Saturday 30 April 2011
Back To Basics Soul Club
I enjoyed Back To Basics Soul Club at Rotherham last night. I must admit I prefer across the board to northern all night but my husband Stuart was guest dj and managed to slip a few of my favourites in. We The People my favourite all time record went down very well, with a few people asking about it and wanting to hear it again next time out. I saw a few people who I haven't seen for a while also which is always nice.
Friday 29 April 2011
Isaac Hayes: Soul Man
Isaac Hayes was an American actor and musician known for his contributions to soul and funk music and his personal style. Hayes died in August 2008 of apparent stroke.
Hayes grew up poor in Tennessee; he was raised by his grandparents after the deaths of his parents. As a child Hayes began singing in his community church and taught himself to play the piano, organ, flute and saxophone; later he dropped out of high school to earn money picking cotton.
In the early 1960s Hayes landed a job as a session player for various artists on the Memphis-based Stax Records record label. During this time Stax Records became successful with artists like Otis Redding and Dusty Springfield. Hayes, David Porter and the Stax Records studio band Booker T. & the MGs served as the main production team for many of these artists.
Hayes' early success as a musician is due in large part to his work at Stax Records. Along with songwriting partner David Porter, Hayes wrote the now classic R&B hits "You Don't Know Like I Know," "Soul Man," "When Something is Wrong with My Baby" and "Hold On I'm Comin'" for the R&B duo Sam & Dave. Read more about Hayes' music contributions in music magazines.
In 1968 Hayes released his debut album, which was unsuccessfully commercially. A year later, while Stax Records lost its entire catalog to Atlantic Records, he released "Hot Buttered Soul" on the Stax label, which is now recognized as a milestone in soul music. The album broke out of the traditional album standard of 10 three-minute songs and instead contained four songs clocking in at five to 18 minutes long. The album boosted Hayes to Stax No. 1 artist. Next he released "Black Moses," also a successful album. For more on Hayes' musical accomplishments, read music magazines like Entertainment Weekly, Rolling Stone and Spin magazine.
In 1971 Hayes composed music for the soundtrack of "Shaft," a blaxploitation film. He also appeared in a cameo role in the film. The movie's theme-song became a worldwide hit single and spent two weeks on the Billboard Magazine Hot 100 charts at No. 1. Hayes won an Academy Award for "Best Original Song," for the theme song. Hayes was the first African-American to win a non-acting Oscar; he also won two Grammy awards. For more on Hayes' film career read African-American magazines like Vibe, Essence and Jet magazine.
After the success Hayes and Stax Records found themselves in deep debt. In 1975 Hayes released "Chocolate Chip," in which he embraced the disco sound and found success with the single "I Can't Turn Around." Hayes garnered praise from critics but his albums sell took a nose dive in the late 1970s and in 1976 he filed for bankruptcy.
In the 1980s and 1990s Hayes appeared in several movies including "I'm Gonna Git You Sucka" and television shows like "The A-Team" and "Miami Vice." He kept a low profile until 1995 Hayes launched a comeback with the release of "Branded," that sold modestly and garnered positive reviews. At this time Hayes joined the Scientology religion and Hayes participated in many Scientology events.
In 1997 Hayes garnered new fans and attention by providing the voice for the character "Chef" on the popular yet controversial Comedy Central animated series "South Park." Gained a lot of popularity; left the show when show criticized Scientology. Hayes was inducted into the Rock N' Roll Hall of Fame in 2002.
In 2006 Hayes confirmed he suffered a stroke; in 2008 Hayes was found unconscious in his home near Memphis and he died at Baptist Memorial Hospital where authorities listed cause of death as a stroke. Hayes left behind 12 children, 14 grandchildren and his fourth wife.
Magazines like People, Essence, Time and Newsweek all profiled Hayes at the time of his death and ran tributes and appreciations.
Thursday 28 April 2011
Wednesday 27 April 2011
The Northern Soul Music From England
Northern Soul originated in 1960's from northern England. They are the fanciest music and dance styles during that period. The Northern Soul got its name from the creative mind of a journalist named Dave Godin in one of his column in the magazine called Blues and Soul. The big part of Northern Souls original supporter arises from the mod movement. It is created out of their deep passion and appreciation of soul music. Time made quite a few changes when several mods accept the psychedelic movement. This resulted to numerous mods to love and patronize the original soundtrack of soul and ska. However some were later known and called skinheads and some develop their own hub of the Northern Soul picture.
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
Marry Jazz is a successful author of www.ipods-and-mp3-players-guide.com
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
Marry Jazz is a successful author of www.ipods-and-mp3-players-guide.com
Saturday 23 April 2011
Friday 22 April 2011
Funk, Soul And Rhythm And Blues
In 1970, a new strand of Rhythm and Blues (R&B) was hitting the airwaves, funk music. Rhythm and Blues artists like Little Richard, James Brown, Parliament Funkadelic, and the Meters helped to pave the way to R&B Funk topping record charts and filling nightclubs with a funky new beat.
Psychedelic soul hit the music industry in the late 60's giving the R&Bs a blend of rock and soul with that had an upbeat tempo that one could move their feet to on the dance floor. It was the crack that led to the opening to funk and disco a few years later.
Funk music could be classified as a mixture of soul music with a dash of jazz, and R&B, with a strong rhythmic groove built from the electric bass, drums, and the electric guitar. They often have a strong horn section as well where the sax added the soul and the trumpets and trombone accented the rhythmic beats.
When taking a trip down funk music memory lane you can't help think back to the 70's artists such as Rufus feat, Chaka Khan, Earth, Wind & Fire, Eric Burdon & War, Tower of Power, Average White Band, The Commodores, and Kool & the Gang. The thing with funk music back in the 70's and still today is that no one band or artists was bound to just that one style of music. These same artist and many more also played other genres of music such as disco and rare soul music. Funk just opened the doors to new venues as well as new genres of music such as disco beats, hip hop, and go-go and punk music.
By the early 80's funk took on a bit more of a spin and became more sultry and sexual in content with the help of artists such as Prince. After all, the initial oncoming of funk was based off the idea of getting your groove on or sexual intercourse to be more direct. A song would start with a slow rhythmic groove working up to a harder, pounding, and more insistent and demanding rhythm.
The 80's also brought musical instrument changes to the traditional funk sounds with the exchange from live horn sections to synth keyboards, organs and pianos were replaced with electronic machines and synthesizers as well. Even the drums were replaced by electronics taking a good part of the show out of funk today.
The late 80's and early 90's brought funk into yet another light as rock bands started incorporating funk sounds to their venue calling it funk rock or funk metal. However through all the changes of Funk R&B influences that earlier performs such as James Brown, Sly and the Family Stone, George Clinton and Parliament-Funkadelic, Curtis Mayfield, The Meters, The Funk Brothers, and Bootsy Collins still remain.
