1 00:00:00,600 --> 00:00:04,520 Welcome to tonight's episode, and this is Soul from the Soul 2 00:00:04,520 --> 00:00:31,520 City. Not Chicago, not Detroit, but 3 00:00:31,600 --> 00:00:43,200 Manchester. Love me one more time. 4 00:00:45,480 --> 00:00:49,960 Love me one more time. Love me one more time, baby. 5 00:00:51,720 --> 00:00:56,000 Love me one more time. Love me one more time, Mama, 6 00:00:56,000 --> 00:01:01,840 just one more time. You know I. 7 00:01:01,880 --> 00:01:05,800 Need you in the middle of the night. 8 00:01:05,800 --> 00:01:12,000 Did you join me to make things alright? 9 00:01:12,040 --> 00:01:18,600 So come on home. Love me one more time. 10 00:01:20,480 --> 00:01:28,320 Love me one more time. Love me one more time. 11 00:01:30,120 --> 00:01:34,960 Love me one more time. Love me one more time. 12 00:01:36,480 --> 00:01:37,760 Did you see that? I'm begging. 13 00:01:39,440 --> 00:01:49,560 I'm begging. Please love me, baby. 14 00:01:49,640 --> 00:01:56,840 Love me one more time. Love me one more time. 15 00:01:57,120 --> 00:02:02,880 Love me, Love me, Love me baby, one more time. 16 00:02:03,200 --> 00:02:35,280 Love me one more time, Mama. And I let you walk. 17 00:02:37,520 --> 00:02:45,320 Call it baby. Come on then, come on and love 18 00:02:45,400 --> 00:02:51,120 me one more time. Love me one more time. 19 00:02:53,160 --> 00:02:57,800 Love me one more time, baby. I know you knew what I'm talking 20 00:02:57,800 --> 00:03:00,840 about. Love me one more time. 21 00:03:00,840 --> 00:03:03,840 Love me one more time baby, one more time. 22 00:03:09,880 --> 00:03:11,760 From the heart and soul of Manchester. 23 00:03:11,880 --> 00:03:14,360 It's all about soul and it's got to be Northern. 24 00:03:14,680 --> 00:03:18,840 Without wishing to criticise anybody at the now long defunct 25 00:03:18,840 --> 00:03:23,120 California label Diplomacy, whoever decided that this 26 00:03:23,240 --> 00:03:28,040 unavoidable, upbeat and utterly compelling floor filler should 27 00:03:28,040 --> 00:03:33,640 be signed to the B side of Jimmy Holiday's 1965 single The New 28 00:03:33,640 --> 00:03:36,160 Breed should have their ears checked. 29 00:03:36,480 --> 00:03:41,120 The Mississippi born vocalist has such a commanding presence 30 00:03:41,360 --> 00:03:46,280 on this track and the blaring horns demand that this song be 31 00:03:46,280 --> 00:03:51,200 played loud, and I mean loud. And there's nothing low key 32 00:03:51,200 --> 00:03:55,800 about this production effort. It sounds huge and as a result 33 00:03:55,880 --> 00:04:00,800 the song is capable of filling any floor presented to it, from 34 00:04:00,840 --> 00:04:05,320 the colossal halls with sprung dance floors to tiny working 35 00:04:05,320 --> 00:04:08,600 men's clubs with talc all over the floor. 36 00:04:09,040 --> 00:04:13,360 Jimmy Holiday's voice as something of a universal appeal, 37 00:04:13,640 --> 00:04:18,560 which is sure to get people on that floor all night long. 38 00:04:26,040 --> 00:04:31,480 Every good drive is not gone, every shut eye is not asleep, 39 00:04:32,920 --> 00:04:36,320 and I can tell by the guilty look on your face. 40 00:04:36,600 --> 00:04:38,560 And every teeth drop has not wet. 41 00:04:39,160 --> 00:04:44,600 Who are you trying to fool? Baby can't fool anybody else. 42 00:04:47,400 --> 00:04:51,520 And if you look around, you will plainly see that you ain't 43 00:04:51,520 --> 00:04:53,560 fooling nobody. But you're there. 