Welcome to tonight's episode, and this is Soul from the Soul
City. Not Chicago, not Detroit, but
Manchester. Love me one more time.
Love me one more time, baby.
Love me one more time. Love me one more time, Mama,
just one more time. You know I.
Need you in the middle of the night.
Did you join me to make things alright?
So come on home. Love me one more time.
Love me one more time.
Did you see that? I'm begging.
Please love me, baby.
Love me one more time. Love me one more time.
Love me, Love me, Love me baby, one more time.
Love me one more time, Mama. And I let you walk.
Call it baby. Come on then, come on and love
me one more time. Love me one more time.
Love me one more time, baby. I know you knew what I'm talking
about. Love me one more time.
Love me one more time baby, one more time.
From the heart and soul of Manchester.
It's all about soul and it's got to be Northern.
Without wishing to criticise anybody at the now long defunct
California label Diplomacy, whoever decided that this
unavoidable, upbeat and utterly compelling floor filler should
be signed to the B side of Jimmy Holiday's 1965 single The New
Breed should have their ears checked.
The Mississippi born vocalist has such a commanding presence
on this track and the blaring horns demand that this song be
played loud, and I mean loud. And there's nothing low key
about this production effort. It sounds huge and as a result
the song is capable of filling any floor presented to it, from
the colossal halls with sprung dance floors to tiny working
men's clubs with talc all over the floor.
Jimmy Holiday's voice as something of a universal appeal,
which is sure to get people on that floor all night long.
Every good drive is not gone, every shut eye is not asleep,
and I can tell by the guilty look on your face.
And every teeth drop has not wet.
Who are you trying to fool? Baby can't fool anybody else.
And if you look around, you will plainly see that you ain't
fooling nobody. But you're there.
Every dark cloud don't mean rain, Every crowd don't mean a
show. So don't take my love for Grande
cause every free life don't mean The Who are you trying to fool?
You can't fool anybody else. And if you look around, you'll
claim you see that you ain't fooling nobody but yourself.
You can't fool me. You can't fool me when you're
telling the lies with the serious side.
Who are you trying to fool? You can't fool anybody yet.
And if you lose the wrong plane, this You ain't fooling nobody
but yourself. Smiley.
Everyone don't need a car. You better call to me that you
love me or I'm going to leave you where you are.
Why are you trying to fool baby? Can't fool nobody else.
If you look around, you won't play anything.
You ain't fooling nobody but yourself.
You can't fool me. Who are you trying to fool by
Little Ann? And Little Ann's story really
takes some beating. The Chicago born vocalist
released her first single, Going Down a One Way St The Wrong Way,
in 1968 on Rick Tick Records and recorded an entire album worth
of incredible soul anthems in the wake of that release with
producer Dave Steve Hamilton. However, her career went largely
ignored and undervalued both by audiences and the label
executives, particular after Rick Tigg was bought out by
Motown. As such, this brilliant track
didn't see the light of day until 1999.
You're not coming at all beginning or by loving a long
long time. Love is a 2 inch feet now it can
go both ways in love with me fail by the ways by that hurts
and damaged my pride. So don't play games with me and
my heart girl do not want to tear it apart.
I'm known a lot of heartache that'll make you appreciate
you're not loving every gunner. You're not loving every gunner.
You're not love it up again. You're not love it up again.
No, no, no, no, no, no, no. So good to me.
I'll get that inspection turn on free video for me by your side
where I'll be. Yeah, yeah, yeah.
Hey, hey, hey, hey. You're not loving the beginner.
Can you tell you?
What can you find? Bring it to your phone.
That is back into the phone. Get out of the phone to eat.
I know how to please. Jesse Fisher and you're not
loving a beginner. Not a great deal is known about
Fisher himself, but he released a string of fantastic soul and
funk singles during the early 1970s through the Cleveland
label Way Out and This is from 1971, and it's certainly found a
following within the Northern Soul scene.
I've. Got to find a way to turn you
around. We can you bring your weak
distance down for glad life. I'm taking every risk to win.
No harm We no harm out in a straight.
Nothing you can do can make me. Oh, am I walking up the wrong
tree? Are you too far out of preach?
I'm something for having you because you give your sweet
kisses to somebody else all the time.
I go inside. I want you for myself.
I want my brain on to get the of you, the window hard, the window
hard up in the train. But then you can you can make
stop away no more. I leave.
