Northern soul - Wikipedia. Northern soul is a music and dance movement that emerged in Northern England in the late 1. British mod scene as a particular style of black Americansoul music based on the heavy beat and fast tempo of the mid- 1. Tamla Motown sound. The recordings most prized by enthusiasts of the genre are usually by lesser- known artists, released only in limited numbers, often by small regional American labels such as Ric- Tic and Golden World Records (Detroit), Mirwood (Los Angeles) and Shout and Okeh (New York/Chicago). Northern soul is associated with particular dance styles and fashions that grew out of the underground rhythm & soul scene of the late 1. Twisted Wheel in Manchester. This scene and the associated dances and fashions quickly spread to other UK dancehalls and nightclubs like the Chateau Impney (Droitwich), 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 1. 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. In the late 1. 96. Rhythm Of Youth Men Without Hats. The Sibyl's Giggle The Renaissance Players. The Rare, The Rarer and The Rarest Rockers Rockabilly Rock and Roll Nuggets. Rarest of the Rare Volume #1. RHYTHM & BLUES, SOUL & DOO-WOP. VARIOUS ARTISTS: Lone Star 6717: Texas' Best & Rarest Doo Wop. Girl I Can' Forget/ SOUND EXPERIENCE: Hey Love. Motown historian and liner notes writer Bill Dahl presents 10 of the rarest records on the. Motor City as rhythm and blues morphed. Various Artists - Shrine: The Rarest Soul. 1966 influence of a very slightly off-beat rhythm can be felt. The sound quality is admittedly poor and may. Chords, Tabs and Lyrics is the biggest lyrics catalog on the web. This meant that the movement was sustained (and . Later on, certain clubs and DJs began to move away from the 1. Motown sound and began to play newer releases with a more contemporary sound. History. With contemporary black music evolving into what would eventually become known as funk, the die- hard soul lovers of Northern England still preferred the mid- 1. Motown- sounding black American dance music. Godin referred to the latter's requests as . 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. The club began in the early 1. Right Wing, but in early 1. Manchester businessmen (Ivor and Phil Abadi) and turned into a music venue. Starting in September 1. 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. However, other towns and cities across Britain had similar enthusiasts around this time who would tune into pirate radio broadcasts, and record shops would help bring the U. S. Pubs such as the Eagle in Birmingham were frequented by young British soul singers such as Steve Winwood and Robert Plant, who both released songs of similar style to the early U. S. 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 1. Until his departure in 1. All Niter' DJ Bob Dee compiled and supervised . Rarer, more up- tempo records were added to the playlist in 1. DJ's up until the club's eventual closure in 1. However, by the late 1. 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, Va Va's in Bolton & Shades (Northampton) the top Northern Soul venue further south in England. Chris Burton, the owner, stated that by 1. There was a regular roster of DJs, including the promoters Russ Winstanley and Richard Searling. By 1. 97. 6, the club boasted a membership of 1. Billboard Magazine. By the late 1. 97. Casino Classics. 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. As a result, Wigan Casino DJs resorted to playing any kind of record that matched the correct tempo. The regular Saturday night events began at 8. Blackpool Mecca and then transfer to Wigan Casino. In 1. 97. 4, 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. While 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. Other major Northern soul venues in the 1. Catacombs in Wolverhampton, Va Va's in Bolton, the 'Talk of the North' all- nighters at the Pier and Winter Gardens in Cleethorpes, Tiffany. There was a notable scene in the east of England, Shades Northampton was one of the leading venues in this part of the country during the early 1. Later came the all- nighters at the St. Ives, the Phoenix Soul club at the Wirrina Stadium in Peterborough and the Howard Mallett in Cambridge. However, the 1. 97. The popularity of the music was further bolstered in the 1. British independent record labels. Many of these labels were set up by DJs and collectors who had been part of the original Northern soul scene. Pre- eminent among the 1. Stafford's Top of the World and London's 1. Club. 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. Many of those who ceased their involvement in the late 1. He plays three Northern soul hits, often at the request of his listeners.? It was staged at the Central School of Speech and Drama's Webber Douglas Studio, with a revival at the same venue in September 2. The music of Yorkshire singer John Newman, one of the most successful English musicians of 2. Northern soul', including his No. One version of the video for the song features stereotypical Northern soul dancing. Additionally, the track samples the famous soul drum break from James Brown's . Most of the records were complete failures in their own time and place.. These types of records, which suited the athletic dancing that was prevalent, became known on the scene as stompers. Slower, less- danceable soul records were often played, such as Barbara Mills' . These came to be known as the . This style is typified musically by the O'Jays' . January 1. 97. 6), which gained popularity before its commercial release at Blackpool Mecca in late 1. The record that initially popularised this change is usually cited as the Carstairs . Keith Rylatt and Phil Scott wrote: . Among these labels were Casino Classics, PYE Disco Demand, Inferno, Kent Modern and Goldmine. It had previously been thought that all the original versions had been destroyed when rival label EMI won the rights to release the single. Dave Godin is generally credited with being the first UK entrepreneur to start this trend, setting up the Soul City label in 1. EMI to licence Gene Chandler's 1. Issued as a 4. 5 on Soul City, the track peaked at UK No. August 1. 96. 8, becoming the first Northern Soul- derived chart hit. A few months later in January 1. Jamo Thomas' 1. 96. The trend continued into the 1. Northern soul scene were reissued by their original labels and became UK top 4. These include the Tams' 1. July 1. 97. 1) - which was popularised by Midlands DJ Carl Dene - the Fascinations' 1. Elgins' . 3 July 1. Newbeats' 1. 96. 5 American hit . Oct 1. 97. 1), Bobby Hebb's . August 1. 97. 2), Robert Knight's . November 1. 97. 3) and R. May 1. 97. 4). The Northern soul scene also spawned many lesser chart hits, including Al Wilson's 1. Dobie Gray's . 4. September 1. 97. 5) and Little Anthony & the Imperials' . July 1. 97. 6). A variety of recordings were made later in the 1. Northern soul scene, which also went on to become UK top 4. These included: the Exciters. Mc. Aleer gave a white label promotional copy to Russ Winstanley (a Wigan Casino DJ and promoter), and the tune became popular among the dancers at the venue. Disco Demand then released the song as a 4. RPM single, reaching UK No. To promote the single on BBC's Top of the Pops, the performer was accompanied by two Wigan Casino dancers. In the late 1. 96. Northern England - stuck to the original mod soundtrack of soul and Blue Beat. From the latter category, two strands emerged: skinheads and the Northern soul scene. 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. 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 raised fist symbol that has become associated with the Northern soul movement emanates from the 1. Black Power movement of the United States. This work details in some depth the lifestyles associated with the Northern soul scene and the extensive use of amphetamines (otherwise known as speed) by many involved. Wilson argues that, although many did not use drugs, their usage was heavily ingrained in the fast- paced culture of the Northern soul scene, contributing to participants' ability to stay up all night dancing. Many clubs and events were closed down or refused licences due to the concern of local authorities that soul nights attracted drug dealers and users. Of the regular attendees he said, . 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.
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