Thursday, 31 March 2011
These days it might seem funny to think about young kids getting fanatical about Motown records, but in the late 1960's an entire underground subculture built around dancing to and listening to these northern soul records was erected. Kids would gather in ultra cool clubs like the Twisted Wheel in Manchester, the King Mojo in Sheffield, and the Catacombs in Wolverhampton. Northern soul lovers would gather in these venues for all night dance parties, similar to the dance music raves of today.
Determining the best northern soul records is always a subjective classification, but there are some lists that have been widely agreed upon by the lingering leaders of the movement. Near the top of any of these lists you're likely to find Do I Love You (Indeed I Do) by Frank Wilson, Out on the Floor by Dobie Gray, Long After Tonight is Over by Jimmy Radcliffe, Seven Day Lover by James Fountain, and Only the Strong Survive by Jerry Butler. Northern soul has a characteristically upbeat attitude, and the dance moves that went along with it were incredibly active and exciting.
The catchy, new, unique blend of R&B and Gospel quickly spread through the African American communities in Chicago, Philadelphia, Memphis, and Detroit. Memphis Soul music was most heavily influenced by gospel. The unique sound of Memphis Soul music was described as unpolished and raw. Up North, the sound had been more polished and smooth. Memphis was gritty and raspy.
Memphis Soul music gradually spread through Beale Street to Sun Studio, where both Black people and White people worked together to make and record the music. Just south of the Downtown Memphis area is where the deep hearted Memphis Soul music continued, giving the area the name Soulville, USA. It was in these small neighborhoods that Memphis Soul music was born and raised.
In the middle of Memphis Soul music was the label Stax Records. The local Soul talent focused its efforts on the little record company, and soon the label was producing just about every major artist in the local area. Although Stax Records began as a small company, it wasnt long before they were producing artists like Maurice White, Al Green, and Aretha Franklin.
Another studio that catered to the Memphis Soul music was Royal Studio. Royal Studio would become one of the most important studios in Memphis, and it supported artists like Bill Blacks Combo and Ann Peebles, and Al Green. Royal Studio, along with Hi Records added a depth to the number of local artists that went beyond any comparison in other cities in the country. Even today, Royal Studio still records the music of Memphis Soul artists and others.
1957 is considered the year that Memphis Soul music was born. In 2007, the city of Memphis held a celebration in homage to the 50th anniversary of Memphis Soul, hailing Soulville, USA for bringing the genre to the place in music history that can only be from Memphis.
Wednesday, 30 March 2011
Tuesday, 29 March 2011
Modern soul developed from the northern soul scene, when some DJs began looking in record shops of the United States and United Kingdom for something more complex and contemporary. What emerged was a richer sound that was as lyrically and melodically soulful as northern soul, but more advanced in terms of Hi-Fi and FM radio technology. Another benefit was that unlike northern soul, it offered a steady stream of new releases. Modern soul records are not necessarily modern at any one point in time; some current modern soul favourites are over 30 years old. The records are simply modern-sounding relative to the traditional northern soul sound.
A large proportion of modern soul's original audience members came from the northern soul scene, retaining their adoration of underground and rare, independent label soul music. One of the first modern soul clubs was Blackpool Mecca, which was fronted by the DJ Ian Levine. He broke from the northern soul mould by playing a new release by the Carstairs ("It Really Hurts Me Girl") in the early 1970s. Around the same period, Colin Curtis played The Anderson Brothers' "I Can See Him Loving You", and another key modern soul track emerged: Don Thomas' "Come on Train".
The main protagonists of the two soul genres had a falling-out and went their separate ways, with soul clubs generally siding either with modern or northern. Modern soul became a major force, drawing more people towards the music and its venues. Liverpool, the only major northern city of the West-East swathe of England, had remained largely immune from the northern soul scene in the 1960s and 1970s, preferring Motown and funk. The city showed itself to be a more fertile area for the modern soul sound.
