David Meikle

Arrangement, Production, Songwriter(s), Label detail please for this wonderful song. It has gone right under my radar!

The internet was a double edged sword. It blew a lot of Soul fans out of the water but today we can hear them all free of charge. Fifty years ago I could never have predicted any of that.

What a great link Blackpoolsoul. In particular, Craig Jamieson’s Soul City interview with David Nathan and the section on Dave Kapralik.

Para 3 of image uploaded by The Yank. Enormous talent. No wonder our scene loves the Detroit sound.

One of my first introductions to the future world of Northern Soul. Beam me back to the Compass Club in Torquay in July 1969 where this B Side was incredibly popular. Well done Martha Reeves but lets not forget the wonderful Vandellas.

“They’ll Never Know Why” just sold on Manship for £1700+

Detroit fans will enjoy this Robb. Hope you can give us some more in your own time.

I had no idea that he had songs under other names esp “make up your mind”. thanks

That’s the same denim outfit he had on when I saw him. Twenty five years ago geez.

Thanks Robb Money changing hands in the making of a recording has always intrigued me. Can you breakdown for me who gets paid - from lyrics being written down, to a record going on sale in the shops. Probably a big story but I’d love to know. For example what happens after someone scribbles down a few lyrics in a bar/pub one night. No money has been incurred in the making of a record at this point. What is next in the process and who gets paid? I’ve never quite understood why, for example, some “weak” lyrics like in case of the Beatles “She Loves You” can make the lyric writer lots of money over many (70?) years. And why would Mike Terry (for example) require a producer when he has all the skills to write charts, add the “sweeteners” etc. Bobby Eli told me once that (he thought) the arranger was the most important person on a recording. Yet he gets a fraction of the income that (in the above example) the “crass” lyric writer got. Hope you can help. David

Wish I could be there. Hope he gets a good turn out. He deserves it.

I went along to see Dan in a bar in Glasgow a long time ago. He autographed the only 45 I had by him which I got in a John Anderson soul pack. Anyway i had become acquainted with him through his writing contribution on the all time classic “Dark End Of The Street”. Some years later I played my Soul City copy of “The Beat” by Major Lance and discovered it was cowritten by Dan Penn. If only I had known that at the time i could have talked to him about it instead of John Anderson’s former copy of “Love Is Strange”!

A simple song with a brilliant punch line. That’s the power of a great Northern Soul song. Another treasure gone but his memory will live forever in the eternal Northern Soul Scene. RIP Freddie

Thanks anyway Chalky.

Another very minor lead. Jack Ashford gave me a “like” on Facebook last week for an advert featuring Willie Mitchell’s “On Top” album. As Jack worked with Mike perhaps he could help. Who knows Jack on here? LOL.

It verifies that the demo was made in DH studios but where is the master tape that gave us the 45? Ady will be able to tell us if both sound identical. Plus, what was DH studios on Hamilton like for sound recognition? The sound on DH cd’s is excellent IMO. Finally, why is Chattlee Productions printed on “I Can’t Hide It” if the final recording was done at Dave’s place? Sorry, I’m out my depth on this subject, but find this intriguing.

Mike gave me a list of records he played on. That one is not on the list. Dave Moore got it from Mike himself. Robb K has his doubts. However, the little experience I have in interviewing people showed me that they cannot remember everything that happened in 50-60 years ago.

I got to know Dave really well as we shared a deep appreciation of Detroit and it’s music. So sorry to hear of his passing. RIP Dave.

I am in hospital at the moment but will get around to commenting on as many as possible in due course. My mate Derek was up last week and thoroughly enjoyed the Fred Bridges one as I did. Ah big Chuck. Remember him well!

Graham I guess you gave up on the book? IMO your uploads pack more punch anyway and it’s wonderful to hear those voices again. Debbie’s doing a great job too. Five star and essential. Well done to you both. Regards David

And the magic doesn’t end there.

1969, I remember it like it was yesterday. I was discovering Motown but I didn’t realise the pain Black America was going through. Fifty Four years later……

Thanks Craig. Thought this was lost on the WWW. David

My recollections are getting weaker by the minute.The date could be 21st Feb or 21st March. If any one knows……

Eddie I had become obsessed with Edwin and made the trip from Glasgow on my own to see him live. Worked in the railway then so travel was free. If you have read Keith Rylatt's book you will have read about three pages that I put together for him about my visits to the Wheel. I knew from my first visit how special it was. The dancing in particular was unforgettable. Seeing the guy with a suitcase full of records. Hearing and seeing Edwin’s Ric-Tic classics for the time first. I was in heaven but on my own. My mates came down several months later. Up on stage with Edwin on my second visit in February that year singing the chorus to “Time” which had just been released. Wow! Visiting Ralph’s records near Victoria Station beforehand. Rowntrees Sound in the basement. The Odeon and the Free Trade Hall for live shows eg Soul Together and Booker T. As I said, I knew it was special from the outset and remember it all like it was yesterday. PS. I even recall the colour of the shirt Mike Curtis was wearing! Pink checks. Mad! Thanks David