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On what label? In/from which country?

Thanks Chalky, MGM & 45cellar - all good info, a big help

Thanks for confirming the 'yellow' as a Bootleg. Just by the image and the way the label 'sits' made me think that but visual is not always definitive Yep, I missed that '73 OOTB Boot - thanks

My info say US = Dec 1965 UK = 3 Jan 1966 I can't find a Cameo / Parkway Singles release database to confirm.

Thanks Brummie

For purely personal interest, could anyone help with the factual releases of this record. I have done some digging and have come up with various 'bits of info' & labels. The 1st label I think I understand - an original 1965 US Parkway Promo, some got pressed before the rest of the order was cancelled (hence the extreme rarity & price). The 2nd - which I've found as being listed as ...... US 'Parkway' label doesn't fit the story since supposedly there were no US standard issue releases - so is this a reissue and from what date or a bootleg?? I read somewhere that due to litigation, they pressed & released the record 'away' from Chubby's main fans in Philly??? (I know about the UK Outta Sight 2012 reissue) The 3rd & 4th label are of the original 1965 UK Promo and issue - correct? I know about the the UK London reissue from 1978. The last label is the 'Northern' UK bootleg on North. Does anyone have any background on its history (who/when etc) please? So besides the 1978 UK London reissue & the 2012 Outta Sight release ....... have I missed any? Thanks for any help anyone can provide

Yes, please do let us know the correct information, and also any other information or photo's etc that you may have. Thank you for getting in touch with us all

Hi, I know it's 5 years ago, but did you sell all the box sets and the above? I haven't spent time looking at tracklists of any, so just a very late general enquiry to begin Thanks

That's really helpful Yank - thanks. I will go and look for those albums for the liner notes if I can. I was sure, for example Ooh, It Hurts Me, that I heard it first via one of the Kent's and yet Outta Sight released it as a 45 which confused me because of those albums you've listed, but then I wondered if I heard it played somewhere before I left many blue moons ago, which got me to thinking was it ever released as just a demo ..................... and so on. When you have songs written, produced etc and that sound as good as these from a group which quickly faded away and with such a pedigree of singers, getting some good background info becomes all the more interesting, not just who was who, where & how they formed etc, but also why they were ever recorded and then their songs sat in the vaults unreleased (and so on). I read a lot of autobiog's of groups etc to help get an idea of the world of recording artists, managers, producers, songwriters, music lawyers etc, but they don't always give the reasons (other than money) for recording so much material that then was never released. My perception I know is slightly skewed from so many decades now of Northern and what that means to me, how lucky I am to have had the chance to hear such greatness. Thanks again Yank

Me too

Hi, I know the above is old and it's helped fill in some holes (so thanks for the above) as I've been digging away to try and understand what happened to the recordings when so few were released? Which singles/songs were recorded but never released. Who discovered them (Kent or Outta Sight)? Any idea on their discovery (a story or two perhaps)? What was the year of the recordings? Why were they not released? Who controlled them? With so many similar named groups, it's that much harder to try and work out answers to the above. Can anyone help please?

Wow, I can't recal the who, when or where I found & bought Georgia Pines (unheard), but that blue & silver styrene Amy issue just called to me to buy it, as in that 9th sense as a collector that tells you not to pass this one by, and I do recall getting home from whatever nighter it was, putting it on the player and being blown away. I've got the Amy CD, but what saddens me (I've just had my memory piqued seeing the name Mighty Sam McClain) is going to the likes of Discogs, his music for 'normal people' begins in 1986, with not even a mention of the album 'Papa True Love' or anything pre-1986!!! I'm trying to imagine a world of people who's lives run on auto-pilot and the Top 20 lol. All the music within the title of Northern Soul that we 'can' take for granted, that the rest are blind to. I know how glad I am to be on 'this' side of the coin. Time to do some more digging Check out some of his 1986 and later stuff - he's still got the voice !!

I totally understand, it's a hugely insane size of a project (as I've said), one that you need help with in lots of ways and also one that you're simply going to feel overwhelmed by. And as you say, you've got a very busy schedule + a life + family etc. You could probably do with a North Pole vacation for a year, away from everyone & everything lol. Because of everything, please don't try and put a date on having it finished, that would only lead I feel to things being missed out etc trying to keep to a deadline. You mention interveiws to be transcribed - that's something I can maybe help you out with for example. Please PM me to discuss further if you like.