Despite their initial differences, northern and modern soul remain inextricably linked genres. Some DJs, such as Richard Searling and "Soul Sam" (Martin Barnfather), have championed both the northern and modern soul scenes for several decades. Nowadays, most UK soul venues play music from both genres. A Greg Perry track, could immediately follow a track by The Vibrations, a mix that would not have happened in the 1970s. Some venues also have a main room for traditional northern soul favourites and a separate modern room for the newer sound.
Modern soul has yielded more crossover hits than northern soul, and many of modern soul artists have had lucrative careers, unlike the northern soul artists.
Monday, 28 March 2011
Sunday, 27 March 2011
Friday, 25 March 2011
The northern soul movement is cited by many as being a significant step towards the creation of contemporary club culture and of the superstar DJ culture of the 2000s. Two of the most notable DJs from the original northern soul era are Russ Winstanley and Ian Levine. As in contemporary club culture, northern soul DJs built up a following based on satisfying the crowd's desires for music that they could not hear anywhere else. The competitiveness between DJs to unearth 'in-demand' sounds led them to cover up the labels on their records, giving rise to the modern white label pressing. Many argue that northern soul was instrumental in creating a network of clubs, DJs, record collectors and dealers in the UK, and was the first music scene to provide the British charts with records that sold entirely on the strength of club play.
A technique employed by northern soul DJs in common with their later counterparts was the sequencing of records to create euphoric highs and lows for the crowd. Many of the DJ personalities and their followers involved in the original northern soul movement went on to become important figures in the house and dance music scenes. Notable among these are Mike Pickering, who introduced house music to The Haçienda in Manchester in the 1980s, the influential DJ Colin Curtis, Neil Rushton the A&R manager of the House music record label Kool Kat Music and the dance record producers Pete Waterman, Johnathan Woodliffe, Ian Dewhirst and Ian Levine.
Thursday, 24 March 2011
Wednesday, 23 March 2011
Early northern soul fashion included strong elements of the classic mod style, such as button-down Ben Sherman shirts, blazers with centre vents and unusual numbers of buttons, Trickers and brogue shoes and shrink-to-fit Levi's jeans. Some non-mod items, such as bowling shirts, were also popular. Later, northern soul dancers started to wear light and loose-fitting clothing for reasons of practicality. This included high-waisted, baggy Oxford trousers and sports vests. These were often covered with sew-on badges representing soul club memberships.
The clenched fist symbol that has become associated with the northern soul movement (frequently depicted on sew-on patches) emanates from the Black Power civil rights movement of the 1960s in the United States. The symbol is related to the salute given by African-American athletes at the 1968 Olympic games in Mexico City. On his visit to the Twisted Wheel in 1971, Dave Godin recalled that "...very many young fellows wore black "right on now" racing gloves ... between records one would hear the occasional cry of "Right on now!" or see a clenched gloved fist rise over the tops of the heads of the dancers!"
Tuesday, 22 March 2011
The northern soul scene also spawned many lesser chart hits, including Al Wilson's 1967 cut "The Snake" (UK #41 in 1975), Dobie Gray's "Out On The Floor" (UK #42, September 1975) and Little Anthony & The Imperials' "Better Use Your Head" (UK # 42 July 1976).
A variety of recordings were made later in the 1970s that were specifically aimed at the northern soul scene, which also went on to become UK top 40 hits. These included: The Exciters’ "Reaching For The Best" (UK #31, October 1975), L.J Johnson's "Your Magic Put A Spell On Me" (UK#27, February 1976), Tommy Hunt’s "Loving On The Losing Side" (UK #28, August 1976) and "Footsee" by Wigan’s Chosen Few (UK #9, January 1975).
"Goodbye Nothing To Say", by the white British group The Javells, was identified by Dave McAleer of Pye's Disco Demand label as having an authentic northern soul feel. McAleer gave a white label promotional copy to Russ Winstanley (a Wigan Casino DJ and promoter), and the tune became popular amongst the dancers at the venue. Disco Demand then released the song as a 45 RPM single, reaching UK #26 in November 1974. To promote the single on BBC's Top Of The Pops, the performer was accompanied by two Wigan Casino dancers.
