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Chalky

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  1. Great info as usual Andy.
  2. The Lifeline room the Dj's play what they want. We try and avoid records heard on tje mainstream side of the s ene, rare, underplayed, one offs, acetates, 60's, some 70's bit of funky edged stuff. The venue is probably as good as it has been at any venue Lifeline has used with a great atmosphere and a full floor all night. Pow Wow, bouncing with the best in R&B, mod, latin, boogaloo and more. I din't like to blow our own trumpet so hopefully someone who just goes for the music can add something. Come along, I'm sure you would enjoy it.
  3. Sorry but there is no Lifeline podcast for Karl Heard. The only Lifeline Dj's I've put a podcast up for is Andy Dyson, Cliff Steele and myself plus a rare 70's one.
  4. It is listed regularly for around that figure everywhere, lists, web sites etc. Have even seen listed as much as £250.
  5. Basically at one time yes but rarity and value don't play a part so much today, never has done with some.. You can listen to DJ's digging deep with a seldom heard cheapie (always have done really), many records have risen in value because of so called upfront venues. We have all these discussions, people practically know what a DJ plays, what a venue's music policy is and yet no one seems to have a clue where they are going or what they are listening to
  6. Upfront was used long before "funky" stuff became more and more accepted. It was simply a term used by some to describe the more progressive side of the scene who like to listen to music that isn't by and large an established classic/oldie (i.e. top 500). As said that may be a new release, a new discovery, some Mecca three spin wonder or other venue play that quickly got lost when new discoveries were in an abundance and DJ's could be choosey. DJ's with an edge and imagination, taking risks as said earlier. They might not be to everyones taste, when has that ever been the case but those that go to those nights actually CHOOSE to go, no one forces them.
  7. The upfront crowd as you call it are tearing nothing apart, they just get on with it as they always have done. It is everyone else who isn't involved, some not even involved in any part of the scene who are doing the knocking and critiscing. I don't know where you get the impression the so called upfront scene is made up of funk, blues and sweet soul? Seems to be quite a few ill informed opinions on here.
  8. yep got the same. Any news on a shop on here Mike?
  9. I've said earlier Phil new stuff is still out there. What do you base the above on? It isn't experience is it! I agree there is not an abundance of it but what there is and some imaginative DJing from those with knowledge and experience to a fall back on is keeping the scene somewhat fresh. Many of those I have know since the mid 80's are still about in some way. there are plenty of clubs trying to do somethg different with healthy numbers through the door. Yes they are a minority when compared to Kings Hall attendances but they are still alive and kicking. Again there are too many knocking one particular aspect of the scene with little or no knowledge of what is really happening.
  10. Played at a northern soul night by a northern soul Dj must be northern soul
  11. There are quite a few acetates of this, 60's and 70's takes. Tim Brown got them early 90's, I think?
  12. I agree Steve, most of the 70's oldies are Northern Soul if that is the term people wish to use. There's plenty of 80-'s and 90's, the odd 00's track that is Northern Soul as well, Drizabone, Angie Stone etc.
  13. Anyone who expects to go out and be wowed by an endless stream of quality 60's discoveries toady must be totally disallusioned. New discoveries have been getting harder and harder to find for years. BUT some are still gettin unearthed. Butch had more than enough to satisfy most at the recent Crewe event. Andy Dyson still finding gems, Mick H etc. Finds from the vaults will be a big source of new material and we are seeing many recently released 60's and 70's material making it to the decks. The trouble is though when something is unearthed the hot boxers chase it down and all of a sudden quite a few have it and hammer it, it soon becomes overplayed and you get fed up with hearing it. Not many seem to know how to look after a record, when to rest it, when to bring it back. All it takes is some imagination to keep things fresh. As per usual on here, many knocking the topic of this conversation who have nothing to do with the kind of events we are talking about
  14. They will indeed Phil, it is simply Lifeline Rare Soul Club these days. I've never liked the term upfront or even Northern Soul. It was usually rare Soul in the 80's. But today every aspect of the scene has to have a tag or term and be picked apart, why we just can't simply "get on with it" is beyond me. Things were much easier with everything in one room.