But I've had to do to win her heart be like to win her heart.
I've never find a way nothing. When you ride like we can, you
bring your. You know, it's easy to see why
Rick Tick is such an important label to the Northern Soul scene
given the unparalleled quality of their output during the mid
1960s. This is from 1966 and it was
recorded from Chicago born Laura Lee, and it's a prime cut of
that quality. Like many others of that era,
Lee honed her Kraft performing gospel vocals, and the influence
of that style clearly bled over into her career too.
To Win Your Heart is another fairly standard soul love story
on the surface, but Lee's vocal prowess is such that the lyrical
content takes a back seat to the awe inspiring power of her
singing. From the heart and soul of
Manchester, it's all about soul and it's got to be Northern.
Ready or not, here comes love. Yeah, there you are.
And here I move. Suddenly it's all heavenly.
It's a new kind of feeling. This new kind of feeling has
come along. Yeah, has come.
Come alone. Ready or not, love is here.
We can't run and we can't hide our world.
Something has happened to our hearts of the new kind of
feeling. Wonderful, glorious spirit.
Love has come alone. Yeah, has come alone.
Ready your love. Loving is here.
Woozy. Yes.
Letting it fall to you and me. We've been blessed with this
happiness. It's a new kind of feeling.
Wonderful, glorious feeling. Signed to Motown Records at the
age of only 14, Caroline Crawford was always destined for
funk and soul greatness, although she was never overly
successful during her time under Gordie's leadership.
Nevertheless, her records fell into the sought after category
of failed Motown that seemed to attract Northern Soul DJs like
flies. Originally recorded back in 1971
alongside former Motown producer William Stevenson, Ready Or Not,
Here Comes Love went on issued until it was dug out of the
vaults by Kent Records. They let you go, huh?
I guess. My face through the forehead.
Oh, yeah. Listen, all that good sweet
love. And I guess you forgot then.
All that good, sweetheart. And now, Mama, when I love you,
you're over my favourite day, girl.
Can you forgive me now, girl, and take me from this moment
that I live, girl? Oh, yeah.
Good God. All the price that I paid for
running around now I got you nobody.
Now I'll never, never, never, never die.
Oh, baby, I got the hand.
Oh, yeah. Bring it all home.
Oh, baby, I need it. Oh, yeah, Bring it all home.
I want you. Come on.
All the fight that I paid now for running around.
Now look at this. I got you nobody now.
I'll never, never, never, never let me die.
My baby. Get now.
All right. Now.
Bring it home. My baby.
Jack. Got to have it now.
Now this is deep Chicago soul at its finest.
Otis Clay, one of the most emotionally powerful voices to
ever come out of the Windy City. Blending gospel rooted intensity
with raw St level soul. Baby Jane is pure heartbreak
music. Slow burning, pleading,
vulnerable and heavy with feeling.
This isn't polished pop soul. This is lived in soul, the kind
of record that sounds like it was cut straight from real life.
They say the race is not won by the fast, but by the man who
endures to the last. If I have to spend a lifetime
making your mind, then I'm well prepared for the task, 'cause
I'm gonna hang on in there, girl, 'cause I know you're
coming around, baby, I'm gonna hang on in there.
Girl, 'cause I know why you're coming around.
I've been trying so hard, trying so long.
Ain't no you're so fooling up now.
The gracious is a virtue and the way you can hurt you.
I know I'll make you somehow. Well, I'm going to hang on in
there. Girl, I know you're coming
around, but I'm going to hang on there, girl 'cause I know you're
coming around. I can tell by all the affections
that you tend to throw in my direction that there's more for
me than the eye can see. And I feel I'll soon make a
connection. I'm going to hang on in there,
girl, 'cause I know you're coming around.
I'm going to hang on in there, girl, 'cause I know you're
coming around. I'm going to hang on.
Hang on in there, girl, 'cause I know you're coming around.
I'm going to hang on. Hang on in there, girl, I know
you're coming around. Hey, I'm going to hang on in
there, girl. I know you're coming around.
Jesse Davis and Gonna Hang On in There Girl.
This is one of pure perseverance, soul.
Jesse Davis delivers a message record that's not just a love
song, but a lifeline. Gonna Hang On in There Girl is
about loyalty, patience, and of course, emotional endurance.
Real life Soul For Real life situations.