In 2000, Wigan Casino DJ Kev Roberts compiled The Northern Soul Top 500, which was based on a survey of northern soul fans. The top ten songs were: "Do I Love You (Indeed I Do)" by Frank Wilson, "Out on the Floor" by Dobie Gray, "You Didn't Say a Word" by Yvonne Baker, "The Snake" by Al Wilson, "Long After Tonight is Over" by Jimmy Radcliffe, "Seven Day Lover" by James Fountain, "You Don't Love Me" by Epitome of Sound, "Looking for You" by Garnet Mimms, "If That's What You Wanted" by Frankie Beverly & the Butlers, and "Seven Days Too Long" by Chuck Wood.
As the scene increased in popularity, a network of UK record dealers emerged who were able to acquire further copies of the original vinyl and supply them to fans at prices commensurate with their rarity and desirability. Later on, a number of UK record labels were able to capitalise on the booming popularity of northern soul and negotiate licenses for certain popular records from the copyright holders and reissue them as new 45s or compilation LPs. Amongst these labels were Casino Classics, PYE Disco Demand, Inferno, Kent Modern and Goldmine.
The notoriety of DJs on the northern soul scene was enhanced by the possession of rare records, but exclusivity was not enough on its own, and the records had to conform to a certain musical style and gain acceptance on the dance floor. Frank Wilson's "Do I Love You (Indeed I Do)" has been rated the rarest and most valuable northern soul single
Monday, 21 March 2011
Other related music styles also gained acceptance in the northern soul scene. Slower, less-danceable soul records were often played, such as Barbara Mills' "Queen Of Fools" (popular in 1972 at the Golden Torch) and The Mob’s "I Dig Everything About You". Every all-nighter at Wigan Casino ended with the playing of three well-known northern soul songs with a particular going home theme. These came to be known as the "3 before 8" and were: "Time Will Pass You By" by Tobi Legend, "Long After Tonight Is Over" by Jimmy Radcliffe, and "I'm On My Way" by Dean Parrish. Commercial pop songs that matched the up-tempo beat of the stompers were also played at some venues, including The Ron Grainer Orchestra’s instrumental "Theme From Joe 90" at Wigan Casino and The Just Brothers’ surf-guitar song "Sliced Tomatoes" at Blackpool Mecca.
As the scene developed in the mid and late 1970s, the more contemporary and rhythmically sophisticated sounds of disco and Philly Soul became accepted at certain venues following its adoption at Blackpool Mecca. This style is typified musically by the O'Jays' "I Love Music" (UK #13, January 1976), which gained popularity prior to its commercial release at Blackpool Mecca in late 1975. The record that initially popularised this change is usually cited as The Carstair's "It Really Hurts Me Girl" (Red Coach), a record initially released late in 1973 on promotional copies - but quickly withdrawn due to lack of interest from American Radio stations. The hostility towards any contemporary music style from northern soul traditionalists at Wigan Casino led to the creation of the spin-off modern soul movement in the early 1980s.
Sunday, 20 March 2011
Saturday, 19 March 2011
Today there are regular northern soul events in various parts of the United Kingdom, such as The Nightshift Club all-nighters at the Bisley Pavilion in Surrey and the Prestatyn Weekender in North Wales. In an article entitled The Return Of Northern Soul in The Times in August 2008, broadcaster Terry Christian argued that northern soul was undergoing a distinct revival in the late 2000s. Christian cited the popularity of regular revivals of Twisted Wheel soul all-nighters at the original venue (in Whitworth Street, Manchester) plus the Beat Boutique northern soul all-nighters at the Ruby Lounge and MMUnion in Manchester. Many of those who ceased their involvement in the late 1970s have now returned to the scene and regularly participate in such events. As of 2009, Paul O'Grady has included a Northern Soul Triple in his weekly BBC Radio 2 show. He plays three northern soul hits, often at the request of his listeners.