  15. Pleasure Mark and thank you for the kind comments (and everyone else who passes comment) they really are appreciated and nice to see these podcast appreciated
  16. 10 years or so ago, and in the case of at least one 25 years, maybe, but these would more than likey be played at Kings Hall today. Jospeh Webster and Henry Ivy especially so have crossed over to the oldies nights, both been around since the mid to late 80's. Upfront? Just another pigeon hole used by some to differentiate one kind of night from those that are basically oldies and classics only. F*** all to do with OVO as many oldies nights advertise as this, again another useless term. We do like to complicate things on this scene.
  17. Do you think so? I have the male and female take of it, wouldn't compare it to what is the topic here though.
  18. But these are played at "Northern Soul" venues so it must make them Northern Soul. As I said pretty pointless debating this.
  19. I fully understand where you are coming from but the all-nighter scene moved on from that view decades ago. That is why it is pointless even debating the merits of records like this with the likes of those on this topic who continually compare records to those of the mid 70's or who are not or haven't been involved in the all-nighter scene for some time. I get that some don't have a broad spectrum of taste and like a particular record but it would seem some don't understand that others have a varied tastes.
  20. Off top of my head can't say I have either?
  21. And the scene has probably been better for it and without them, I know I enjoy a range of styles and tempos.
  22. Think too many view records from a straight down the middle "Northern" prospective, compare them to classics if you like when in theory the all-nighter scene hasn't been northern for a long long time. It is a mix of everything, a real melting pot of styles and tempos. Not everything will please everyone, it never has and nor will ones taste be catered for all night or even for the large majority of the night but it is the diversity that has contributed to the longevity and health of the scene.
  23. It has been a few months since the last Soul Junction release but they are back with the first release of 2015 with more quality unissued 70’s... Tap to view this Soul Source News/Article in full
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  24. It has been a few months since the last Soul Junction release but they are back with the first release of 2015 with more quality unissued 70’s. A new label design is also introduced giving the label a 60’s or 70’s look and feel. Back to the music, the group in question for the latest release is the Dynamic Sounds Orchestra giving us two great unreleased mid 70’s soul sides. Both very different, the top side “Take Me Back” a great dancer with a lot going on as you would expect from a nine-piece group. Flip it over and we are treated to a nice ballad entitled “All I Wanna Do Is Love You”. Two excellent mid 70’s Chicago Soul already receiving extensive radio play and a 45 expected to sell out like so many other Soul Junction releases, get it bought before it is too late. The group do though have some history that should be of interest to Rare Soul avids as you will see from the press release. Press Release: Dynamic Sounds Orchestra “Take Me Back/All I Wanna Do Is Love You” SJ1000 Release Date: Monday April 27th 2015 The Dynamic Sounds Orchestra was a nine-piece ensemble who would later become the backing and touring band for one of the windy city’s most famous soul groups, The Chi-Lites. The Jerma release of Lil Gray, mother to The Dynamic Sounds Norwood Gray. The original origins of the DSO had begun earlier in the mid 60’s when teenage bass player Norwood Gray Jr along with fellow guitarist Anthony Barnes held performances using several different drummers as a three-piece combo under the name of The Dynamic Sounds. Norwood was the eldest son of female vocalist, Lil Gray who during the mid 60’s recorded three 45 releases “Are You Fooling” (101), “Out Of Nowhere” (102) and “One Day Your Gonna Get Burned (103) for Ulysses Samuel Warren’s Jerma records label. Norwood himself would also later play bass on U.S. Warren’s collectable funk album “For A Few Funky Dues More” which appeared on Warrens other label logo Chytowns (2001). During 1970 Norwood was invited to play on a session that also featured a brass section that included Charles ‘Butch’ Cater (Trombone), Milton Thomas (Soprano and Tenor Saxophone), Louis Minter (Alto Saxophone) and the late Kevin Thompson (Trumpet). It was from this chance meeting that the concept of the Dynamic Sounds Orchestra was born. Further musicians were added to the line-up, Clifford Conley (Guitar), Ronald Scott (Keyboards), Dennis Howell (Drums) and finally Otis Gould (Conga Drums and Percussion). With the now retired (from her own performing career) Lil Gray assuming the role of the group’s manager. Top row - Left to right Milton Thomas (Saxophones), Kevin