44 00:04:54,760 --> 00:05:00,000 Every dark cloud don't mean rain, Every crowd don't mean a 45 00:05:00,200 --> 00:05:04,760 show. So don't take my love for Grande 46 00:05:05,280 --> 00:05:09,800 cause every free life don't mean The Who are you trying to fool? 47 00:05:11,080 --> 00:05:17,640 You can't fool anybody else. And if you look around, you'll 48 00:05:18,280 --> 00:05:22,360 claim you see that you ain't fooling nobody but yourself. 49 00:05:22,800 --> 00:05:30,160 You can't fool me. You can't fool me when you're 50 00:05:30,160 --> 00:05:34,760 telling the lies with the serious side. 51 00:05:36,800 --> 00:05:42,240 Who are you trying to fool? You can't fool anybody yet. 52 00:05:45,040 --> 00:05:50,040 And if you lose the wrong plane, this You ain't fooling nobody 53 00:05:50,280 --> 00:05:55,000 but yourself. Smiley. 54 00:05:56,080 --> 00:06:01,400 Everyone don't need a car. You better call to me that you 55 00:06:01,720 --> 00:06:05,280 love me or I'm going to leave you where you are. 56 00:06:05,520 --> 00:06:12,880 Why are you trying to fool baby? Can't fool nobody else. 57 00:06:13,960 --> 00:06:16,640 If you look around, you won't play anything. 58 00:06:17,520 --> 00:06:19,480 You ain't fooling nobody but yourself. 59 00:06:20,440 --> 00:06:29,400 You can't fool me. Who are you trying to fool by 60 00:06:29,400 --> 00:06:32,200 Little Ann? And Little Ann's story really 61 00:06:32,200 --> 00:06:35,800 takes some beating. The Chicago born vocalist 62 00:06:35,800 --> 00:06:40,120 released her first single, Going Down a One Way St The Wrong Way, 63 00:06:40,440 --> 00:06:46,160 in 1968 on Rick Tick Records and recorded an entire album worth 64 00:06:46,160 --> 00:06:50,800 of incredible soul anthems in the wake of that release with 65 00:06:51,120 --> 00:06:55,760 producer Dave Steve Hamilton. However, her career went largely 66 00:06:55,840 --> 00:07:01,080 ignored and undervalued both by audiences and the label 67 00:07:01,080 --> 00:07:05,360 executives, particular after Rick Tigg was bought out by 68 00:07:05,360 --> 00:07:08,920 Motown. As such, this brilliant track 69 00:07:09,200 --> 00:07:13,960 didn't see the light of day until 1999. 70 00:07:30,840 --> 00:07:35,720 You're not coming at all beginning or by loving a long 71 00:07:35,800 --> 00:07:42,080 long time. Love is a 2 inch feet now it can 72 00:07:42,080 --> 00:07:50,680 go both ways in love with me fail by the ways by that hurts 73 00:07:50,920 --> 00:07:56,560 and damaged my pride. So don't play games with me and 74 00:07:56,560 --> 00:08:01,120 my heart girl do not want to tear it apart. 75 00:08:01,760 --> 00:08:08,920 I'm known a lot of heartache that'll make you appreciate 76 00:08:10,560 --> 00:08:15,920 you're not loving every gunner. You're not loving every gunner. 77 00:08:18,400 --> 00:08:23,200 You're not love it up again. You're not love it up again. 78 00:08:23,200 --> 00:08:50,800 No, no, no, no, no, no, no. So good to me. 79 00:08:51,880 --> 00:09:01,880 I'll get that inspection turn on free video for me by your side 80 00:09:02,200 --> 00:09:04,920 where I'll be. Yeah, yeah, yeah. 81 00:09:05,520 --> 00:09:10,560 Hey, hey, hey, hey. You're not loving the beginner. 82 00:09:12,760 --> 00:09:16,920 You're not loving the beginner. Can you tell you? 83 00:09:16,920 --> 00:09:22,000 What can you find? Bring it to your phone. 