Northern Soul has inspired a movie, Soulboy (2010), directed by Hawa Essuman and Shimmy Marcus, and at least one novel: Do I Love You? (2008) by Paul McDonald[
Although Wigan Casino is now the most well known, the best attended northern soul all-night venue at the beginning of the decade was the Golden Torch, where regular Friday night soul "all-nighters" began in late 1970. Chris Burton, the owner, stated that in 1972, the club had a membership of 12,500, and 62,000 separate customer visits. Despite its popularity, the club closed down due to licensing problems in March, 1972 and attention switched to soul nights at Blackpool Mecca's Highland Room, which had started hosting rare soul nights in late 1971.
Commemorative sew-on patch similar to those designed by Russ Winstanley and sold at the Wigan Casino.
Wigan Casino began its weekly soul all-nighters in September 1973. Wigan Casino had a much larger capacity than many competing venues and ran its events from 2am until 8am. There was a regular roster of DJs, including the promoter Russ Winstanley. By 1976, the club boasted a membership of 100,000 people, and in 1978, was voted the world's number one discotheque by the American magazine Billboard. This was during the heyday of the Studio 54 nightclub in New York City. By the late 1970s, the club had its own spin-off record label, Casino Classics.
By this time, Wigan Casino was coming under criticism from many soul fans. Contemporary black American soul was changing with the advent of funk, disco and jazz-funk, and the supply of recordings with the fast-paced northern soul sound began to dwindle rapidly. Wigan Casino DJs resorted to playing any kind of record that matched the correct tempo. Also, the club was subjected to heavy media coverage and began to attract many otherwise uninterested people whom the soul purists did not approve of.
Blackpool Mecca was popular throughout the 1970s, although the venue never hosted all-nighters. The regular Saturday night events began at 8pm and finished at 2am, and initially, some dancers would begin their evenings at Blackpool Mecca and then transfer to Wigan Casino. In 1974, the music policy at Blackpool Mecca sharply diverged from Wigan Casino's, with the regular DJs Ian Levine and Colin Curtis including newly released US soul in their sets. Whilst the tempo was similar to the earlier Motown Records-style recordings, this shift in emphasis heralded a slightly different style of northern soul dancing and dress styles at Blackpool Mecca and created a schism in the northern soul movement between Wigan Casino's traditionalists and Blackpool Mecca's wider approach, which accepted the more contemporary sounds of Philly soul, early disco and funk.
Friday, 18 March 2011
I had started to notice that northern football fans who were in London to follow their team were coming into the store to buy records, but they weren't interested in the latest developments in the black American chart. I devised the name as a shorthand sales term. It was just to say 'if you've got customers from the north, don't waste time playing them records currently in the U.S. black chart, just play them what they like - 'Northern Soul'.
The venue most commonly associated with the early development of the northern soul scene was the Twisted Wheel in Manchester. The club began in the early 1950s as a beatnik coffee bar called The Left Wing, but in early 1963, the run-down premises were leased by two Manchester businessmen (Ivor and Phil Abadi) and turned into a music venue. Initially the Twisted Wheel mainly hosted live music on the weekends and Disc Only nights during the week. Starting in September 1963, the Abadi brothers promoted all-night parties at the venue on Saturday nights, with a mixture of live and recorded music. DJ Roger Eagle, a collector of imported American soul, jazz and rhythm and blues, was booked around this time, and the club's reputation as a place to hear and dance to the latest American R&B music began to grow.
Throughout the mid-1960s, the Twisted Wheel became the focus of Manchester’s emerging mod scene, with a music policy that reflected Eagle’s eclectic tastes in soul and jazz, and featuring live performances by British beat musicians and American R&B stars. Gradually, the music policy became less eclectic and shifted heavily towards fast-paced soul, in response to the demands of the growing crowds of amphetamine-fuelled dancers who flocked to the all-nighters. Dismayed at the change in music policy and the frequent drug raids by the police, Eagle quit the club in early 1967.
Commemorative sew-on patch similar to those worn by Twisted Wheel members.