Psychedelic soul hit the music industry in the late 60's giving the R&Bs a blend of rock and soul with that had an upbeat tempo that one could move their feet to on the dance floor. It was the crack that led to the opening to funk and disco a few years later.
Funk music could be classified as a mixture of soul music with a dash of jazz, and R&B, with a strong rhythmic groove built from the electric bass, drums, and the electric guitar. They often have a strong horn section as well where the sax added the soul and the trumpets and trombone accented the rhythmic beats.
When taking a trip down funk music memory lane you can't help think back to the 70's artists such as Rufus feat, Chaka Khan, Earth, Wind & Fire, Eric Burdon & War, Tower of Power, Average White Band, The Commodores, and Kool & the Gang. The thing with funk music back in the 70's and still today is that no one band or artists was bound to just that one style of music. These same artist and many more also played other genres of music such as disco and rare soul music. Funk just opened the doors to new venues as well as new genres of music such as disco beats, hip hop, and go-go and punk music.
By the early 80's funk took on a bit more of a spin and became more sultry and sexual in content with the help of artists such as Prince. After all, the initial oncoming of funk was based off the idea of getting your groove on or sexual intercourse to be more direct. A song would start with a slow rhythmic groove working up to a harder, pounding, and more insistent and demanding rhythm.
The 80's also brought musical instrument changes to the traditional funk sounds with the exchange from live horn sections to synth keyboards, organs and pianos were replaced with electronic machines and synthesizers as well. Even the drums were replaced by electronics taking a good part of the show out of funk today.
The late 80's and early 90's brought funk into yet another light as rock bands started incorporating funk sounds to their venue calling it funk rock or funk metal. However through all the changes of Funk R&B influences that earlier performs such as James Brown, Sly and the Family Stone, George Clinton and Parliament-Funkadelic, Curtis Mayfield, The Meters, The Funk Brothers, and Bootsy Collins still remain.
Wednesday 20 April 2011
Tuesday 19 April 2011
Secondary R&B labels
- Check-Mate Records: Short-lived (1961–1962) R&B/soul subsidiary, purchased from Chess Records. Notable artists included David Ruffin and The Del-Phis (later Martha and the Vandellas).
- Miracle Records: Short-lived (1961) R&B/soul subsidiary that lasted less than a year. Some pressings featured the infamous tagline, "If it's a hit, it's a Miracle." Shut down and reorganized as Gordy Records in 1962. Notable releases included early recordings by Jimmy Ruffin and The Temptations).
- MoWest Records: MoWest was a short-lived (1971–1973) subsidiary for R&B/soul artists based on the West Coast. Shut down when the main Motown office moved to Los Angeles. Notable artists included G. C. Cameron, Syreeta Wright, The Four Seasons, Commodores (their first two singles in 1972 and 1973), and Los Angeles DJ Tom Clay.
- Motown Yesteryear: a label created in late 1970s and used through the 1980s for the reissues of 7-inch singles from all eras of the company's history, after printing in the initial label has ceased.[8] One Motown Yesteryear single made Billboard's Top 40 - The Contours' "Do You Love Me", in 1988, when its inclusion in the film Dirty Dancing revived interest.
- Soul Records: Established 1964, Soul was a R&B/soul subsidiary for releases with less of a pop feel and/or more of a traditional soul/blues feel. Notable Soul artists included Jr. Walker & the All-Stars, Shorty Long, Gladys Knight & the Pips and Jimmy Ruffin. The label was dissolved in 1978.
- V.I.P. Records: Established 1964, V.I.P. was a R&B/soul subsidiary. Notable artists included The Velvelettes, The Spinners, The Monitors, The Elgins and Chris Clark. The label was dissolved in 1974.
- Weed Records: A very short-lived subsidiary. Only one release, Chris Clark's 1969 CC Rides AgainWeed." The name "Weed Records" is now owned by the Tokyo-New York based Weed Records. album, was issued. This release featured the tongue-in-cheek tagline, "Your Favorite Artists Are On
Monday 18 April 2011
Major divisions
- Motown Records: Established 1960, Motown was and remains the company's main label for mainstream R&B/soul music (and, today, hip hop music as well). The label's numbering system was combined with those of Tamla and Gordy in 1982, and the label (and company) was purchased by MCA in 1988. Notable Motown artists have included Mary Wells, The Supremes, Four Tops, The Jackson 5, Boyz II Men, Commodores, and Erykah Badu. Motown Records slogan: "The Sound of Young America."
- Tamla Records: Established 1959, Tamla was a primary subsidiary for mainstream R&B/soul music. Tamla is actually the company's original label: Gordy incorporated Tamla Records several months before establishing the Motown Record Corporation. The label's numbering system was combined with those of Motown and Gordy in 1982, and the label was merged with Motown in 1988. Notable Tamla artists included Smokey Robinson & the Miracles, Marvin Gaye, Stevie Wonder, and The Marvelettes. Tamla Records slogan: "The Sound that Makes the World Go 'Round."
- Gordy Records: Established 1962, Gordy was also a primary subsidiary for mainstream R&B/soul music. Originally known as Miracle Records (slogan: "If It's a Hit, It's a Miracle"), the name was changed in 1962 to avoid confusion with the Miracles singing group. The label's numbering system was combined with those of Motown and Tamla in 1982, and the label was merged with Motown in 1988. Notable Gordy artists included The Temptations, Martha and the Vandellas, The Contours, Edwin Starr, Rick James, Teena Marie, The Mary Jane Girls, and DeBarge. Gordy Records slogan: "It's What's in the Grooves that Counts"
Sunday 17 April 2011
Quantum Of Soul
Really enjoyed last night at the Quantum Of Soul. The music here is always topnotch but last night Stuart, Neil and guest dj Danny completely excelled. It's really good to hear so many underplayed and rare sounds, looking forward to next month now!
Friday 15 April 2011
Quantum Of Soul tomorrow night at Oxcroft Miners Welfare, Stanfree, Chesterfield, Derbyshire, S44 6AG
If you're looking for a night out tomorrow and enjoy northern soul why not try our venue at Stanfree, Chesterfield. Resident dj's Stuart Bower and Neil Page joined by guest dj Danny Speddings. A night of underplayed and rare soul, see you all there!
Thursday 14 April 2011
Wednesday 13 April 2011
Saturday April 16th with guest dj Dany Speddings
Oxcroft Miners Welfare
Stanfree
Chesterfield
Derbyshire
S44 6ag
Neil Page, Stuart & Cathryn Bower present in association with our supporters and friends present another night of underplayed soul on 100% vinyl out in the country. Great friendly welcoming rural club with a laidback atmosphere and no rules. Just perfect now that the summer's almost here. 2 miles from M1 J29A. Quite definitely a breath of fresh air-and so is the music! 8PM till late.