84 00:09:24,440 --> 00:09:30,040 That is back into the phone. Get out of the phone to eat. 85 00:09:32,200 --> 00:09:47,920 I know how to please. Jesse Fisher and you're not 86 00:09:47,920 --> 00:09:51,640 loving a beginner. Not a great deal is known about 87 00:09:51,640 --> 00:09:56,520 Fisher himself, but he released a string of fantastic soul and 88 00:09:56,520 --> 00:10:01,360 funk singles during the early 1970s through the Cleveland 89 00:10:01,360 --> 00:10:06,920 label Way Out and This is from 1971, and it's certainly found a 90 00:10:06,920 --> 00:10:10,160 following within the Northern Soul scene. 91 00:10:10,160 --> 00:10:29,240 I've. Got to find a way to turn you 92 00:10:29,280 --> 00:10:34,480 around. We can you bring your weak 93 00:10:35,480 --> 00:10:43,920 distance down for glad life. I'm taking every risk to win. 94 00:10:44,080 --> 00:10:56,360 No harm We no harm out in a straight. 95 00:10:58,240 --> 00:11:19,760 Nothing you can do can make me. Oh, am I walking up the wrong 96 00:11:19,960 --> 00:11:23,640 tree? Are you too far out of preach? 97 00:11:23,640 --> 00:11:32,400 I'm something for having you because you give your sweet 98 00:11:32,600 --> 00:11:38,640 kisses to somebody else all the time. 99 00:11:38,640 --> 00:11:42,360 I go inside. I want you for myself. 100 00:11:42,960 --> 00:11:50,800 I want my brain on to get the of you, the window hard, the window 101 00:11:58,600 --> 00:12:06,480 hard up in the train. But then you can you can make 102 00:12:07,960 --> 00:12:11,560 stop away no more. I leave. 103 00:12:13,760 --> 00:12:24,440 But I've had to do to win her heart be like to win her heart. 104 00:12:24,600 --> 00:12:32,000 I've never find a way nothing. When you ride like we can, you 105 00:12:32,280 --> 00:12:40,480 bring your. You know, it's easy to see why 106 00:12:40,480 --> 00:12:44,960 Rick Tick is such an important label to the Northern Soul scene 107 00:12:45,360 --> 00:12:50,080 given the unparalleled quality of their output during the mid 108 00:12:50,080 --> 00:12:54,240 1960s. This is from 1966 and it was 109 00:12:54,240 --> 00:13:00,280 recorded from Chicago born Laura Lee, and it's a prime cut of 110 00:13:00,280 --> 00:13:03,640 that quality. Like many others of that era, 111 00:13:03,840 --> 00:13:08,600 Lee honed her Kraft performing gospel vocals, and the influence 112 00:13:08,600 --> 00:13:13,080 of that style clearly bled over into her career too. 113 00:13:13,640 --> 00:13:18,040 To Win Your Heart is another fairly standard soul love story 114 00:13:18,160 --> 00:13:24,600 on the surface, but Lee's vocal prowess is such that the lyrical 115 00:13:24,600 --> 00:13:30,440 content takes a back seat to the awe inspiring power of her 116 00:13:30,440 --> 00:13:32,320 singing. From the heart and soul of 117 00:13:32,320 --> 00:13:35,760 Manchester, it's all about soul and it's got to be Northern. 118 00:13:44,720 --> 00:13:53,840 Ready or not, here comes love. Yeah, there you are. 119 00:13:53,880 --> 00:14:02,520 And here I move. Suddenly it's all heavenly. 120 00:14:05,760 --> 00:14:13,280 It's a new kind of feeling. This new kind of feeling has 121 00:14:13,280 --> 00:14:16,520 come along. Yeah, has come. 122 00:14:17,040 --> 00:14:24,800 Come alone. Ready or not, love is here. 123 00:14:29,480 --> 00:14:32,560 We can't run and we can't hide our world. 124 00:14:37,000 --> 00:14:45,080 Something has happened to our hearts of the new kind of 125 00:14:45,200 --> 00:14:48,240 feeling. Wonderful, glorious spirit. 126 00:14:48,720 --> 00:14:59,080 Love has come alone. Yeah, has come alone. 