By then, the reputation of the Twisted Wheel and the type of music being played there had grown nationwide. By 1969, soul fans were traveling from all over the United Kingdom to attend the Saturday all-nighters. The venue’s owners had been able to fill the vacancy left by Eagle with a growing roster of specialist soul DJs. After attending one of the venue's all-nighters in January 1971, Godin wrote: "...it is without doubt the highest and finest I have seen outside of the USA... never thought I'd live to see the day where people could so relate the rhythmic content of Soul music to bodily movement to such a skilled degree!
The Twisted Wheel gained a reputation as a drug haven, and under pressure from the police and other authorities, the club closed in January 1971. However, by the late 1960s, the popularity of the music and lifestyle associated with the club had spread further across the north and midlands of England, and a number of new venues had begun to host soul all-nighters. These included the King Mojo in Sheffield, The Catacombs in Wolverhampton, Room at the Top in Wigan and Va Va's in Bolton
Northern soul is also associated with particular dance styles and fashions that grew out of the underground rhythm & soul scene of the late 1960s, at venues such as the Twisted Wheel in Manchester. This scene (and the associated dances and fashions) quickly spread to other UK dancehalls and nightclubs like the Catacombs (Wolverhampton), the Highland Rooms at Blackpool Mecca, Golden Torch (Stoke-on-Trent), and Wigan Casino. As the favoured beat became more uptempo and frantic, by the early 1970s, northern soul dancing became more athletic, somewhat resembling the later dance styles of disco and break dancing. Featuring spins, flips, karate kicks and backdrops, club dancing styles were often inspired by the stage performances of touring American soul acts such as Little Anthony & The Imperials and Jackie Wilson.
During the Northern soul scene's initial years in the late 1960s and early 1970s, popular Northern Soul records were usually not recent releases, and generally dated from the mid-1960s. This meant that the movement was sustained (and "new" recordings added to playlists) by prominent DJs discovering rare and previously overlooked records. Later on, certain clubs and DJs began to move away from the 1960s Motown sound and began to play newer releases with a more contemporary sound.
Wednesday, 16 March 2011
Northern soul T shirts are a budding trend among people of all age group nowadays. Northern soul means the music and dance form that was quite popular in northern England in 1960's and T shirts which have designs of Northern soul are known as Northern soul T shirts. Its market is increasing day by day and its demand is also increasing accordingly. It comes in various colors, designs, shapes and sizes. If you are fashion conscious, then your wardrobe will not be complete without some cool, funky Northern soul T shirts. It's currently a growing trend and having a cool pair of T shirts makes you look cooler among your group of friends. It comes at reasonable price and makes you look cool and stylish among your peers.
Northern soul T shirts are not only popular among teenagers but also it is well-liked by age groups of people. For kids as well as adults, these T shirts are available in variety of designs. Because of bright colors, kids get attracted to it, and it is popular among other age groups because of its unique quotes and captions. It comes it various colors and designs which makes it more attractive. Various styles of unisex Northern soul T shirts are also available. For women also it comes in various sizes and designs and it is quite popular among them also. Northern soul T shirts are more than just piece of clothing for youngsters; it is more of a way of self expression for them. Every T shirt tells something and it is the metaphor of their inner voice. These T Shirts have become good instruments for spreading various messages, causes and beliefs.
Northern soul t shirts are gaining popularity among all age groups as it is considered as the ‘in' thing nowadays. Earlier, T shirts were considered just as mere essentials but now it is being considered as a very cool and trendy wear, which makes you fashionable and stylish. It became a medium to make a statement. Nowadays, people have much more options. Northern soul T shirts have helped a lot in raising the popularity of T shirts among people. Customers today have varied choices and he can choose the best according to his budget and requirements. These T shirts contain attractive graphics and quotes which makes it more appealing. One more reasons that these T shirts are gaining popularity are that it is very easy to maintain unlike other clothing items. It comes in various fabrics; cotton being the most common of them as it is comfortable to wear and is breathable.
