Driveller

Cheers, Chalky, I rather suspected they'd been part of Butch's set prior to the 100 Club, but couldn't state which ones for sure as I hadn't really heard him prior to this - certainly to have a full set of the sort he started at the 100 Club with he would have had most if not all of them for a while. The Jesse James I was confused about because I have a memory of noticing it as an 'addition' to his set sometime not long into the residency, but from what you say it may just have been on a 'break' when he started there and he dropped it in again later on. Could be I'm just completely wrong about it and it was there all along. I'm sure I've got some tapes of the 100 Club from about that time, so maybe I can go back and check - not sure where they'd be, though! The other ones I mention, I'm definite about being in the 100 Club set from the start, and I imagine were things he regularly played prior to that. All the best, Nick

Anita Anderson was part of the first set of records that Butch played regularly when he first got his 100 Club residency, along with things like "You Ain't Got A Chance", "Absent Minded Lover", That's When You Know You're In Love" and Jessie James on Shirley (unless that last one was a little bit later). I believe that places it around 1990/91, though at the moment I can't remember exactly when Butch started playing at the 100 Club; if anyone can be more precise about that date, then that's the date we first started hearing Anita Anderson. Of course he may have already played it elsewhere on an ad-hoc/guest spot basis, but I can definitely confirm that it's been around as a regular play for at least as long as Butch has been a 100 Club resident. All the best, Nick

I'd expect it's most likely the Paolo Nutini that's been mentioned, but it's not beyond the realms of poosibility to hear decent music in department stores. in the early 90s I worked in Littlewoods in Bromley for about a year, and we used to have a cassette player that piped music out through the store. One of the things we had pretty much on a loop was the Bodyguard soundtrack, and it's about as much as I can stand to hear 5 seconds of Whitney, let alone the whole album, let alone looped all day, so we had to come up with some alternatives. One of the lads came up with a tape of stuff like Madness, which provided some welcome relief, and I did a tape with general Northern which was great to pop on. I can't remember everything on it but two that stick out that were definitely on there were the Tomangoes and a Kent Anniversary single with a great unreleased Dore instrumental, "Surf And Soul" by 'The Superbs Band'. These were great to while away the hours checking stocks of crimplene nighties and support hose, and I guess anyone walking in who knew them would have got quite a surprise. Nobody complained that they didn't like it or anything, so we just carried on dropping it into the 'playlist' the whole time I was there. Perhaps they even played it once I'd left, you never know... All the best, Nick

Just seen this so apologies for a late reply. Just want to wish you the best for a full and speedy recovery. My mum had a stroke some years ago so I've seen the difficulties it can cause and wouldn't wish it on anyone. She made a good recovery over time, so I'm hoping the same can happen for you. I'll keep you in my thoughts and prayers. Best of luck, Nick Brown.

Makes absolutely perfect sense, Bearsy. Totally agree. Nick

Brings tears to my eyes just hearing it on the record, Joan - probably a good thing I didn't hear him at Prestatyn or I'd probably have been a blubbering wreck! As for the poll, the Havens version is very pretty, neatly orchestrated and, as somebody mentioned, 'Callieresque', a strong record on many points, but Spyder's version is just beyond perfection. The fact that it's the fastest version by far might seem odd for such a reflective song, but I think the pace of the arrangement and the urgency of the vocals bring a whole extra dimension of restlessness to the performance, which I always thought was a great match for the 'torn and troubled' atmosphere of the lyrics. Plus the musical arrangement absolutely RINGS! A spectacular record, regardless of its 'Northern-ness' or otherwise, but as a Northern record, pound for pound it's got to be one of the premier sounds on the scene. Great idea for a poll, by the way, Mike. Cheets, Nick