Thompson (Trumpet), Clifford Conley (Guitar Middle row - left to right Norwood Gray Jr. (Bass), Louis Minter (Saxophone), Otis Gould (Percussion) Bottom row - left to right Ronald Scott (Keyboards), Charles Carter (Trombone), Dennis Howell (Drums)(lower right hand corner) From early 1972 till 1978 several different permutations of the DSO (at one point containing 13 members) supported the vocal talents of Chi-Lites, Marshall Thompson, Robert ‘Squirrel’ Lester, Creadel ‘Red’ Jones and Eugene Record, as well as later additional members along the Chi-Lites meteoric rise to world stardom. When Eugene Record left to pursue a solo career in 1976, some of the members of the DSO also followed him to Warner Brothers and are featured on the three albums that he recorded there. Eugene also produced an album for former ‘Lost Generation member Lorrell Simon entitled “Mellow, Mellow, Right On” again with musical accompaniment provided by some members of the DSO. When Eugene Record later returned to the Chi-Lites line up he again called on some of the former members of the DSO to provide the orchestration on the 1982 Chi-Sound album project “Me And You” which featured the popular 12”/7”single release “Hot On A Thing (Called Love)”, a US R&B number 15 chart entry. Back in 1976 the DSO using some of their earnings from their time with the Chi-Lites embarked upon an album project of their own although they never quite finished the project, also due in part to a later house fire, which destroyed their master tapes. The band later disbanded in 1978, but still remained in contact while following their, own careers and lives. Fortunately for us, a later discovery of a cassette tape of the unfinished DSO sessions by Otis Gould would lead to the groups lost masters eventually being heard by a wider audience. Otis painstakingly set about re- mastering the tracks, which he eventually released via several internet based outlets. Through one of Soul Junction’s Chicago A&R contacts, this project was brought to our attention and two subsequent DSO tracks have been licensed, so before you, you have the uplifting dance track “Take Me Back” backed with the excellent sweet soul ballad “All I Wanna Do Is Love You” both finally gaining a vinyl release (SJ1000), its intended format at the time of its conception. To this day all the members of the DSO have remained in contact with the exception of their trumpet player Kevin Thompson. Kevin lost his life during a house fire at his Chicago home, initially safely exiting the building he was then severely injured when he re-entered the building to save his beloved instruments, later dying from his injuries. His spirit is sorely missed. Kevin was also the lead vocalist on “Take Me Back”. Both Clifford Conley and Dennis Howell relocated to the West Coast. Dennis did eventually return to his native Chicago where he still occasionally plays with The Chi-Lites. Clifford currently resides in Altadena. CA. where he still plays within a band at his local church. Percussionist Otis Gould following the breakup of the DSO moved south to Atlanta, GA, to pursue a career in Education. Now a retired school administer he has just recently completed a two year tour with the Broadway show ‘Ain’t Misbehavin’. Otis is also the driving force behind the reclamation of the DSO’s previously unissued material. Trombonist Charles Carter still resides in Chicago where he still plays with an Earth, Wind and Fire tribute act by the name of ‘Shinning Star’. Alto-Saxophonist Louis Minter too still lives and works in the Windy City as a car salesman, he too continues to perform, some of his performances at the ‘Apostolic Church Of God’ can be found on You Tube. The final member of DSO’s brass section Tenor and Soprano Saxophonist, Milton Thomas now resides in Ypsilanti, MI. Although now suffering from a deterioration in his hearing. He still continues to play in between his day job in the construction industry. Keyboardist Ronald Scott later became an ordained minister at The Beyond The Veil Ministries. He is also an undertaker for Scott Funeral Services and continues to write and play around Chicago. The final surviving group member, bass player Norwood Gray Jr still lives with his family in Chicago. In 1980 Norwood graduated with a degree in electrical engineering that allowed him to enjoy a long and successful career with HP Computers, from whom he is now retired. Sadly his mother Lil Gray passed away in 2000 due to heart failure. Words By: David Welding. With acknowledgements to: Norwood Gray Jr, Otis Gould, Clifford Conley, Ronald Scott, Dennis Howell, Charles Carter, Milton Thomas and Louis Minter. Photograph courtesy of: Otis Gould. https://www.soul-source.co.uk/uploads/select_1428841060__dso_edited_clip.mp3 Buy this and previous Soul Junction releases direct from Soul Junction or the usual stockists: http://www.souljunctionrecords.co.uk/buydirect.html
  25. Chalky

    sj1000b

    From the album: Scans 2



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