Stanfree
Chesterfield
Derbyshire
S44 6ag
Neil Page, Stuart & Cathryn Bower present in association with our supporters and friends present another night of underplayed soul on 100% vinyl out in the country. Great friendly welcoming rural club with a laidback atmosphere and no rules. Just perfect now that the summer's almost here. 2 miles from M1 J29A. Quite definitely a breath of fresh air-and so is the music! 8PM till late.
Tuesday 12 April 2011
Artist development
Artist development was a major part of Motown's operations. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less-than-dignified image commonly held by white Americans in that era of black musicians. Given that many of the talented young artists had been raised in housing projects and were short on social and dress skills, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label. The artist development department specialized primarily in working with younger, less experienced acts; experienced performers such as Jr. Walker and Marvin Gaye were exempted from artist development classes.
Many of the young artists participated in an annual package tour called the "Motortown Revue", which was popular, first, on the "chitlin' circuit", and, later, around the world. The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists.
Many of the young artists participated in an annual package tour called the "Motortown Revue", which was popular, first, on the "chitlin' circuit", and, later, around the world. The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists.
Monday 11 April 2011
Sunday 10 April 2011
The Funk Brothers
In addition to the songwriting prowess of the writers and producers, one of the major factors in the widespread appeal of Motown's music was Gordy's practice of using a highly select and tight-knit group of studio musicians, collectively known as "The Funk Brothers", to record the instrumental or "band" tracks of a majority of Motown recordings. Among the studio musicians responsible for the "Motown Sound" were keyboardists Earl Van Dyke, Johnny Griffith, and Joe Hunter; guitarists Joe Messina, Robert White, and Eddie Willis; percussionists Eddie "Bongo" Brown and Jack Ashford; drummers Benny Benjamin, Uriel Jones, and Richard "Pistol" Allen; and bassists James Jamerson and Bob Babbitt. The band's career and work is chronicled in the 2002 documentary film Standing in the Shadows of Motown which publicised the fact that these musicians "played on more number-one records than The Beatles, Elvis, The Rolling Stones, and The Beach Boys combined."
Much of the Motown Sound came from the use of overdubbed and duplicated instrumentation. Motown songs regularly featured two drummers instead of one (either overdubbed or in unison), as well as three or four guitar lines. Bassist James Jamerson often played his instrument with only his index finger, and created many of the basslines apparent on Motown songs such as "You Can't Hurry Love" by The Supremes.
Much of the Motown Sound came from the use of overdubbed and duplicated instrumentation. Motown songs regularly featured two drummers instead of one (either overdubbed or in unison), as well as three or four guitar lines. Bassist James Jamerson often played his instrument with only his index finger, and created many of the basslines apparent on Motown songs such as "You Can't Hurry Love" by The Supremes.
Saturday 9 April 2011
Motown Sound
Motown specialized in a type of soul music it referred to with the trademark "The Motown Sound". Crafted with an ear towards pop appeal, the Motown Sound typically used: tambourines to accent the back beat; prominent and often melodic electric bass-guitar lines; distinctive melodic and chord structures; and a call-and-response singing style that originated in gospel music. Pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used. Complex arrangements and elaborate, melismatic vocal riffs were avoided. Motown producers believed steadfastly in the "KISS principle" (keep it simple, stupid).
The Motown production process has been described as factory-like. The Hitsville studios remained open and active 22 hours a day, and artists would often go on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly go on tour again. Berry Gordy held quality control meetings every Friday morning, and used veto power to ensure that only the very best material and performances would be released. The test was that every new release needed to fit into a sequence of the top five selling pop singles of the week. Several tracks which later became critical and commercial favorites were initially rejected by Gordy; the two most notable being the Marvin Gaye songs, "I Heard It Through the Grapevine" and "What's Going On". In several cases, producers would re-work tracks in hopes of eventually getting them approved at a later Friday morning meeting, as producer Norman Whitfield did with "I Heard It Through the Grapevine" and The Temptations' "Ain't Too Proud to Beg".
Many of Motown's best-known songs, including all the early hits for The Supremes, were written by the songwriting trio of Holland–Dozier–Holland (Lamont Dozier and brothers Brian and Eddie Holland). Other important Motown producers and songwriters included Norman Whitfield, William "Mickey" Stevenson, Smokey Robinson, Barrett Strong, Nickolas Ashford and Valerie Simpson, Frank Wilson, Pamela Swayer & Gloria Jones, James Dean & William Weatherspoon, Johnny Bristol, Harvey Fuqua, Stevie Wonder and Gordy himself.
The style created by the Motown musicians was a major influence on several non-Motown artists of the mid-1960s, such as Dusty Springfield and The Foundations. In the United Kingdom, the Motown Sound became the basis of the northern soul movement. Smokey Robinson said the Motown Sound had little to do with Detroit:
"People would listen to it, and they'd say, 'Aha, they use more bass. Or they use more drums.' Bullshit. When we were first successful with it, people were coming from Germany, France, Italy, Mobile, Alabama. From New York, Chicago, California. From everywhere. Just to record in Detroit. They figured it was in the air, that if they came to Detroit and recorded on the freeway, they'd get the Motown sound. Listen, the Motown sound to me is not an audible sound. It's spiritual, and it comes from the people that make it happen. What other people didn't realize is that we just had one studio there, but we recorded in Chicago, Nashville, New York, L.A.—almost every big city. And we still got the sound."
The Motown production process has been described as factory-like. The Hitsville studios remained open and active 22 hours a day, and artists would often go on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly go on tour again. Berry Gordy held quality control meetings every Friday morning, and used veto power to ensure that only the very best material and performances would be released. The test was that every new release needed to fit into a sequence of the top five selling pop singles of the week. Several tracks which later became critical and commercial favorites were initially rejected by Gordy; the two most notable being the Marvin Gaye songs, "I Heard It Through the Grapevine" and "What's Going On". In several cases, producers would re-work tracks in hopes of eventually getting them approved at a later Friday morning meeting, as producer Norman Whitfield did with "I Heard It Through the Grapevine" and The Temptations' "Ain't Too Proud to Beg".
Many of Motown's best-known songs, including all the early hits for The Supremes, were written by the songwriting trio of Holland–Dozier–Holland (Lamont Dozier and brothers Brian and Eddie Holland). Other important Motown producers and songwriters included Norman Whitfield, William "Mickey" Stevenson, Smokey Robinson, Barrett Strong, Nickolas Ashford and Valerie Simpson, Frank Wilson, Pamela Swayer & Gloria Jones, James Dean & William Weatherspoon, Johnny Bristol, Harvey Fuqua, Stevie Wonder and Gordy himself.