This is the kind of record that doesn't shout.
It reassures quiet strength, steady groove, and a voice that
feels honest, grounded and sincere.
That girl, can you see what she believes you do?
What you were hanging on when there's nothing to hang on to?
Why do you tell things that you know?
Hold on Truth. Let her go.
Do the right thing. Let her go, your friend.
Let her go. Let her go.
You just got to let her go. But I can't help her.
Let her go. Oh, yeah, yeah, yeah.
Do the right thing. Let her go here.
Let her. Tell her that you just don't
care. Let her go.
Let her know. Let her she can walk out freely.
Let her. She means nothing to you.
But you have so very much to me, and it ain't right.
Nothing can Let her go. Do the right thing.
Let her go. Be a friend.
Let her go. Can't you hear me?
Let her go. Oh, you just got to let her go.
I can't help her. Oh, get there.
Do the right thing. Come on, let her go.
This is Otis Clay, really, and you could call it grown man.
Soul is at his most reflective. He's restrained and devastated.
Let Her go isn't about anger, it's about acceptance, The
moment when love turns into memory and holding on becomes
letting go. Now Otis Clay as Church in his
voice, pain in the lyric and dignity in the delivery.
This is soul music for late nights and quiet rooms.
Come to those away, girl. All right?
You know I love you. I love you so.
I never, never let you go. Come back tomorrow.
Come back to me. Calm to those away.
Calm to those away.
All right.
You better hurry. I'm beginning to worry you.
I better make it home real soon. I'm going crazy, going out of my
mind. I think that I'm just wasting
time and buying out that. I will wait early in the
morning. I will wait.
Teri Hatcher and good things come to those who wait.
This is the kind of soul that steadies you, not shakes you.
It's slow burning, grounded, and deeply human.
What I found to blame me on my you can live that no with love
on earth that man have ever known that can compare with the
affection that you show. You never have to save care.
Your actions takes a lot of time.
You feel there I can't get around I can't get around the
baby. I can't get enough baby there
all the little things that are today there.
No, I want everything you do in the right.
There's so much good about you that living in the purely life
and since I've met your life to me and not to say I get his
fruition baby thinking of your name.
I'm so convinced this love is really not.
I think my life's a birthday party and I've been thinking.
Can you get a love baby? Can you get a love baby?
I can't get enough baby. Oh, the little thing that I have
to do. No baby.
Oh no, baby. I can't get along and rather
bring in you some harm. I get more pleasure in cutting
off my right arm. I can't get along, baby.
I can't get enough baby. Willy Hutch and I can't get
enough of you. It's soul with class, depth and
legacy. He also wrote and produced for
The Jackson Five. He contributed to The Motown
Machine and became a defining voice in the 1970s, especially
through his soundtrack work for the movie called The Mack, one
of the most influential soul soundtracks of the era.
I can't go nowhere. Shame to show my face.
They're talking about me. Why don't they behave?
Oh yes, they're looking and they're whispering and they're
laughing. They're talking about me.
It's good news to them. Just a funny joke.
They're bad. It happened.
Why? I'll never know.
Oh yes, they're looking and they're whispering and they're
laughing. They're talking about me.
They're wondering why you left me last night.
Keep laughing at me. But that's all right, dear.
I love you so much. I just can't let you go.
Please give me a chance. I need yourself.
Please. Call me a fool.
A fool I may be, but my friends don't know what you do to me.
Oh, yes, they do. And they'll always do me.
And they'll let me. They'll.
And as the music face tonight, remember the journey we've
shared. Every song carries a story and
every note holds a feeling. Soul isn't just heard, it's
lived, remembered and passed on from the heart of Manchester.
Until the next time, bye bye. Sometimes I'm walking alone I
realised oh Lord I done you. But when the tears coming to my
that's the thing, you make me real life, your own.
Wrong I done you wrong I done you wrong.
Oh pretty baby. Sometime I think, how long you
been gone? Sitting in my room, old, long
sometime, I sing a song. I hear a word, and this is what
we say. Sorry, sometime.
Oh Lord, just the bad things I do.
Treat it to me. One day, little girl, I made you
run. Wait a minute.
I've got a gun and know what to do.
I got to pay for the way I treated you.
I done your own. I done you wrong.
I done you wrong, Lord, I done you wrong.
I done a wrong. I done a wrong.
Let the girl.