Hi, I'd like to ask please about any progress with the book? I shudder at the thought of such a huge task, one I think if done could grow into various volumes so as to include more than just "regular / popular" nighters as you've mentioned it will (if done), since for example certain 8 'til lates helped enourmously to keep things moving forwards and were an integral part of this era, at least for me (besides also going to the nighter likes of TOTW, Hinkley, Parr Hall, Queens Hall etc). It's a huge task as I've said, and one that deserves all the help from those of us that continued on from the Casino through the 8T's & 9T's etc, with contributions of experiences, perspectives, unsung heroes etc. The sheer amount of categories that this could grow to include is mind-boggling, but for an accurate representation of the history of the oldest and continuing underground music scene in the world (which is still one of the most amazing best kept secrets lol), purely for historical purposes within the history of world music, should be undertaken. IF you are, then I for one would feel incredibly & enourmously privileged to help in such an endeavour. Please feel free to PM me with any info or updates. And thank you for what you've been able to do up to now

Come on people! Someone must recall seeing Eddie Parker at Hinkley ........................ please

Now I know I am getting confused lol. Eddie was certainly there at Hinkley at a Revue, 'cause I'm there watching him sing Love You baby. Yep, Al Kent was at one too now you mention it. Wish I could put my hands on the photo's .... grrr

Has no one got any flyers? My recollection of the first Ric-Tic Revue @ Hinkley had Edwin Starr, Eddie Parker, JJ Barnes and I think a female artist (God it's so long ago - so I could be getting mixed up with later revues). Martha Reeves did a concert @ Newcastle (Staffs) Tiffs, I think around the same time.

From humble beginnings, looking up to the likes of John Le Saint and the Lytham Football Club crew. I used to ride my bike on these nights 5 miles, just to press my face against the windows from outside (too young lol) to watch them Dance, Dance, Dance (Steve Wilson especially). The brother-in-law of Dill [Richard Lang] (Dill - RIP), who ran Kirkham Ambulance Hall every Saturday and my peers such as Pip - RIP, Blakey - RIP, Billy Valentine - RIP etc. This was our Wigan and thanks to the likes of Dill who bought and passed on to his B-I-L everything that was being played @ Wigan. And to the many going to Wigan that night, who would come in for a warm up prior to catching the train, helping us perfect our moves. To Sharron Farrah, the best spinner by far EVER!!!!! To Bob Blackwood, his Blue Ford Tranny Van and raw, pure undrugged energy, The Welcome Inn and all I met there (eg Rick Ogden) To Mr M's Balcony and the kindest of folks up there who gave me space as a young pup to realise & dance my dream - to dance in Mr M's. To the organisers of such venues as The Carousel (I can't count the hours spent in the cafeteria section sat at a table in silence & awe, listening and watching Pete Lawson speak), Bank Hall Miners Club (Little Skinny Gary - amazing dancer), Tony's @ Blackburn (Little Scotty, Sam Moore & Jeanette via Derby) & Parr Hall (to only mention a few) who kept going through those lean years. Organiser #1 for me, though it was many years before I met him - Ady Croadell - and not just for the 100 Club, but for the Cleethorpes Weekenders (a huge task to bring together), and of course for Kent .... but also because he's such a great person & a gent. Brian Rae, Dave Rimmer, Keith "Grumpy" Minshell, Tim Ashibendie amongst others for teaching me about vinyl. The Crewe Crew - especially Bob Connor, Dave Elson, Big Babs, Carl & Shiela - & the N.Wales Crew (John & Babs, Bob Schaeffer) that helped me expand my tastes enormously. Snapper Dave (wish I knew how he is), Ian "Polly" Palmer, 'Old Ian' who's style of dancing around a dancefloor captivated me and put what NS is all about - "heart" & not style, John Mitchell (Mcr) (anyone got an email addy for him pls?), Johnny Pearson and Kegsy, Joe Dunlop, Keith Williams, Pete & Viv who opened up their cramped caravan @ Cleethorpes for me one year, Roger & Bernie, Tony Banks ................ so many good, decent, kind, generous and honourable people (sorry if I forgot to include you). The DJ's that stuck their neck out, and who remained friendly and approachable! Everyone that gave me the space to dance - thank you all But the biggest character for me was Hemel - because he got me into NS.

I recall after the last Casino, Wigan Tiffs tried to take off to replace it. Felt so weird being in a club as opposed to a ballroom venue

Hilarious - well done. https://www.youtube.com/watch?v=-7YFOjmOeeQ The film was great, very nostalgic for me and in what was shown, think on this was only "a part" of all that went on.