The style created by the Motown musicians was a major influence on several non-Motown artists of the mid-1960s, such as Dusty Springfield and The Foundations. In the United Kingdom, the Motown Sound became the basis of the northern soul movement. Smokey Robinson said the Motown Sound had little to do with Detroit:
"People would listen to it, and they'd say, 'Aha, they use more bass. Or they use more drums.' Bullshit. When we were first successful with it, people were coming from Germany, France, Italy, Mobile, Alabama. From New York, Chicago, California. From everywhere. Just to record in Detroit. They figured it was in the air, that if they came to Detroit and recorded on the freeway, they'd get the Motown sound. Listen, the Motown sound to me is not an audible sound. It's spiritual, and it comes from the people that make it happen. What other people didn't realize is that we just had one studio there, but we recorded in Chicago, Nashville, New York, L.A.—almost every big city. And we still got the sound."
Friday 8 April 2011
Universal Motown: 2005–present
In 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records. Motown was merged with Universal Records to create the Universal Motown Records and placed under the newly created umbrella division of Universal Motown Republic Group. Motown began celebrating its fiftieth anniversary (January 12, 2009) in late 2008, including the release of a The Complete No. 1's box set containing Motown #1 hits from Billboard's pop, R&B, and disco charts, reissues of classic-era Motown albums on CD, and other planned events, which were released in collaboration with Universal Music Group's catalog division Universal Music Enterprises.
Further information: Universal Motown Records
Further information: Universal Motown Records
Thursday 7 April 2011
Final years of the Motown label: 1999–2005
By 1998, Motown had added stars such as 702, Brian McKnight, and Erykah Badu to its roster. In December 1998, PolyGram was acquired by Seagram, and Motown was absorbed into the Universal Music Group. Ironically, Seagram had purchased Motown’s former parent MCA in 1995, as such Motown was in effect reunited with many of its MCA corporate siblings (Seagram had, in fact, hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the floundering label, but instead decided to restructure it. Kedar Massenburg, a producer for Erykah Badu, became the head of the label, and oversaw successful recordings from Badu, McKnight, Michael McDonald, and new Motown artist India.Arie.
Diana Ross, Smokey Robinson, Stevie Wonder and The Temptations had remained with the label since its early days, although all except Wonder recorded for other labels for several years. Ross left Motown for RCA from 1981 to 1988, but returned in 1989 and stayed until 2002. Robinson left the label in the early 1990s, and the Temptations left a second time in 2004. Wonder is, today, the only artist from Motown's early period still on the label.
Q-Tip was the final artist on the label, releasing The Renaissance.
Diana Ross, Smokey Robinson, Stevie Wonder and The Temptations had remained with the label since its early days, although all except Wonder recorded for other labels for several years. Ross left Motown for RCA from 1981 to 1988, but returned in 1989 and stayed until 2002. Robinson left the label in the early 1990s, and the Temptations left a second time in 2004. Wonder is, today, the only artist from Motown's early period still on the label.
Q-Tip was the final artist on the label, releasing The Renaissance.
Wednesday 6 April 2011
Los Angeles: 1972–1998
After the songwriting trio Holland–Dozier–Holland left the label in 1967 over royalty payment disputes, Norman Whitfield became the company's top producer, turning out hits for The Temptations, Marvin Gaye, and Gladys Knight & the Pips. In the meantime, Berry Gordy established Motown Productions, a television subsidiary which produced TV specials for the Motown artists, including TCB with Diana Ross & the Supremes and The Temptations, Diana! with Diana Ross, and Goin' Back to Indiana with The Jackson 5. The company loosened its production rules, allowing some of its longtime artists the chances to write and produce more of their own material. This resulted in the recordings of successful and critically acclaimed albums such as Marvin Gaye's What's Going On (1971) and Let's Get it On (1973), and Stevie Wonder's Music of My Mind (1972), Talking Book (1972), and Innervisions (1973).
Motown had established branch offices in both New York City and Los Angeles during the mid-1960s, and by 1969 had begun gradually moving more of its operations to Los Angeles. The company moved all of its operations to Los Angeles in June 1972, with a number of artists, among them Martha Reeves, The Four Tops, Gladys Knight & the Pips, and Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the company for other reasons. The main objective of Motown's relocation was to branch out into the motion picture industry, and Motown Productions got its start in film by turning out two hit vehicles for Diana Ross: the Billie Holiday biographical film Lady Sings the Blues (1972), and Mahogany (1975). Other Motown films would include Thank God It's Friday (1978), The Wiz (1978) and Berry Gordy's The Last Dragon (1985). Ewart Abner, who had been associated with Motown since the 1960s, became its president in 1973.
Despite losing Holland–Dozier–Holland, Norman Whitfield, and a number of its other hitmakers by 1975, Motown still had a number of successful artists during the 1970s and 1980s, including Michael Jackson, Lionel Richie and The Commodores, Rick James, Teena Marie and DeBarge. By the mid-1980s, Motown was losing money, and Berry Gordy sold his ownership in Motown to MCA Records and Boston Ventures in June 1988 for $61 million. In 1989, Gordy sold the Motown Productions TV/film operations to Motown executive Suzanne de Passe, who renamed the company de Passe Entertainment and runs it to this day.
During the 1990s, Motown was home to successful recording artists such as Boyz II Men and Johnny Gill, although the company itself remained in a state of turmoil. A revolving door of executives were appointed by MCA to run the company, beginning with Berry Gordy's immediate successor, Jheryl Busby. Busby quarreled with MCA, alleging that the company did not give Motown's product adequate attention or promotion. In 1991, Motown sued MCA to have its distribution deal with the company terminated, and began releasing its product through PolyGram. Polygram purchased Motown from Boston Ventures three years later. In 1994, Busby was replaced by Andre Harrell, the entrepreneur behind Uptown Records. Harrell served as Motown's CEO for just under two years, leaving the company after receiving bad publicity for being inefficient. Danny Goldberg, who ran PolyGram's Mercury Records group, assumed control of Motown, and George Jackson served as president.
Motown had established branch offices in both New York City and Los Angeles during the mid-1960s, and by 1969 had begun gradually moving more of its operations to Los Angeles. The company moved all of its operations to Los Angeles in June 1972, with a number of artists, among them Martha Reeves, The Four Tops, Gladys Knight & the Pips, and Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the company for other reasons. The main objective of Motown's relocation was to branch out into the motion picture industry, and Motown Productions got its start in film by turning out two hit vehicles for Diana Ross: the Billie Holiday biographical film Lady Sings the Blues (1972), and Mahogany (1975). Other Motown films would include Thank God It's Friday (1978), The Wiz (1978) and Berry Gordy's The Last Dragon (1985). Ewart Abner, who had been associated with Motown since the 1960s, became its president in 1973.
Despite losing Holland–Dozier–Holland, Norman Whitfield, and a number of its other hitmakers by 1975, Motown still had a number of successful artists during the 1970s and 1980s, including Michael Jackson, Lionel Richie and The Commodores, Rick James, Teena Marie and DeBarge. By the mid-1980s, Motown was losing money, and Berry Gordy sold his ownership in Motown to MCA Records and Boston Ventures in June 1988 for $61 million. In 1989, Gordy sold the Motown Productions TV/film operations to Motown executive Suzanne de Passe, who renamed the company de Passe Entertainment and runs it to this day.