127 00:15:10,400 --> 00:15:13,040 Ready your love. Loving is here. 128 00:15:18,000 --> 00:15:18,360 Woozy. Yes. 129 00:15:19,400 --> 00:15:27,320 Letting it fall to you and me. We've been blessed with this 130 00:15:27,320 --> 00:15:33,520 happiness. It's a new kind of feeling. 131 00:15:33,520 --> 00:15:59,610 Wonderful, glorious feeling. Signed to Motown Records at the 132 00:15:59,610 --> 00:16:05,200 age of only 14, Caroline Crawford was always destined for 133 00:16:05,200 --> 00:16:09,840 funk and soul greatness, although she was never overly 134 00:16:09,840 --> 00:16:13,720 successful during her time under Gordie's leadership. 135 00:16:14,280 --> 00:16:18,280 Nevertheless, her records fell into the sought after category 136 00:16:18,320 --> 00:16:23,960 of failed Motown that seemed to attract Northern Soul DJs like 137 00:16:23,960 --> 00:16:28,440 flies. Originally recorded back in 1971 138 00:16:28,600 --> 00:16:33,640 alongside former Motown producer William Stevenson, Ready Or Not, 139 00:16:33,920 --> 00:16:38,600 Here Comes Love went on issued until it was dug out of the 140 00:16:38,600 --> 00:17:07,960 vaults by Kent Records. They let you go, huh? 141 00:17:08,800 --> 00:17:10,160 I guess. My face through the forehead. 142 00:17:10,160 --> 00:17:15,000 Oh, yeah. Listen, all that good sweet 143 00:17:15,000 --> 00:17:20,240 love. And I guess you forgot then. 144 00:17:20,440 --> 00:17:23,839 All that good, sweetheart. And now, Mama, when I love you, 145 00:17:23,920 --> 00:17:26,480 you're over my favourite day, girl. 146 00:17:28,480 --> 00:17:32,600 Can you forgive me now, girl, and take me from this moment 147 00:17:35,040 --> 00:17:37,200 that I live, girl? Oh, yeah. 148 00:17:37,920 --> 00:17:42,800 Good God. All the price that I paid for 149 00:17:42,800 --> 00:17:47,120 running around now I got you nobody. 150 00:17:48,200 --> 00:17:50,440 Now I'll never, never, never, never die. 151 00:17:53,800 --> 00:18:07,720 Oh, baby, I got the hand. 152 00:18:09,040 --> 00:18:11,120 Oh, yeah. Bring it all home. 153 00:18:11,320 --> 00:18:20,040 Oh, baby, I need it. Oh, yeah, Bring it all home. 154 00:18:20,040 --> 00:18:21,160 I want you. Come on. 155 00:18:28,800 --> 00:18:33,120 All the fight that I paid now for running around. 156 00:18:34,240 --> 00:18:36,720 Now look at this. I got you nobody now. 157 00:18:37,880 --> 00:18:40,400 I'll never, never, never, never let me die. 158 00:18:42,520 --> 00:18:44,240 My baby. Get now. 159 00:18:45,680 --> 00:18:47,000 All right. Now. 160 00:18:47,000 --> 00:18:49,640 Bring it home. My baby. 161 00:18:49,720 --> 00:18:50,320 Jack. Got to have it now. 162 00:18:57,520 --> 00:19:01,000 Now this is deep Chicago soul at its finest. 163 00:19:01,080 --> 00:19:05,320 Otis Clay, one of the most emotionally powerful voices to 164 00:19:05,480 --> 00:19:11,000 ever come out of the Windy City. Blending gospel rooted intensity 165 00:19:11,440 --> 00:19:16,400 with raw St level soul. Baby Jane is pure heartbreak 166 00:19:16,400 --> 00:19:18,720 music. Slow burning, pleading, 167 00:19:18,720 --> 00:19:21,320 vulnerable and heavy with feeling. 168 00:19:21,720 --> 00:19:26,440 This isn't polished pop soul. This is lived in soul, the kind 169 00:19:26,440 --> 00:19:31,720 of record that sounds like it was cut straight from real life. 170 00:19:46,960 --> 00:19:52,360 They say the race is not won by the fast, but by the man who 171 00:19:52,360 --> 00:19:57,280 endures to the last. If I have to spend a lifetime 172 00:19:57,360 --> 00:20:02,360 making your mind, then I'm well prepared for the task, 'cause 173 00:20:02,400 --> 00:20:08,160 I'm gonna hang on in there, girl, 'cause I know you're 174 00:20:08,360 --> 00:20:13,520 coming around, baby, I'm gonna hang on in there. 