The designs and style of these T shirts are also made according to the current fashion, and Northern soul T shirts mould itself according to the trend of fashion in the industry. Owning some of these T shirts adds a lot to your personality and gives an edge above others. So go and get couple of those Northern soul T shirts for yourself.
Fashion statement of the first Northern Soul fashion are known to have button-down Ben Sherman shirts, baggy trousers or shrink to fit Levis, US bowling shirts, Poly-velt shoes, Blazers with centre vents and many buttons. This fashion statement creates fusion and wide acceptance among Northern Soul fanatic. It is also worthy to take note that during this period numerous dancers are seen wearing club badges.
The Northern Soul sound started in the Twisted Wheel Club located in Manchester. Then other clubs like Blackpool Mecca, Golden Torch in Stoke, North Park in Kettering, The Catacombs in Wolverhampton, the Winter Gardens in Cleethorpes, the Casino Club in Wigan, Blackpool Mecca, The Mojo and KGB clubs in Sheffield and Va Va's follow the groove and enjoy the pleasure of the Northern Soul.
The Northern Soul creates the most expensive collection in the world of musical. This resulted to high price of records because of its scarcity, quality of beat, impressive melody and lyrics. Supporter are drown over the lyric of Northern Soul that covers the expression of heartache, pain and joy of the romantic story of love.
The love of the people of Northern Soul sound brings popularity among the artist. The fever of Northern Soul become so imminent that fame of the artist are truly notable and give breaks to great career in the industry. Among them are the Fascinations and the Velvelettes that grace the 70's on top 40 UK
Monday, 14 March 2011
Saturday, 12 March 2011
Friday, 11 March 2011
If you've ever wondered what 70's soul music was really all about, you have to take a little lesson in African-American history. As descendents of those Africans that had been brought to America as slaves and servants, the African musicians must deal with an ongoing internal struggle that often plays itself out in their music. Proud of being American, yet indignant at the way their people were treated for far too long in that country, black artists find a need to deal with their emotions in song; this is precisely why their music has so much "soul."
Defined as a genre that combines elements of the boisterous gospel sound and the emotional vibe of rhythm and blues, there can be no doubt that 70's soul music was and is the sound of the African-American experience. Soul music musicians were known for their flamboyant style of dress, their spirited handclapping during songs, and their funky dance moves. Although it had gospel roots, the genre became completely secularized, despite the fact that it still mimicked the "call and response" aspect of traditional African-American choir music.
It's common for most radio stations to play 70's soul music as "oldies" or "classics" but it's important to realize that this music was very different from a lot of the hair bands and rock that were coming out over the radio waves at the time. If you look for lists of popular soul music artists are records online, you're likely to find them mixed in with other genres of music. This is an example of the blended background that influenced soul music and encouraged people of all nationalities and races to become engaged with its underlying message: survival and celebration about life, and love and the ongoing struggle.
Thursday, 10 March 2011
Like so much of the musical terminology and language that was developing during this era, the name ‘northern soul' is said to have been coined in a record shop. Dave Godin, a journalist who had a weekly column in the Blues and Soul magazine, is credited with the creating the term in the late 1960's, as a way to help his clerks know which type of music to play for customers coming from the north of England. These customers weren't interested in the modern funkier sounds playing on American radio. Instead, they were looking for the smoother, Motown-influenced soul that had been popular on the charts a handful of years prior..
Interestingly, the sounds that are now associated with northern soul in retrospect were actually the sounds of failure for most budding American artists. Those who were late in trying to jump on the Motown bandwagon found that American audiences were tired of the sultry, soulful music that had been popular just years before. As American listeners moved onto the more upbeat music that would eventually transform into the funk and pop of today, the Northern England bunch were holding on to the sweet sounds of original Motown. Artists that failed in the U.S. were quietly hailed as new talent in the U.K..
For the longest time, northern soul was kept alive because there were plenty of these "one hit wonders" for DJs and clubs to discover over and over again. Even though the music was dated, it was new on the scene, and people couldn't get enough of it. However, slowly the reserves of soul music were starting to run dry, as young artist became interested in other genres. The beginning of the 1980s almost saw the end of this movement, but thanks to the revival of the 1970s mod style, the advent of the scooterboy subculture and the popularity of the Acid jazz movement, more fans were born.