During the 1990s, Motown was home to successful recording artists such as Boyz II Men and Johnny Gill, although the company itself remained in a state of turmoil. A revolving door of executives were appointed by MCA to run the company, beginning with Berry Gordy's immediate successor, Jheryl Busby. Busby quarreled with MCA, alleging that the company did not give Motown's product adequate attention or promotion. In 1991, Motown sued MCA to have its distribution deal with the company terminated, and began releasing its product through PolyGram. Polygram purchased Motown from Boston Ventures three years later. In 1994, Busby was replaced by Andre Harrell, the entrepreneur behind Uptown Records. Harrell served as Motown's CEO for just under two years, leaving the company after receiving bad publicity for being inefficient. Danny Goldberg, who ran PolyGram's Mercury Records group, assumed control of Motown, and George Jackson served as president.
Tuesday 5 April 2011
Detroit: 1959–1972
Gordy founded a second label, Motown Records, in September 1959. Among early Tamla/Motown artists were Mable John, Eddie Holland and Mary Wells. "Shop Around," The Miracles' first #1 R&B hit peaked at number two on the Billboard Hot 100 in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla Records merged into a new company called Motown Record Corporation. A year later, The Marvelettes scored Tamla's first US #1 pop hit, "Please Mr. Postman". By the mid-1960s, the label, with the help of songwriters and producers such as Robinson, A&R chief William "Mickey" Stevenson, Brian Holland, Lamont Dozier, and Norman Whitfield, was a major force in the music industry.
From 1961 to 1971, Motown had 110 top 10 hits. Top artists on the Motown label during that period included Diana Ross & The Supremes, The Four Tops, and The Jackson 5, while Stevie Wonder, Marvin Gaye, and The Miracles released hits on the Tamla label. The company operated several labels in addition to the Tamla and Motown imprints. A third label, which Gordy named after himself (though it was originally called "Miracle") featured The Temptations, The Contours, and Martha and the Vandellas. A fourth, V.I.P., released recordings by The Velvelettes, The Spinners, The Originals, and Chris Clark. A fifth label, Soul, featured Jr. Walker & the All Stars, Jimmy Ruffin, Shorty Long, and Gladys Knight & the Pips (who had found success before joining Motown, as 'The Pips' on Vee-Jay). Many more Motown-owned labels released recordings in other genres, including Workshop Jazz (jazz), Mel-o-dy (country, although it was originally an R&B label), and Rare Earth (rock). Under the slogan "The Sound of Young America", Motown's acts were enjoying widespread popularity among black and white audiences alike.
Smokey Robinson said of Motown's cultural impact:
In Britain, Motown's records were released on various labels: at first London (only the Miracles' "Shop Around"/"Who's Lovin' You" and "Ain't It Baby"), then Fontana ("Please Mr. Postman" by the Marvelettes was one of four), Oriole American ("Fingertips" by Little Stevie Wonder was one of many), EMI's StatesideWhere Did Our Love Go" by the Supremes and "My Guy" by Mary Wells were Motown's first British top-20 hits), and finally EMI's Tamla-Motown ("Stop! In The Name of Love" by The Supremes was the first Tamla-Motown label release in March 1965) ("
From 1961 to 1971, Motown had 110 top 10 hits. Top artists on the Motown label during that period included Diana Ross & The Supremes, The Four Tops, and The Jackson 5, while Stevie Wonder, Marvin Gaye, and The Miracles released hits on the Tamla label. The company operated several labels in addition to the Tamla and Motown imprints. A third label, which Gordy named after himself (though it was originally called "Miracle") featured The Temptations, The Contours, and Martha and the Vandellas. A fourth, V.I.P., released recordings by The Velvelettes, The Spinners, The Originals, and Chris Clark. A fifth label, Soul, featured Jr. Walker & the All Stars, Jimmy Ruffin, Shorty Long, and Gladys Knight & the Pips (who had found success before joining Motown, as 'The Pips' on Vee-Jay). Many more Motown-owned labels released recordings in other genres, including Workshop Jazz (jazz), Mel-o-dy (country, although it was originally an R&B label), and Rare Earth (rock). Under the slogan "The Sound of Young America", Motown's acts were enjoying widespread popularity among black and white audiences alike.
Smokey Robinson said of Motown's cultural impact:
Into the '60s, I was still not of a frame of mind that we were not only making music, we were making history. But I did recognize the impact because acts were going all over the world at that time. I recognized the bridges that we crossed, the racial problems and the barriers that we broke down with music. I recognized that because I lived it. I would come to the South in the early days of Motown and the audiences would be segregated. Then they started to get the Motown music and we would go back and the audiences were integrated and the kids were dancing together and holding hands.[2]
In 1967, Berry Gordy purchased what is now known as Motown Mansion in Detroit's Boston-Edison Historic District as his home.[3] In 1968, Gordy purchased the Donovan building on the corner of Woodward Avenue and Interstate 75, and moved Motown's Detroit offices there (the Donovan building was demolished in January 2006 to provide parking spaces for Super Bowl XL). The same year, Gordy purchased Golden World Records, and its recording studio became "Studio B" to Hitsville's "Studio A".
In Britain, Motown's records were released on various labels: at first London (only the Miracles' "Shop Around"/"Who's Lovin' You" and "Ain't It Baby"), then Fontana ("Please Mr. Postman" by the Marvelettes was one of four), Oriole American ("Fingertips" by Little Stevie Wonder was one of many), EMI's StatesideWhere Did Our Love Go" by the Supremes and "My Guy" by Mary Wells were Motown's first British top-20 hits), and finally EMI's Tamla-Motown ("Stop! In The Name of Love" by The Supremes was the first Tamla-Motown label release in March 1965) ("
Motown History
Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and The Matadors. Wilson's single "Lonely Teardrops", written by Gordy, became a huge success; however, Gordy did not feel he made as much money as he deserved from this and other singles he wrote for Wilson. He realized that the more lucrative end of the business was in producing records and owning the publishing.
The Hitsville U.S.A. Motown building at 2648 West Grand Boulevard in Detroit[1] served as Motown's headquarters from 1959 until 1968, and became the Motown Historical Museum in 1985.In 1959, Billy Davis and Berry Gordy's sisters Gwen and Anna started Anna Records. Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12, 1959, he started Tamla Records, with an $800 loan from his family. Gordy originally wanted to name the label "Tammy" Records, after the popular song by Debbie Reynolds. When he found the name was already in use, he decided on Tamla instead. Tamla's first release was Marv Johnson's "Come to Me" in 1959. Its first hit was Barrett Strong's "Money (That's What I Want)" (1959), which made it to #2 on the Billboard R&B charts.