175 00:20:13,680 --> 00:20:16,680 Girl, 'cause I know why you're coming around. 176 00:20:18,000 --> 00:20:21,480 I've been trying so hard, trying so long. 177 00:20:22,400 --> 00:20:25,040 Ain't no you're so fooling up now. 178 00:20:25,080 --> 00:20:29,440 The gracious is a virtue and the way you can hurt you. 179 00:20:29,920 --> 00:20:36,080 I know I'll make you somehow. Well, I'm going to hang on in 180 00:20:36,360 --> 00:20:39,160 there. Girl, I know you're coming 181 00:20:39,480 --> 00:20:45,640 around, but I'm going to hang on there, girl 'cause I know you're 182 00:20:46,640 --> 00:21:06,920 coming around. I can tell by all the affections 183 00:21:07,640 --> 00:21:12,680 that you tend to throw in my direction that there's more for 184 00:21:12,760 --> 00:21:17,560 me than the eye can see. And I feel I'll soon make a 185 00:21:17,680 --> 00:21:22,080 connection. I'm going to hang on in there, 186 00:21:22,240 --> 00:21:25,280 girl, 'cause I know you're coming around. 187 00:21:25,280 --> 00:21:31,720 I'm going to hang on in there, girl, 'cause I know you're 188 00:21:32,160 --> 00:21:34,880 coming around. I'm going to hang on. 189 00:21:34,880 --> 00:21:40,520 Hang on in there, girl, 'cause I know you're coming around. 190 00:21:41,800 --> 00:21:46,480 I'm going to hang on. Hang on in there, girl, I know 191 00:21:46,720 --> 00:21:52,240 you're coming around. Hey, I'm going to hang on in 192 00:21:52,440 --> 00:21:55,520 there, girl. I know you're coming around. 193 00:22:07,400 --> 00:22:10,800 Jesse Davis and Gonna Hang On in There Girl. 194 00:22:10,800 --> 00:22:14,320 This is one of pure perseverance, soul. 195 00:22:14,600 --> 00:22:18,560 Jesse Davis delivers a message record that's not just a love 196 00:22:18,560 --> 00:22:22,120 song, but a lifeline. Gonna Hang On in There Girl is 197 00:22:22,120 --> 00:22:26,720 about loyalty, patience, and of course, emotional endurance. 198 00:22:27,120 --> 00:22:30,600 Real life Soul For Real life situations. 199 00:22:30,960 --> 00:22:33,440 This is the kind of record that doesn't shout. 200 00:22:33,440 --> 00:22:38,600 It reassures quiet strength, steady groove, and a voice that 201 00:22:38,600 --> 00:22:42,280 feels honest, grounded and sincere. 202 00:23:02,000 --> 00:23:09,360 That girl, can you see what she believes you do? 203 00:23:11,520 --> 00:23:16,600 What you were hanging on when there's nothing to hang on to? 204 00:23:18,920 --> 00:23:22,880 Why do you tell things that you know? 205 00:23:22,880 --> 00:23:27,400 Hold on Truth. Let her go. 206 00:23:28,880 --> 00:23:32,720 Do the right thing. Let her go, your friend. 207 00:23:33,960 --> 00:23:38,760 Let her go. Let her go. 208 00:23:40,160 --> 00:23:44,720 You just got to let her go. But I can't help her. 209 00:23:44,760 --> 00:23:51,680 Let her go. Oh, yeah, yeah, yeah. 210 00:23:53,000 --> 00:24:03,280 Do the right thing. Let her go here. 211 00:24:03,320 --> 00:24:06,720 Let her. Tell her that you just don't 212 00:24:06,800 --> 00:24:10,400 care. Let her go. 213 00:24:10,720 --> 00:24:13,600 Let her know. Let her she can walk out freely. 214 00:24:13,640 --> 00:24:16,680 Let her. She means nothing to you. 215 00:24:16,680 --> 00:24:25,840 But you have so very much to me, and it ain't right. 216 00:24:27,680 --> 00:24:34,720 Nothing can Let her go. Do the right thing. 217 00:24:35,480 --> 00:24:38,000 Let her go. Be a friend. 