1 00:00:00,360 --> 00:00:05,000 Tonight it's all about blend. The voices, the rhythm, and the 2 00:00:05,000 --> 00:00:08,720 feeling all coming together to create something special. 3 00:00:08,960 --> 00:00:11,960 Because that's what makes soul so good. 4 00:00:34,640 --> 00:00:38,320 Now everyone's got their own idea of what soul is. 5 00:00:38,320 --> 00:00:41,360 Some say it's the voice, some say it's the groove. 6 00:00:41,800 --> 00:00:46,800 But tonight it's a blend. And like a good cup of tea, it 7 00:00:46,800 --> 00:01:10,360 needs time to brew. With thinking things over, since 8 00:01:14,360 --> 00:01:17,600 you said to me that you'd fall them in. 9 00:01:17,920 --> 00:01:22,920 Love and. I I just want to. 10 00:01:23,240 --> 00:01:28,560 Tell you. That I'll always love you 11 00:01:28,800 --> 00:01:33,720 because love is wonderful. Love is beautiful. 12 00:01:37,080 --> 00:01:39,440 I'm so happy when we're together. 13 00:01:39,440 --> 00:01:44,040 Love is wonderful. Love is beautiful, I can't 14 00:01:44,120 --> 00:01:50,240 resist you tender kiss. I never knew love was like this. 15 00:01:50,480 --> 00:01:58,800 Was like this was. Like this love for me was a 16 00:01:58,920 --> 00:02:07,200 Daydream my life. I searched for someone just like 17 00:02:07,200 --> 00:02:13,800 you, and now you say that you love me. 18 00:02:17,000 --> 00:02:19,480 Well, I'll always love you because love is wonderful. 19 00:02:22,440 --> 00:02:27,880 Love is beautiful. I'm so happy when we're 20 00:02:27,880 --> 00:02:28,920 together. Love is wonderful, Love is 21 00:02:28,920 --> 00:02:35,840 beautiful. I can't resist tender kiss. 22 00:02:36,200 --> 00:02:42,640 I never knew love was like this, was like this was like this 23 00:03:01,610 --> 00:03:03,370 because. Love is wonderful. 24 00:03:03,370 --> 00:03:07,610 Love is beautiful. I'm so happy when. 25 00:03:07,800 --> 00:03:13,040 Coming together, love is wonderful. 26 00:03:13,200 --> 00:03:15,400 Love is beautiful, I can't resist. 27 00:03:15,720 --> 00:03:16,800 You tender kiss. I never. 28 00:03:16,800 --> 00:03:19,200 Knew love was like this because. Love is wonderful. 29 00:03:20,440 --> 00:03:25,600 Love is beautiful, I'm so happy. When we're together. 30 00:03:25,600 --> 00:03:33,080 Love is wonderful, love is beautiful and resist you tender 31 00:03:33,080 --> 00:03:35,880 kiss. I never knew love was. 32 00:03:35,880 --> 00:03:47,990 Like this? A rare English effort which was 33 00:03:47,990 --> 00:03:51,630 adopted by the deejays of the Northern Soul scene, Paula 34 00:03:51,630 --> 00:03:53,670 Parfait. She was born and raised in 35 00:03:53,670 --> 00:03:57,670 London, but her voice fit writing with the landscape of 36 00:03:57,750 --> 00:04:01,880 American soul excellence. I'm going to Give You Back Your 37 00:04:01,880 --> 00:04:07,320 Ring was the 20 year old's debut single for Beacon Records and 38 00:04:07,400 --> 00:04:11,880 ended up being one of only two singles she recorded for the 39 00:04:11,880 --> 00:04:14,800 label. Despite its quality, this song 40 00:04:14,800 --> 00:04:19,120 was not a hit and Parfit's follow up didn't fare too much 41 00:04:19,120 --> 00:04:23,720 better, leading her to abandon the music industry altogether 42 00:04:24,080 --> 00:04:29,280 during the early 1970s. Had Beacon chosen instead to 43 00:04:29,280 --> 00:04:34,600 promote the singles B side Love Is Wonderful, the release might 44 00:04:34,600 --> 00:04:38,400 have fared better. Ignored upon initial release, 45 00:04:38,440 --> 00:04:42,480 the song quickly became a hit amongst the mod and soul 46 00:04:42,480 --> 00:04:46,320 nightclubs of England and Northern Soul All Nighters 47 00:04:46,520 --> 00:04:50,560 quickly followed suit. It's optimistic outlook and 48 00:04:50,560 --> 00:04:55,040 harmonising vocals coupled with that driving dance beat make 49 00:04:55,040 --> 00:04:58,040 this song an almost guaranteed floor filler. 