Gordy's first signed act was The Matadors, a group he had written and produced songs for, who changed their name to The Miracles when Tamla signed them; their first release was "Bad Girl". Miracles lead singer Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry" out of gratitude to Gordy and the label). Many of Gordy's family members, including his father Berry, Sr., brothers Robert and George, and sister Esther, were eventually given key roles in the company. By the middle of the decade, Gwen and Anna Gordy had joined the label in administrative positions as well.
Also in 1959, Gordy purchased the property that would become Motown's Hitsville U.S.A. studio. The photography studio located in the back of the property was modified into a small recording studio and the Gordys moved into the second floor living quarters. Within a few years, Motown would occupy several neighboring houses with administrative offices, mixing, mastering and rehearsal studios.
Gordy's first signed act was The Matadors, a group he had written and produced songs for, who changed their name to The Miracles when Tamla signed them; their first release was "Bad Girl". Miracles lead singer Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry" out of gratitude to Gordy and the label). Many of Gordy's family members, including his father Berry, Sr., brothers Robert and George, and sister Esther, were eventually given key roles in the company. By the middle of the decade, Gwen and Anna Gordy had joined the label in administrative positions as well.
Also in 1959, Gordy purchased the property that would become Motown's Hitsville U.S.A. studio. The photography studio located in the back of the property was modified into a small recording studio and the Gordys moved into the second floor living quarters. Within a few years, Motown would occupy several neighboring houses with administrative offices, mixing, mastering and rehearsal studios.
Motown
Motown is a record label that was originally founded by Berry Gordy, Jr. and incorporated as Motown Record Corporation in Detroit, Michigan, USA, on April 14, 1960. The name, a portmanteau of motor and town, is also a nickname for Detroit. Now headquartered in New York City, Motown is a subsidiary of Universal Motown Republic Group, itself a subsidiary of Universal Music Group, and now operates as Universal Motown Records. Motown Records was also the name of Gordy's second record label; the first, Tamla Records, began on January 12, 1959.
Motown played an important role in the racial integration of popular music, as it was the first record label owned by an African American even if it was not the first to feature primarily African-American artists. Motown achieved a crossover success. In the 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as The Motown Sound, a style of soul music with a distinct pop influence.
Motown has owned or distributed releases from more than 45 subsidiaries in varying genres, although it is most famous for its releases in the music genres of rhythm and blues, soul, hip hop, and pop. Gordy relocated Motown Records to Los Angeles in 1972 and there it remained an independent company until June 28, 1988, when Gordy sold the company to MCA and Boston Ventures (which took over full ownership of Motown in 1991), then to PolyGram in 1994, before being sold again to MCA Records' successor Universal Music, when it acquired The PolyGram Group
Motown played an important role in the racial integration of popular music, as it was the first record label owned by an African American even if it was not the first to feature primarily African-American artists. Motown achieved a crossover success. In the 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as The Motown Sound, a style of soul music with a distinct pop influence.
Motown has owned or distributed releases from more than 45 subsidiaries in varying genres, although it is most famous for its releases in the music genres of rhythm and blues, soul, hip hop, and pop. Gordy relocated Motown Records to Los Angeles in 1972 and there it remained an independent company until June 28, 1988, when Gordy sold the company to MCA and Boston Ventures (which took over full ownership of Motown in 1991), then to PolyGram in 1994, before being sold again to MCA Records' successor Universal Music, when it acquired The PolyGram Group
Monday 4 April 2011
From Motown to Hip Hop
Growing up in the City of Detroit during the early sixties was a memorable era for music. It was a period of time whereby the unique sounding records of Motown were being played and heard throughout the streets, nightclubs, house parties and radio stations everywhere. It was common to have the soulful R and B records playing on the jukeboxes while folks were dancing in the streets or singing in the barber shops and beauty parlors to the love songs that eventually captivated the hearts of millions of people throughout the world. Music cds and rap music were not heard of during that period, it was all about the vinyl records and rhythm and blues soul.
The songs that were written by Motown songwriters during the 60′s & 70′s had so much meaning. They were songs that spoke about true love, current events and the heartache and pains of life experiences. Oh yes, Motown had it going on! Their music became universal music. Many of the soulful tunes crossed over into other markets such as pop, jazz, blues, etc… But just like George Benson said in one of his recordings “Everything Must Change”, and sure enough, he was right about the music.
After giving so many years service and great music to the City of Detroit, Motown moved out and Rap/Hip Hop moved in. Instead of hearing someone singing My Baby Loves Me or My Girl, you began to hear new sounding lyrics of street experience expressed in rhythms with the mouth, chest, hands and feet as such had never been heard before.
This new sound called Rap evolved in the early 80′s and took off as a sky rocket in the late 90′s and New Millennium as Hip Hop/Rap. Even today Rap/Hip Hop music is still a multi billion dollar genre. Millions of cds, videos and dvd’s are sold each year in the Hip Hop genre of music. And there is no sign that Hip Hop will be slowing down or taking a back seat to anyone anytime soon.
So what happened to the Motown sound…. did it die out? No! The Motown sound will never die out. It will always play a significant part in the hearts of millions who embraced it’s sound back in the early 60′s, and continued to pass that sound on to their children throughout the 70′s, 80′s and 90′s.
Sometimes you just have to move over and let the new kids on the block have a turn in expressing their musical talents, songs and ideas. That’s what Motown did…moved over-not out. And now the Hip Hop artists are not the new kids on the block anymore, for they have taken their position to express themselves musically, just like the rhythm and blues artists took their position to express themselves in the Motown era.
That’s how we’ve gone from Motown to Hip Hop!
Written by: Michael Bell
©2006 Michael Bell
http://www.buymusicfromus.com
The songs that were written by Motown songwriters during the 60′s & 70′s had so much meaning. They were songs that spoke about true love, current events and the heartache and pains of life experiences. Oh yes, Motown had it going on! Their music became universal music. Many of the soulful tunes crossed over into other markets such as pop, jazz, blues, etc… But just like George Benson said in one of his recordings “Everything Must Change”, and sure enough, he was right about the music.
After giving so many years service and great music to the City of Detroit, Motown moved out and Rap/Hip Hop moved in. Instead of hearing someone singing My Baby Loves Me or My Girl, you began to hear new sounding lyrics of street experience expressed in rhythms with the mouth, chest, hands and feet as such had never been heard before.
This new sound called Rap evolved in the early 80′s and took off as a sky rocket in the late 90′s and New Millennium as Hip Hop/Rap. Even today Rap/Hip Hop music is still a multi billion dollar genre. Millions of cds, videos and dvd’s are sold each year in the Hip Hop genre of music. And there is no sign that Hip Hop will be slowing down or taking a back seat to anyone anytime soon.