218 00:24:39,160 --> 00:24:41,760 Let her go. Can't you hear me? 219 00:24:42,400 --> 00:24:47,760 Let her go. Oh, you just got to let her go. 220 00:24:48,760 --> 00:24:56,160 I can't help her. Oh, get there. 221 00:24:57,720 --> 00:25:14,160 Do the right thing. Come on, let her go. 222 00:25:23,400 --> 00:25:27,680 This is Otis Clay, really, and you could call it grown man. 223 00:25:27,680 --> 00:25:32,960 Soul is at his most reflective. He's restrained and devastated. 224 00:25:33,360 --> 00:25:37,280 Let Her go isn't about anger, it's about acceptance, The 225 00:25:37,400 --> 00:25:43,280 moment when love turns into memory and holding on becomes 226 00:25:43,280 --> 00:25:48,080 letting go. Now Otis Clay as Church in his 227 00:25:48,080 --> 00:25:53,480 voice, pain in the lyric and dignity in the delivery. 228 00:25:53,760 --> 00:25:58,400 This is soul music for late nights and quiet rooms. 229 00:26:19,400 --> 00:26:25,120 Come to those away, girl. All right? 230 00:26:25,120 --> 00:26:30,960 You know I love you. I love you so. 231 00:26:32,920 --> 00:26:42,160 I never, never let you go. Come back tomorrow. 232 00:26:44,080 --> 00:27:05,520 Come back to me. Calm to those away. 233 00:27:07,520 --> 00:27:12,880 Calm to those away. Calm to those away. 234 00:27:14,440 --> 00:27:20,080 Calm to those away. All right. 235 00:27:24,280 --> 00:27:31,920 You better hurry. I'm beginning to worry you. 236 00:27:32,240 --> 00:27:43,720 I better make it home real soon. I'm going crazy, going out of my 237 00:27:43,720 --> 00:27:49,040 mind. I think that I'm just wasting 238 00:27:49,080 --> 00:28:19,120 time and buying out that. I will wait early in the 239 00:28:19,840 --> 00:28:22,800 morning. I will wait. 240 00:28:27,120 --> 00:28:31,320 Teri Hatcher and good things come to those who wait. 241 00:28:31,480 --> 00:28:35,280 This is the kind of soul that steadies you, not shakes you. 242 00:28:35,560 --> 00:28:39,640 It's slow burning, grounded, and deeply human. 243 00:28:53,960 --> 00:28:59,280 What I found to blame me on my you can live that no with love 244 00:28:59,280 --> 00:29:05,120 on earth that man have ever known that can compare with the 245 00:29:05,280 --> 00:29:10,480 affection that you show. You never have to save care. 246 00:29:13,080 --> 00:29:15,400 Your actions takes a lot of time. 247 00:29:15,800 --> 00:29:28,520 You feel there I can't get around I can't get around the 248 00:29:28,880 --> 00:29:31,640 baby. I can't get enough baby there 249 00:29:31,640 --> 00:29:33,720 all the little things that are today there. 250 00:29:34,920 --> 00:29:41,920 No, I want everything you do in the right. 251 00:29:41,960 --> 00:29:47,000 There's so much good about you that living in the purely life 252 00:29:48,320 --> 00:29:53,720 and since I've met your life to me and not to say I get his 253 00:29:53,840 --> 00:29:56,720 fruition baby thinking of your name. 254 00:29:58,040 --> 00:30:00,960 I'm so convinced this love is really not. 255 00:30:01,120 --> 00:30:06,400 I think my life's a birthday party and I've been thinking. 