The birthplace of Soul Music, to be quite honest is unknown. What is known? The United States inner cities, including Chicago, Detroit, Florence, Memphis, and New York, all created and produced their own soul music styles based on their demographics at the same time, thus making a “beautiful mixture“ of sound variety across the states for us all to enjoy.
In the 1970s, Hip Hop was born, which had a huge influence on the Soul Music that followed. New Jack Swing (aka Swing Beat), which combined Soul, Hip Hop, Gospel and Jazz, was absolutely rocking.
Disco and Funk Music also came to fruition in the 1970s, and started to decline in the early 1980s. Undoubtedly, Soul Music was now being influenced by Electro Music and Funk - it became known as Contemporary R&B which was, and still is, great!.
House and Techno rose to mainstream popularity in the late 1980s and remained popular in the 1990s and 2000s. Also starting in the 1980s, Soul Music from the United Kingdom became very popular - cheers mate!.
The development of Neo-Soul started around 1994. This was due to mainstream record label marketing support for soul genres diminishing in the 2000s, as the industry re-focused on Hip Hop - somewhat of a master stroke by the powers that be.
The many genres of Soul Music and R&B have reached a point, well before now of course, where they are now sub-divided into subgenres. To be side tracked, even though I have not mentioned it above, true Soul Music connoisseurs know that Rock and Roll was, literally, born from Soul Music and Rhythm and Blues….another day, another article.
Tuesday, 8 March 2011
Monday, 7 March 2011
In case you're unfamiliar with the rare northern soul music or movement, you should know that it was centred on some of the most talented, albeit unknown Motown artists of the 1960s. When many people hear the word "Motown" the automatically assume that this movement took place in Detroit, or some other famous American city, but this assumption is incorrect. In fact, the northern soul genre was named and developed in England around the time that the mod scene was coming to an end.
Those that were in love with the early Motown sound, an upbeat rhythm and light-hearted feel, resisted the transition to funk and rock that came later on in the Sixties. They began pestering record store owners with requests for more of the original stuff, the rarer the better. As a result, record store owners in the U.K. started referring to this type of music as "rare northern soul," in honour of the customers from the north of England who were most often requesting it. What began as a flippant way to categorize the type of music these customers were likely to buy became the label for a musical movement that spanned multiple decades, and still continues today.
When it came to finding the best rare northern soul, record store owners and disc jockeys really had a difficult job ahead. Instead of merely being able to browse the American charts for the most popular songs and records, they had to look back into the archives for artists and records that had been forgotten or never played. Northern soul enthusiasts to this day still love to find a record that no one else has, or that hasn't been played in many years. There are plenty of collections that regularly sell for high amounts on auction web sites.
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Cast: Martin Compston, Felicity Jones, Alfie Allen
Maturation of a teenager in the 70 years of the twentieth century was influenced by his passion for soul music and underground scene. Of course, at the right moment occurs and a girl, to be stolen by another.
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For the longest time, northern soul was kept alive mainly because there were a good deal of these kind of "one hit wonders" for Djs along with clubs to locate repeatedly. While the music was dated, it was fresh and unheard of in the United Kingdom, and folks could not hear enough of it. Having said that, little by little the reserves of soul music sounds were starting to diminish, as musical artists grew to be interested in various other styles. The start of the nineteen eighties almost saw the end of Northern Soul, but as a consequence of the revival of the nineteen seventies mod style, the arrival of the scooterboy subculture along with the popularity associated with the Acid jazz movement, a lot more enthusiasts were created.
Friday, 4 March 2011
Thursday, 3 March 2011
When the British mod scene was nearing its end in the 1960s, young music lovers were looking for a new sound to call their own. Many were in love with the early artists that had come out of the American Motown scene, with their upbeat rhythms and light-hearted attitudes. The music was easy to love and even easier to dance to. But when American Motown began moving toward the funk and soul of the 1970s, many of the artists emerging with the original style later on the scene were quickly brushed aside. Not so in England, however, where a small contingency of Motown aficionados were requesting more rare northern soul than ever before.