Forgot to mention this bit when I was saying why I was so unhappy with the documentary, but you're right, this was a terrible moment. My assumption is he said it to lend some kind of 'underdog' romanticism to the artists, but it made it sound like he was guessing because he'd never heard any of it and felt he had to come up with a reason why some of it was commercially unsuccessful. A dreadful disservice to the artists writers, arrangers and performers (many of whom WERE highly successful), and totally unjustified when you think of labels like Mirwood, Ric Tic, Okeh, Big Wheel etc and the efforts of people who had a hand in the sound like Arthur Wright, Curtis Mayfield, Major Bill Smith, Teddy Randazzo, Bridges/Knight/Eason, Freddie Perrin...actually, I can't go on listing because the names I'd get that prove Norman Jay wrong on this would be too random and there'd be too many people scandalously left out of the list however long I made it. I've been re-reading Robert Pruter's superb "Chicago Soul" book lately, and just came across the remarkable fact that while signed to Okeh, Major Lance sold five and a half million records. But they were no more than demos, according to Norman Jay, so it must have been an accident. Pitiful. Nick

Hi Chris, Can't say anything about walking through the doors at Wigan as I was too young, and I absolutely believe you that it must have been fantastic. What I can say is that at my very first allnighter in December 1984, Ady Croasdell played Melba Moore's "Magic Touch" out for the first time ever, along with "Torture and a whole slew of unheard stuff from the Scepter Wand vaults. There was massive anticipation about it and when those sounds went off it was like the very air had caught fire, such was the reaction on the floor. It was an introduction to the scene that I'll never forget and that memory is one I'll never stop treasuring. Yes, you had that excitement at Wigan (and wherever else) week after week, but I just want to make the point that it happened on the post-Wigan scene too. I think possibly one of the reasons some people turned away from the scene after Wigan's closure is that they had invested so much emotionally in the business of being there that they felt nothing would be worth going on to in its place. I can understand that - oddly enough I felt that way about (of all places) the Orpington Civic 60s Mod nights in the early '80s - an under-18s event I went to every week for about 3-4 years until it closed, which introduced me to vintage music including 'entry level' Northern Soul - I guess what the Northern scene would call a youth club event. Thankfully, I survived its closure, got introduced to the 100 Club and the 'mainstream' NS scene and came to love a wide range of 'deeper' sounds which I wouldn't have encountered at the Civic. In it's way, the Civic was possibly the most exciting and 'special' bit of my entire relationship with music, however 'small-time' it might seem now, and at the end of it, I clearly remember thinking "well that's it then, nothing more to look forward to (musically) now" - until my horizons opened and and I moved forward. I'm obviously not saying it is comparable to Wigan in any way as an event, but my relationship with the place helps me understand why some people felt their own relationship with Wigan was too close to want to carry on with the Northern Scene once it shut, particularly with the evolution of sounds that took place shortly afterwards. My big (and very pleasant) surprise was that for me the excitement did carry on, bigger and better than ever, and all on a scene that was supposed to be dead on its feet. It's true I can't compare it with Wigan, but I can say it was VERY exciting! Cheers, Nick

Granted, but in terms of documentary coverage, what's to stop you covering it and saying that some people thought it was crap? Nick