So what happened to the Motown sound…. did it die out? No! The Motown sound will never die out. It will always play a significant part in the hearts of millions who embraced it’s sound back in the early 60′s, and continued to pass that sound on to their children throughout the 70′s, 80′s and 90′s.
Sometimes you just have to move over and let the new kids on the block have a turn in expressing their musical talents, songs and ideas. That’s what Motown did…moved over-not out. And now the Hip Hop artists are not the new kids on the block anymore, for they have taken their position to express themselves musically, just like the rhythm and blues artists took their position to express themselves in the Motown era.
That’s how we’ve gone from Motown to Hip Hop!
Written by: Michael Bell
©2006 Michael Bell
http://www.buymusicfromus.com
Article Source: http://www.articledashboard.com
Michael Bell – proficient record producer / music composer / songwriter / studio engineer / recording artist / freelance writer, Lansing, Michigan.
Sunday 3 April 2011
Motown historical museum, Detroit, MI
The Motown Museum is the small shingle-clad building that was occupied from 1957 to 1972 by the studio where records of the "Motown sound" were produced. Visitors can see the actual recording studio where Marvin Gaye and others produced hit songs. Motown Historical Museum is one of Detroit's most popular tourist destinations. Each year, the museum attracts thousands of visitors from across the nation and around the globe. The museum was founded in 1985 by Esther Gordy Edwards. Its mission is to preserve the legacy of Motown Record Corporation... more
Motown Historical Museum is one of Detroit's most popular tourist destinations. Each year, the museum attracts thousands of visitors from across the nation and around the globe. The museum was founded in 1985 by Esther Gordy Edwards. Its mission is to preserve the legacy of Motown Record Corporation and to educate and motivate people, especially youth, through exhibitions and programs that
promote the values of vision, creativity and entrepreneurship.
The museum exhibits trace the roots of Motown's remarkable story and chronicle its impact on 20th century popular culture and musical styles. The story begins with Berry Gordy, Jr. and a small house in Detroit that he christened, Hitsville USA now home to Motown Historical Museum. The story continues as Motown evolves into a major entertainment enterprise that was among the most diverse and influential in the world.
The exhibitions include a fascinating collection of historical photographs, artwork, music, costumes and other memorabilia from this booming musical era. Each item tells a story – from the 800 dollar loan given to Berry Gordy, Jr. by the Gordy family savings club (the Ber-Berry Co-op) to produce his first record – to the explosive popularity of Motown's artists throughout the world. Visitors take a step back in time as they walk through the fully restored apartment that was once home to Berry Gordy, Jr, and stand in the original recording studio, Studio A where Motown's greatest hits were recorded
Motown Historical Museum is one of Detroit's most popular tourist destinations. Each year, the museum attracts thousands of visitors from across the nation and around the globe. The museum was founded in 1985 by Esther Gordy Edwards. Its mission is to preserve the legacy of Motown Record Corporation and to educate and motivate people, especially youth, through exhibitions and programs that
promote the values of vision, creativity and entrepreneurship.
The museum exhibits trace the roots of Motown's remarkable story and chronicle its impact on 20th century popular culture and musical styles. The story begins with Berry Gordy, Jr. and a small house in Detroit that he christened, Hitsville USA now home to Motown Historical Museum. The story continues as Motown evolves into a major entertainment enterprise that was among the most diverse and influential in the world.
The exhibitions include a fascinating collection of historical photographs, artwork, music, costumes and other memorabilia from this booming musical era. Each item tells a story – from the 800 dollar loan given to Berry Gordy, Jr. by the Gordy family savings club (the Ber-Berry Co-op) to produce his first record – to the explosive popularity of Motown's artists throughout the world. Visitors take a step back in time as they walk through the fully restored apartment that was once home to Berry Gordy, Jr, and stand in the original recording studio, Studio A where Motown's greatest hits were recorded
Saturday 2 April 2011
Edwin Starr
A few records in memory of Edwin Starr who sadly passed away 8 years ago today. Another great soul singer who is deeply missed!
Marvin Gaye
It would have been Marvin Gaye's birthday today, so just a few records to remember him and how much he contributed to the soul scene!
Manchester's Northern Soul
Northern Soul is a music and dance movement that emerged from the British Mod scene in Northern England in the late 1960's. It is based on certain styles of black American soul music with an up-tempo beat from cities like Detroit and Chicago although not the more mainstream Motown or Motown-influenced music.
The phrase 'Northern Soul' was thought up by journalist Dave Godin sometime in 1968 as a shorthand sales term that helped employees at his London based Soul City shop to sell to the northern football fans who came to buy records in his shop while they were in London following their teams after he noticed that they weren't interested in the latest developments in the Black American chart, in an interview in 2002 he told them that 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'. It was also used to differentiate between the music played in the Southern and Northern Soul clubs of England.
The first Northern Soul club to define the Northern Soul sound was the Twisted Wheel club in Manchester which began in the early 1950's as a beatnik coffee bar called the Left Wing, in 1963 however the run-down premises were leased by two Manchester businessmen and turned into a night club which went on to become the focus of Manchester's emerging mod scene in the mid 1960's with an eclectic taste in soul and jazz and featuring live performances by British Beat musicians and American R&B stars. Eventually the music policy shifted towards fast paced soul in response to the demands of the growing crowds of amphetamine fuelled dancers who flocked to the clubs all nighters. By 1969 soul fans were travelling from all over the UK to attend the clubs Saturday all nighters, eventually though the club gained a reputation as a drug haven and closed in January 1971 under pressure from the police.
By this time the popularity of the music and lifestyle associated with the club had spread further across the North and Midlands of England and by the mid to late 1970's Northern Soul had reached the peak of its popularity and there were soul clubs in virtually every major town in the midlands and North of England the three venues regarded as the most important in this decade were the Golden Torch in Tunstall, Stoke, Blackpool Mecca and Wigan Casino.
When Wigan Casino closed in 1981, many people believed that the northern soul scene was on the verge of disintegrating. However, the mod revival in the 1970's and the thriving scooterboy subculture and Acid jazz movement produced a new wave of fans and the 1980's featured almost 100 new venues in places as diverse as Bradford, London, Peterborough, Leighton Buzzard, Whitchurch, Coventry and Leicester.
Today Northern Soul lives on in various parts of the UK such as The Nightshift Club all-nighters at the Bisley Pavilion in Surrey and the Prestatyn Weekender in North Wales which hold regular Northern Soul events. Many of those who ceased their involvement in the late 1970s have now returned to the scene and regularly participate in such events. Manchester still remains at the heart of Northern soul with the re-opening of the Twisted Wheel in July 2000 in its original venue (in whitworth street, Manchester) where they hold regular soul all-nighters and these combined with the Beat Boutique northern soul all-nighters at the Ruby Lounge in Manchester ensure that Manchester remains at the heart of Northern Soul.
