Torch56

"Where the sounds begin" was a great slogan and was used in the adverts that appeared in Blues and Soul in the spring of 1972. These adverts also highlighted individual records that punters could expect to hear, such as Mamie Galore and The Sounds of Lane. These adverts gave the club a national profile since the Express and Star ones were distinctly only provincial in exposure. How effective they were, I'm not sure. Word of mouth was more effective in spreading the word in the early 70s.

Express and Star, Thursday, November 16, 1972.

That Ric-tic sound was unique and in 1971 moved my interest and appreciation of soul music onto a different level. 'Please let me in' is rightly regarded as a classic, but some of the instrumentals are also worthy of similar levels of appreciation. I recall a Dave Godin article from the era where he commented on a Wheel attendee sporting a Ric-tic records tattoo to literally illustrate his appreciation of the sound synonymous with the label. By 1973 the scene had largely moved on as more obscure sounds from around the mid-sixties competed for our attention, but the classic red label with he black type-face still retained its place in my affection.

David Bowie appeared there, August, 1969.

The Ric-tic instrumentals would be an obvious choice. Shades Down or Let's Have A Love-In, maybe. Impact's Crying Over You and Nothing But Love are another two that would hold my attention.

1972.

Michael Corrigan Author Top contributor Express and Star, Saturday, 4/5/72. This was the last night before the club closed for refurbishment. It reopened in September having had something of a facelift. The dance floor was re-laid and extended and the old stage was replaced with something much less defined. The clock with no hands that graced the wall at the back of the stage was deemed surplus to requirements and did not survive the re-fit.

With regard to Who's Who. The lad with the black glove is Paul Morgan, more commonly known as Aggie. Originally from Bilston, he is still living in the Wolverhampton area. A regular Catacombs attendee, 72-73. I last saw him at Swoz's funeral last year. Robbie Lang from Chester is at the front pointing towards... Ray Webster from Wolverhampton, sadly no longer with us, a regular at the club in that period. The very tall lad at the back is John Williams who was introduced to me as Little Willie at the time. Originally from Much Wenlock, he was living in Kidderminster at this time. Later moved to Manchester, then London where he worked in the City, I understand. Immediately to Ray's right in the navy blue shirt was Bob Hall from Ashmore Park, I think. Worked his way up from the shop floor at Goodyears to a significant position in the company which necessitated him relocating around the globe. Unfortunately, Bob, who was also referred to as Ted for some reason, had a long standing medical heart problem and eventually succumbed to this sometime in the 2000s. Next to Bob, with the Charles The Second hairstyle is Mark, also from Ashmore Park. Can't remember his surname, I last saw him in the early eighties. Sitting on the window sill in the brown suede jacket is Nigel Wakeman from Codsall. Shared my enthusiasm for Jean Carter's Like One back in '73, but I haven't seen him since. The photograph itself was taken in the main corridor looking back towards the entrance and bar area. The dance floor was at the other end of this corridor.

I can identify all but three from the main group. Just to be clear, Robbie, you are the lad in the blue top pointing towards your left? Any idea of the identity of the two lads, partially obscured, immediately behind you?

Thanks for this. I came across them in early 2000s and was struck by their everyday lighthearted tone whilst still being the product of knowledge and relatable experience. I recall him commenting on the ironies of ageing by comparing his present day social calendar with that of twenty years earlier: parents' evenings rather than all nighters. A book about northern soul is a bit like a dog that can play poker. It hasn't got to be any good, it's just got to exist, was another observation, applicable in the 90s, if not now. Sadly, I understand Dave passed away some time ago. RIP.

It was a big sound in the summer of 1973. Pep was the first DJ I remember playing it at the Catacombs on a white UK CBS demo. A stand out sound in a stand out era.

One of the best, and certainly one of the most entertaining, was the late Dave McCadden's Soul Galore from the mid 90s. Here's his commentary on Lynne Randell's classic. The price estimates are hopelessly out of date but his analysis of records' impact on the scene was always worth reading.

There's a really interesting tweet from Paul Mason about Somebody Somewhere being played in Ms in the 70s that's worth seeking out. I remember Dust My Broom from Up The Junction in 1972 but I'm pretty sure it was getting plays before then. Commercially of course her career really took off later on. One of the few artists who made it really big with the mainstream audience after contributing to the fledgling northern scene. RIP.

This copy was purchased in Wolverhampton's Woolworths in 1972. It was around a pound as I recall. 'Rumour' was one of the most popular sounds at the Catacombs in the autumn of that year. When you think that Eddie Parker, and other sounds of that ilk, were packing the dance floor in that period, that's some accolade. I associate it chiefly with Alan Day but all DJs featured it regularly. Why When Love Has Gone was a Twisted Wheel play, I understand. Share A Little Love With Me is a version of the Monitors track that got plays at the Catacombs, circa 1973. I endorse the comments about Trouble (track 5, side 1) Never heard it at a venue but it's certainly not without merit.

Another one played at around the same time. Again, I seem to remember it being a Max play.

Max played this for a period at the Catacombs, 72-3.

Tell Me It's Just A Rumour. Big at the Torch but massive at the Catacombs. Readily available at Woolworth's in late '72 for around a pound. Slightly different version to the Tamla Motown single that was released the following year.