Ian, I can see why you would make this point, but this is an argument I've been wondering about for some time, and I don't think it stands up as well as you might expect. Post 1980, the scene went back underground and gradually re-grew, but then also went global, which in itself suggests there's a big audience for the whole timespan. Add up the memership numbers for 100 Club, Stafford and all the hundreds of other clubs that went on when the scene was purportedly dead, plus scooter clubs and just general Soul music enthusiasts, you probably have the amount you need for a respectable viewing figure on a BBC4 music documentary. Even this misses the point though. The main issue is what kind of people actually watch a documentary like this and why? If it's just people on the scene (which I don't believe), then there'll be at least 30 years worth of people who want to see something that covers what what they were involved with; if it's not, why would they object to a second half of the programme that says what happened next? I watch all those BBC4 music docs, because I have a general interest in music, and when I watch something about Blues or Singer-songwriters, I'd really like the full story please, and even if they can't give loads of detail on everything I'd still like them to say what there is, so I can be informed about the whole picture. Cover the whole story (which is TOTALLY possible in an hour - it's just down to what you choose to say) and everybody's happy - the pre-1980 scene people, the post-1980 scene people and the all the other people, who just want to find out what the whole thing's about. What's really strange about NS documentaries today is that they've changed from the ones that got made up to 10 years or so ago. If you look at the older TV things on You Tube, they were generally based on an assumption that they were covering something that was happening 'now', and showing it in its present form. Look at the footage of the Blackburn allnighters in 1987 (here https://www.youtube.com/watch?v=UJJq42q-r7s ) or the profile of the excellent and much missed Nogsy (here https://www.youtube.com/watch?v=KOkOEZm4YWQ) where, sure, they explain the history and drop in a few Frank Wilsons or Mick Hucknalls, but fundamentally treat it as a thing which is happening now, without suggesting it's stuck in the past or that it died a death - and just take a look at the participants to see that there's no suggestion you have to dress up in your Souled Knot uniform and join the Northern Soul Re-enactment Society - oddly enough, they seem quite capable of dancing without requiring Oxford bags, in opposition to what recent media coverage has been putting forward. These are just two examples showing it's entirely possible to cover the scene without the 'death and resurrection' narrative, but I suggest SSers look through the docs on You Tube and see how this subject used to be covered up to about 10 years ago. So what's changed? Why the Revival, of course...

Excellent Freudian slip there, Pete - think you probably meant consciousness, but what you said might be why they gave Wigan's Ovation so much attention in this one! Agree with the rest of your point, incidentally...

I had low expectations going into this (had a suspicion how far the coverage was going to extend when Ady Croasdell mentioned that nobody had spoken to him), and to an extent they were confirmed when this one mentioned even less about things post-1980 than even the Culture Show one had, which I didn't think was possible. Richard was good (as always, clearly an essential interviewee for this type of programme); Fran was brilliant talking about the freedom and acceptance it gave her; Ian D was a solid anchor around which the interview clips seemed to centre; Levine was impressive with his impassioned declaration of defiance against the pop charts and his assessment of the Ritz factionalism, and securing Colin Curtis for interview was fantastic, possibly the best bit. Dave Clegg's enthusiasm was infectious; Marc Almond has a place and was given no more or less time than he should have been if you're going to mention him, and the same goes for Stringfellow, like it or not; You can't deny Waterman's involvement, but he does aquire a significance beyond what's justified due to TV producers' easy access to him. It had a narrower soundtrack than the Culture Show doc, but a good selection of 60's archive footage, though I think they may have shown every second of the This England dancefloor footage, some more than once! I always find it baffling that places like Cats, Cleethorpes, Yate etc never get a word in these docs (though someone did mention Whitchurch this time). If you've got the time to repeat clips from This England, you've got the time to mention Cleethorpes or Yate! I find it puzzling that a documentary maker who has both Levine and Curtis on their programme can get the timeline wrong for the Mecca's contribution to the scene - perhaps he wasn't listening very closely...? Absolutely shocking though, that once again we got a documentary that reinforced the 'death and resurrection' narrative of the scene. That is laziness that cannot be excused. The result is that once again I watched a documentary which did not touch on any event that was a part of my 30-year unbroken, active involvement on the scene as a dancer, collector, record trader, DJ, event promoter and writer, and thereby failed to touch on the experiences of a vast number of the people I encountered during that time, who must be saying the same thing. However good the interviewees were, however good the archive footage, a documentary that fails to cover basic things (and 'the scene carried on' is a basic) is just a documentary that fails. Nick

Absolutely spot on, Pete; this was the bit that had me shouting loudest at the telly. This was a really, REALLY poor editorial decision at a fundamental moment in the documentary. ICHM is a genuinely useful example to give as a template (I normally offer "Uptight" or "The Same Old Song" as the example, but I'd be entirely happy with ICHM), BUT, 60s US TV live performances of Motown stuff have always been plagued by rubbish Johnny Dankworth-type backing orchestras who try to jazz up and lighten the tune, so it ends up sounding like perky cheese-pop. For the editor to have selected a recording that does that, thereby going directly against everything that gives the original recording the characteristics that caught our attention is as good as putting a subtitle up saying "I haven't got a clue what I'm talking about". To do it while cutting backwards and forwards between the performance and a set of talking heads who are giving the definition in a way that suggests that hearing the music will help you understand each point they're making, while the music sounds the opposite is beyond absurd! And it's not as if you can't get lip-synch archive of this stuff - it's all over the place! Lazy, sloppy, ignorant, whatever was behind that it was a terrible decision. Nick