The phrase 'Northern Soul' was thought up by journalist Dave Godin sometime in 1968 as a shorthand sales term that helped employees at his London based Soul City shop to sell to the northern football fans who came to buy records in his shop while they were in London following their teams after he noticed that they weren't interested in the latest developments in the Black American chart, in an interview in 2002 he told them that 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'. It was also used to differentiate between the music played in the Southern and Northern Soul clubs of England.
The first Northern Soul club to define the Northern Soul sound was the Twisted Wheel club in Manchester which began in the early 1950's as a beatnik coffee bar called the Left Wing, in 1963 however the run-down premises were leased by two Manchester businessmen and turned into a night club which went on to become the focus of Manchester's emerging mod scene in the mid 1960's with an eclectic taste in soul and jazz and featuring live performances by British Beat musicians and American R&B stars. Eventually the music policy shifted towards fast paced soul in response to the demands of the growing crowds of amphetamine fuelled dancers who flocked to the clubs all nighters. By 1969 soul fans were travelling from all over the UK to attend the clubs Saturday all nighters, eventually though the club gained a reputation as a drug haven and closed in January 1971 under pressure from the police.
By this time the popularity of the music and lifestyle associated with the club had spread further across the North and Midlands of England and by the mid to late 1970's Northern Soul had reached the peak of its popularity and there were soul clubs in virtually every major town in the midlands and North of England the three venues regarded as the most important in this decade were the Golden Torch in Tunstall, Stoke, Blackpool Mecca and Wigan Casino.
When Wigan Casino closed in 1981, many people believed that the northern soul scene was on the verge of disintegrating. However, the mod revival in the 1970's and the thriving scooterboy subculture and Acid jazz movement produced a new wave of fans and the 1980's featured almost 100 new venues in places as diverse as Bradford, London, Peterborough, Leighton Buzzard, Whitchurch, Coventry and Leicester.
Today Northern Soul lives on in various parts of the UK such as The Nightshift Club all-nighters at the Bisley Pavilion in Surrey and the Prestatyn Weekender in North Wales which hold regular Northern Soul events. Many of those who ceased their involvement in the late 1970s have now returned to the scene and regularly participate in such events. Manchester still remains at the heart of Northern soul with the re-opening of the Twisted Wheel in July 2000 in its original venue (in whitworth street, Manchester) where they hold regular soul all-nighters and these combined with the Beat Boutique northern soul all-nighters at the Ruby Lounge in Manchester ensure that Manchester remains at the heart of Northern Soul.
Friday 1 April 2011
The R & B's Northern Soul
The term Northern Soul was termed by Dave Godin, a journalist for the "Blues and Soul" magazine back in 1968. Godin came up with the term when helping employee's stock music on the shelves of his record shop in London England. As newer music Rhythm and Blues (R&B) music was arriving, he wanted to be able to differentiate the smoother sounds of early R&B from the newer funkier sounds that was hitting the airwaves. The term northern soul now refers to the golden oldies of Rhythm and Blues that are played at many of the most popular nightclubs in Northern The United States was flooded with R&B musicians, however, in England opened another new venue for R&B artist to make it big, and biog they did England today.
Back in the 60's when most clubs where changing up their beats to the more modern genres of music, many Northern England nightclubs chose to keep the rare soul music beats. This has not slowed business down for these well-established clubs today, if anything it brought in more patrons then ever before. Patrons knew what they liked and did not feel the need to follow the fads of the time.
Northern Soul music played a huge role in the beginning of the DJ culture in England. The United States was filling up with R&B artist and England opened up a whole new venue for artist to not only collect on but for some make it big in the music industry who wouldn't of had a chance otherwise in the States due to the huge amount of R&B artists already circulating. Artist like Tammi Lynn, The Fascinations, The Velvelettes, The Tams, and many others made top hits in the UK due to the love of the Northern Soul.
So just who makes up the Northern Soul genre one may ask, the answer is simple yet vast, as thousands make up the Northern Soul genre. This genre includes top R&B artist to one hit wonders. Northern Soul music isn't a style, voice, musical instrument choice, or even topic of song, northern soul music is a feel, a beat, and the ability to dance to it. Some of the Northern Soul choices are very rare and even hard to come by today, others more popular, some had a slow groove beat while others have a upbeat tempo.
Remember Kool and the Gang, Bill Withers, or Gwen Guthrie; they all added to the Northern Soul movement in northern parts of England as well as several hundreds to thousands of more R&B artist. Names such as Randy Crawford, Bobby Womack, Gerald Levert, and even the O'Jays still play a part of the dance floors in nightclubs around the world. More current artists such as Kenny G, Whitney Houston, and Chaka Khan also play a large role of the northern soul genre. If the feet can be put to the beat of the Rhythm and Blues, more then likely it has become a part of the Northern Soul genre.
Back in the 60's when most clubs where changing up their beats to the more modern genres of music, many Northern England nightclubs chose to keep the rare soul music beats. This has not slowed business down for these well-established clubs today, if anything it brought in more patrons then ever before. Patrons knew what they liked and did not feel the need to follow the fads of the time.
Northern Soul music played a huge role in the beginning of the DJ culture in England. The United States was filling up with R&B artist and England opened up a whole new venue for artist to not only collect on but for some make it big in the music industry who wouldn't of had a chance otherwise in the States due to the huge amount of R&B artists already circulating. Artist like Tammi Lynn, The Fascinations, The Velvelettes, The Tams, and many others made top hits in the UK due to the love of the Northern Soul.
So just who makes up the Northern Soul genre one may ask, the answer is simple yet vast, as thousands make up the Northern Soul genre. This genre includes top R&B artist to one hit wonders. Northern Soul music isn't a style, voice, musical instrument choice, or even topic of song, northern soul music is a feel, a beat, and the ability to dance to it. Some of the Northern Soul choices are very rare and even hard to come by today, others more popular, some had a slow groove beat while others have a upbeat tempo.
Remember Kool and the Gang, Bill Withers, or Gwen Guthrie; they all added to the Northern Soul movement in northern parts of England as well as several hundreds to thousands of more R&B artist. Names such as Randy Crawford, Bobby Womack, Gerald Levert, and even the O'Jays still play a part of the dance floors in nightclubs around the world. More current artists such as Kenny G, Whitney Houston, and Chaka Khan also play a large role of the northern soul genre. If the feet can be put to the beat of the Rhythm and Blues, more then likely it has become a part of the Northern Soul genre.
Rare Northern Soul Experience the Legend
There are only a few occasions in the course of human history when it can be said that the people were completely in charge of their own cultural revolution. No matter what the political or civil agenda was during the late 1960s and early 1970s, looking back on the social norms that were broken, and the unique experiences that were made by people all over the world, you know that kind of time will probably never come again. Because music is so wrapped up in everything that humans do and experience, it's fitting that the rare northern soul records that became popular during this time would be just as special.
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.
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.
Subscribe to:
Posts (Atom)