256 00:30:12,000 --> 00:30:19,000 Can you get a love baby? Can you get a love baby? 257 00:30:19,160 --> 00:30:22,320 I can't get enough baby. Oh, the little thing that I have 258 00:30:22,360 --> 00:30:23,160 to do. No baby. 259 00:30:24,280 --> 00:30:48,440 Oh no, baby. I can't get along and rather 260 00:30:48,520 --> 00:30:55,160 bring in you some harm. I get more pleasure in cutting 261 00:30:55,280 --> 00:30:58,680 off my right arm. I can't get along, baby. 262 00:30:58,920 --> 00:31:30,170 I can't get enough baby. Willy Hutch and I can't get 263 00:31:30,170 --> 00:31:34,000 enough of you. It's soul with class, depth and 264 00:31:34,000 --> 00:31:36,640 legacy. He also wrote and produced for 265 00:31:36,640 --> 00:31:40,240 The Jackson Five. He contributed to The Motown 266 00:31:40,240 --> 00:31:46,640 Machine and became a defining voice in the 1970s, especially 267 00:31:46,640 --> 00:31:51,680 through his soundtrack work for the movie called The Mack, one 268 00:31:51,680 --> 00:31:56,640 of the most influential soul soundtracks of the era. 269 00:32:11,560 --> 00:32:16,960 I can't go nowhere. Shame to show my face. 270 00:32:17,480 --> 00:32:22,840 They're talking about me. Why don't they behave? 271 00:32:23,440 --> 00:32:30,280 Oh yes, they're looking and they're whispering and they're 272 00:32:30,320 --> 00:32:34,440 laughing. They're talking about me. 273 00:32:36,640 --> 00:32:42,080 It's good news to them. Just a funny joke. 274 00:32:42,600 --> 00:32:44,200 They're bad. It happened. 275 00:32:45,520 --> 00:32:47,680 Why? I'll never know. 276 00:32:48,640 --> 00:32:55,440 Oh yes, they're looking and they're whispering and they're 277 00:32:55,520 --> 00:32:59,680 laughing. They're talking about me. 278 00:33:02,320 --> 00:33:06,960 They're wondering why you left me last night. 279 00:33:07,840 --> 00:33:14,000 Keep laughing at me. But that's all right, dear. 280 00:33:14,000 --> 00:33:18,440 I love you so much. I just can't let you go. 281 00:33:19,440 --> 00:33:25,520 Please give me a chance. I need yourself. 282 00:33:25,520 --> 00:33:27,600 Please. Call me a fool. 283 00:33:28,360 --> 00:33:36,440 A fool I may be, but my friends don't know what you do to me. 284 00:33:37,120 --> 00:33:43,920 Oh, yes, they do. And they'll always do me. 285 00:33:43,920 --> 00:33:46,320 And they'll let me. They'll. 286 00:34:06,000 --> 00:34:09,639 And as the music face tonight, remember the journey we've 287 00:34:09,639 --> 00:34:12,600 shared. Every song carries a story and 288 00:34:12,600 --> 00:34:16,600 every note holds a feeling. Soul isn't just heard, it's 289 00:34:16,600 --> 00:34:21,159 lived, remembered and passed on from the heart of Manchester. 290 00:34:21,800 --> 00:34:41,239 Until the next time, bye bye. Sometimes I'm walking alone I 291 00:34:41,280 --> 00:34:52,760 realised oh Lord I done you. But when the tears coming to my 292 00:34:53,800 --> 00:34:58,960 that's the thing, you make me real life, your own. 293 00:35:04,160 --> 00:35:13,000 Wrong I done you wrong I done you wrong. 294 00:35:13,040 --> 00:35:16,640 Oh pretty baby. Sometime I think, how long you 295 00:35:17,200 --> 00:35:22,600 been gone? Sitting in my room, old, long 296 00:35:22,800 --> 00:35:31,440 sometime, I sing a song. I hear a word, and this is what 297 00:35:31,840 --> 00:36:11,080 we say. Sorry, sometime. 298 00:36:11,280 --> 00:36:15,040 Oh Lord, just the bad things I do. 299 00:36:17,800 --> 00:36:22,560 Treat it to me. One day, little girl, I made you 300 00:36:22,560 --> 00:36:24,280 run. Wait a minute. 301 00:36:26,200 --> 00:36:28,960 I've got a gun and know what to do. 302 00:36:30,360 --> 00:36:33,280 I got to pay for the way I treated you. 303 00:36:34,160 --> 00:36:39,280 I done your own. I done you wrong. 304 00:36:39,520 --> 00:36:42,560 I done you wrong, Lord, I done you wrong. 305 00:36:46,240 --> 00:36:47,320 I done a wrong. I done a wrong. 306 00:37:00,760 --> 00:37:01,560 Let the girl.