I remember being in the car with my son when he was about 5 years old and I was playing a tape of general Soul. He had let it be known that Love Starved Heart and maybe a couple of others were acceptable, but when this one came on I thought it was a definite step too far and he was going to nag me like crazy to get it off - bit too much like hard work if you get what I mean. Anyway, he sat through it in silence while I carried on driving and waited for it to finish and be safely out of the way, then said "can we have that one again?" Nearly fell out of me seat, if you can do that in a car. Nick https://www.youtube.com/watch?v=5btlB8LKumc

Len, That's a fantastic clip, mate - like you say, really captures the atmosphere of what looks like a brilliant night. Nice one! Nick

Another vote from me for each of the Commands, Cashmeres, Epitome Of Sound, John & The Wierdest, Magnetics (Bonnie) and Magnetics (Sable)... Don't think anyone's mentioned: Eddie Parker: Crying Clown/I'm Gone (Awake) (in that order, as far as I'm concerned, in the sense that for me "Crying Clown" is EVEN better than "I'm Gone") Al Wiliams: I Am Nothing/Brand New Love (La Beat) Cairos: Don't Fight It/Stop Overlooking Me (Shrine) (again, in that order) Bobbie Smith: Walk On Into My Heart/Miss Stronghearted (American Arts) Anita Anderson: Little Bit Longer/Secretly (Contact) Big Maybelle: Quitting Time/ I Just Can't Wait Any Longer (Rojac) Personal fave double sider of the lot has to be: Traits: Someday Someway/You Waited Too Long (Contact) Cheers, Nick

Hi, Thanks for your kind comments, Kevin; For those who weren't there to see, this is what Kevin's talking about: The walnut is the bit around the edges (a heavily rippled walnut veneer that's not too common to find) - the centre panels are maple burr veneer; the handle is white nappa leather; theinlay on the top is tulipwood; the base is finished with felt to match the lining and the lining itself is antique (genuine 19th Century) silk velvet, unused deadstock from the 1890s which I had a lucky hit on. It's a hobby of mine but I can make them to order - effectively a bespoke box where you choose your own veneers and linings (I've got a wide range of both). It takes about a month to make one and the cost is £200 (I can do a 50 size to the same specs for £120), though the one here would be 20% extra because of the antique silk velvet, which isn't cheap. Ian, If this fits the bill (it's a 100 box, by the way), then get in touch and I'll see what I can do, though if you're up against a deadline (you mention it's a present), it may be a problem getting it to you in time. Naturally, if anyone else is after something a bit special like this, PM me and I'll give you more details. They're popular as presents, but do give a good lead-in time, as other people may have the same idea (eg at Christmas!) One thing I have to make clear, though, they're not intended for baggage handlers - you need to treat them like you would your records, so if you're looking for something that will stand a beating these aren't for you. If however, you want a kind of fine presentation box to use as a home for your fine vinyl, then this might be a good option for you. All the best, Nick

Hi, My Soundburger hit the buffers about a year ago, which was a big problem, as it was pretty much inseparable from my sales box, but, I've just managed to locate this, which fills the gap perfectly: https://www.ebay.co.uk/itm/Crosley-CR6020A-Revolution-Portable-USB-Turntable-blue-/181285496020?pt=UK_AudioTVElectronics_HomeAudioHiFi_Turntables&hash=item2a357524d4 Never thought anybody would think it worth doing this, but I'm glad they have! Not sure if it quite does for playing in the car, but invaluable for the allnighter record room. Crosley do a range of players with various levels of portability, but I believe this is the only one that can operate on battery power. If you just do a search for 'Crosley' on Evilbay, I'm sure you'll get a good selection. All the best, Nick