The reason the term "rare northern soul" is so often used to refer to this style of music is because even from the time that it began growing in popularity, it was a dying genre. With the American Motown scene moving further and further away from the sounds that kids in Northern England loved to hear, they set out on a mission to find rare and even unreleased artists that had the music they were looking for.
Slowly by surely, record store owners started to notice that there was an entire group of music lovers that were more interested in the rare northern soul than the more popular music coming up the charts. To respond to this demand, they started looking for the most obscure artists, one-hit-wonders, and records to ever come out of the soul music movement. That's why the hunt for northern soul records is almost as exciting as dancing to the music: because there are only a finite amount of artists that fit into this category. If you're looking to start your collection, there are plenty of websites completely dedicated to this type of music.
This kind of rare soul music is special because it had become atypical of the sound which had been leading the charts in the United States around the exact same time.Given birth to soon after the mod scene had seen its best times, yet prior to when punk music would certainly animate the entire English musical landscape with its raw sound as well as ragged styles, northern soul music really enjoyed an incomparable mixture of style, music, and dancing.
Because northern soul was much more upbeat compared with many of the songs that had been making head lines in the United States at the time, the dance style which supported it was considerably more energised and lively than you might imagine.London record shop operator David Godin is credited with coining the word northern soul as a way to aid his sales people sell the type of music the customers were looking for.
Troops of kids were getting into London looking for the quick tempo songs that were popular years before, and rather than spend time trying to sell all of them on the current popular black American music, Godin told them to promote that "northern soul" in its place.Although some people thought it would die in the early 1980s the most popular songs and artists of this genre have remained within the hearts and minds of those that listened to them. If you appreciate this type of music and youre curious about mastering some rare northern soul dance moves, it's actually super easy to get started.
To start with, select a song which has a constant 4/4 beat, like Edwin Starr's "Double-O-Soul," or Major Lance's "Monkey Time." Tune in to the rhythmn for the first couple of bars, and then you're all set to proceed. For those who do not know any moves, then you'll definitely find a lot of information on the internet, regardless of whether it be online video clips to watch or Dvd disks to obtain.
The term northern soul however is said to have originated in a small Covent Garden shop in London called Soul City, which was owned and run by Dave Godin a journalist who wrote a Blues & Soul magazine column. It was evidently a sales term used by those serving visiting football fans from the north, to indicate that visitors from the north were looking for the type of music played in the northern clubs, not the sounds of Detroit or Chicago..
The initial years of the northern soul scene between late 60s and early 70s was founded on the Motown sounds of the mid 60s. DJs would search for and acquire rare recordings that could be added to their playlist. As time moved on DJs began to play more contemporary music, and started to drift away from Motown..
It is those rare recordings, which still drive a passion amongst aficionados of the rare northern soul genre today, with some recordings selling for thousands of pounds. Often recordings were produced in limited quantities by the smaller independent labels throughout the USA. Labels such Golden World from Detroit, Shout from New York and Okeh from Chicago..
DJ's on the northern soul scene became well known for their possession of rare recordings, and if accepted on the dance floor would draw hundreds to the venues they played at. It's said that a Frank Wilson song called, Do I Love You, is the most valuable northern soul single around due to its rarity. .
Just do a search online and you'll get an impression of the different artists and labels that made up and influence northern soul back in the days. You'll discover little gems like ‘I just want to fall in love' by the Spinners on the Atlantic Demo label which was a real 70s dance floor anthem. Dig deeper and you'll find hundreds of 45's that average around £350. Ever heard of the Fast Eddie label and Pat & Blenders, or Soul-Fay on Audio Forty..
If you love that sweet soulful Motown sound, or you prefer the sounds born of the Twisted Wheel Club, just search online for Northern Soul, and a wealth of new musical experience awaits you..