other members came and went but these were the main cogs. (Bobby Jay joined the military.) The new group had one single on Butane Records, "Dream Baby" b/w "Dizzy Jones Birdland," in 1964 before evolving into the Steinways, a group with a similar sound to Motown's Elgins and Philadelphia's Formations. Bobby Jay later worked as a DJ at WWRL and WCBS-FM in New York City, and stations in Augustus, GA; Memphis, TN; and Newark, NJ. Billboard honored him as Air Personality of the Year in 1977. Jay also acted off-Broadway, hosted a magazine-style talk show, appeared in the soap Guiding Light, and toiled as a record producer. He appeared sometimes in a revamped lineup of Frankie Lymon & the Teenagers with Lymon's brother, Lewis Lymon; long-time stand in Jimmy Castor; and original members Jimmy Merchant and Herman Santiago. Frankie Gearing sang with the Coeds, the Steinways (which also included Goody and the Marcus brothers), the Glories, Quiet Elegance, and recorded as a solo artist. She also relocated to her hometown, St. Petersburg, FL, where she's a popular entertainer. David Coleman is deceased. Alfred "Pee Wee" Ellis toiled for years as a saxophonist for James Brown. The whereabouts of the others are unknown.

It was a lot worse back in the 70s and even the 80s when the scene had an edge to it and a hint of menace at times. Many got rolled for gear and money. All the characters have long disappeared and they could put the frighteners on many a wet behind the ear novice.

It's generally a friendly scene and by and large very welcoming. Yes you get idiots as you do in any walk of life but they are few and far between. There is very little trouble unlike any other walk of life.

Such a lovely bloke, kind and not a bad word for anyone. Spent time in his company on many occasions, with his dog too which he doted on. Terribly sad news and another taken long before his time. R.I.P. Mark.

But how much of that played was actually soul music, I think that is the point being made. The Northern Soul scene is serving those who attend and as you rightly say had or have a joyous time, not soul music.

TNT Soul Show special. Dean Anderson in conversation with arguably the Northern and Modern Soul scenes greatest Dj Richard Searling. Almost two hours of chat, memories and great music.

when was it last a youth culture? Back in the 80s probably. Certainly isn't enough youth today to sustain an all-nighter scene which is a great shame.

What was the source? If it was an article do you have a link?

Richard Searling at Wigan. Then went to John Vincent who played it at Morecambe.

If it is what i think you are on about you have the surname slightly wrong and I know of just two copies in this country

Just the once at late 80. Would be 83 before any serious plays.

Soul junction team up with Harry J. Coombes to release two of his productions, the ever popular Broadway Sissy from Roscoe & Friends and Broken Hearted Lover courtesy of Tojo. Soul Junction tell all about both the artists. Tap to view this Soul Source News/Article in full