One of the hot ones these days seems to be Tuska, and Sen-Town appears to have a following for items that are hard to track down. My candidate for a 'sizeable' label is Gaye from Augusta, Georgia, with a good dozen or so releases. Few items on the label are genuinely 'easy' to get, most are pretty tough to find, and some are excruciatingly elusive - and all of them seem to be top-notch examples of their type, spread between Northern Soul, Deep Soul, R&B and Garage Punk. For a small label, I'd go for Phelectron; Jackie Daye and Terri Goodnight would be hard to beat as a pair of tough-to-find items, even with the pack of Jackie Days that turned up about ten years (ten years!) ago. I'm keen to see what suggestions other people have. All the best, Nick

Quick note before Mike closes the thread - while we're on coloured vinyl - 2 of my personal fave pieces: One I didn't get my hands on (quite pricey) - https://www.popsike.com/NORTHERN-SOUL-Monster-CHUCK-FLAMINGO-Whats-My-Chances-ROJAC-M-GREEN-WAX-HEAR/110868756979.html and one I did (quite cheap - about £3 from a record fair in the '90s): Both quite nice, I think. All the best, Nick

Very true, Pete. In fact it's worth remembering that in 1949 when RCA Victor introduced the 45 RPM single, coloured vinyl was planned as the STANDARD system. They issued their first series of releases on different coloured vinyl according to the category: Pop - black Classical - red 'Light Classics' - midnight blue Country/Western - green Children's - yellow 'International' - sky blue Rhythm & Blues - 'cerise' (though often described as 'orange') Have a look at the first 45 (Arthur Big Boy Crudup) on Popsike and you'll see in action. All the best, Nick

BILLY MIRANDA You Could’ve Had A Good Thing Going (VG++)/Count Your Teardrops (VG++) QUEENS £800 Very rare piece with two great sides - one full-on dancefloor blaster and one dynamite mid-tempo stonker with driving horns and power-packed percussion! Very clean copy - just a few isolated marks - and a great player - check the soundfiles to see what you’re getting. Billy Miranda Could Have Had A Good Thing.mp3 Billy Miranda Count Your Teardrops.mp3 ‘Cash’ only, please on this one — no vinyl trades, thanks. PM me via the site or e-mail me at nickpbrown1234@yahoo.co.uk to do the deal. Payment by Paypal (I won’t make you pay fees) or (preferably) cheque (UK sterling), cash (UK Sterling sent REGISTERED/Special Delivery ONLY!!!) or COD if you’re local to London(ish) and can meet up/collect/I deliver etc., or else want to meet up at a do somewhere or whatever. Basically, speak to me and we’ll sort out the best option. If you want it posted, I’ll send it securely (well packed and registered/special delivery) for £6 UK, £12 elsewhere. 7 days return for refund if not as described.

Hi Paul, I can't be sure he necessarily means format in this sense. I still think he's talking about something like The Honey Bees 'Let's Get Back Together' on Wand as opposed to Garrison. Nick

I think Jr Mccants is a strong contender rarity-wise, and if 30-odd years isn't enough to make it a classic, then the criteria would be stringent indeed! However, could you say the flipside is a classic? My money is (hesitantly) on something like the Emanuel Lasky Wild Deuce 45 on a missing Thelma number. Either that or an issue of something previously thought unreleased (Little Ann/'Diane Lewis' etc, maybe a VIP promo of 'Suspicion'), though the problem with most of those theories is the likely missing flipside. However it's also fun to let the flights of fancy roam free and imagine something like I'm Gone/Crying Clown by Lorraine Chandler on a previously unknown (and forgotten by everybody involved) Awake issue. As I say, totally unlikely, but fun. Most likely it's just going to be a gold Professionals. Or a green vinyl John And The Wierdest, etc, etc. Fun guessing, interesting to see what it's going to be, and hats off to John for a top-notch promotional campaign - as long as the final vinyl stands up to the speculation! All the best, Nick

Blimey, I didn't expect the Spanish Inquisition! Seriously, though, good questions... Nick