50 00:05:37,080 --> 00:05:39,840 Breaking down the walls of. Hearted baby. 51 00:05:40,040 --> 00:05:41,320 I'm a Carpenter. All the love. 52 00:05:42,880 --> 00:05:44,880 Makes you. Breaking down the walls of 53 00:05:45,000 --> 00:05:48,800 Hearted. Baby got to tear down, only 54 00:05:48,920 --> 00:05:51,560 listen till the field of the heart of the Lord, breaking down 55 00:05:52,000 --> 00:05:57,760 the walls of hearted them checking down the walls. 56 00:05:58,040 --> 00:06:04,320 Of hearted. Baby breaking down the walls of 57 00:06:04,600 --> 00:06:13,640 Hearted bring up bring the turn of God now be alone and that my 58 00:06:13,800 --> 00:06:16,680 name is here man so. Deep it up. 59 00:06:16,760 --> 00:06:20,120 The walls of Friday calling up the name go with the fad of one 60 00:06:20,320 --> 00:06:26,320 rage. I'm swinging and your face is 61 00:06:26,440 --> 00:06:27,440 there before me. I have no Margot. 62 00:06:27,440 --> 00:06:33,480 You're gonna run the fire Number 4. 63 00:06:36,920 --> 00:06:39,480 Oh yeah. Breaking down the walls, 64 00:06:39,600 --> 00:06:40,840 hardened baby. I'm a Carpenter. 65 00:06:40,880 --> 00:06:42,120 I'm a person. Breaking down the walls 66 00:06:42,120 --> 00:06:45,040 hardened, baby. Got the. 10 out all the morning. 67 00:06:45,120 --> 00:06:46,520 Until the building of the heart of the blue. 68 00:06:46,640 --> 00:06:47,280 Yo. Making down the walls. 69 00:06:47,440 --> 00:06:48,360 Hardened, they live. Down the walls. 70 00:06:48,680 --> 00:07:04,640 Hardened, they live. Taking down the walls. 71 00:07:06,720 --> 00:07:17,560 Party. Turn it down. 72 00:07:18,200 --> 00:07:22,280 Watch the baby. I'm a Carpenter, a Carpenter 73 00:07:23,240 --> 00:07:24,960 now. Love is a maxim. 74 00:07:26,800 --> 00:07:32,320 Break my brick, turn it down. This storming anthem by Jonny 75 00:07:32,320 --> 00:07:34,640 Johnson and the Bandwagon has it all. 76 00:07:34,880 --> 00:07:39,480 Heavy brass and infectious, energetic vocal performance and 77 00:07:39,600 --> 00:07:45,880 unexpected reprise at the end, and even strange lyrics like I'm 78 00:07:45,880 --> 00:07:48,080 a Carpenter of love and affection. 79 00:07:48,320 --> 00:07:54,520 However, the 1968 song is pretty unique within the Northern Soul 80 00:07:54,520 --> 00:08:00,960 scene, despite the vocal group hailing from Rochester, NY, and 81 00:08:00,960 --> 00:08:05,400 the single being issued in the USA at the same time as the UK. 82 00:08:05,880 --> 00:08:09,680 Breaking Down the Walls of Heartache failed to chart in the 83 00:08:09,680 --> 00:08:13,000 States, but it reached #4 in the UK. 84 00:08:13,480 --> 00:08:17,280 Ultimately, you could debate whether you think this song is 85 00:08:17,280 --> 00:08:21,960 worthy of being included in the scene or not, but I would defy 86 00:08:22,120 --> 00:08:27,160 anybody to try and listen to the rhythm of this tune and not leap 87 00:08:27,160 --> 00:08:50,600 up on the dance floor. Turn my back on you. 88 00:08:50,600 --> 00:09:01,560 But I'll never, never. I'll turn my back on you all my 89 00:09:01,680 --> 00:09:04,920 life. That's so good to me. 90 00:09:08,480 --> 00:09:11,840 Yeah. They're never gonna come and let 91 00:09:11,840 --> 00:09:18,920 you go free. So many years to try. 92 00:09:19,160 --> 00:09:22,960 With all my tears. I'll never. 93 00:09:25,080 --> 00:09:28,720 I said never. Never, woman. 94 00:09:28,720 --> 00:09:33,200 I'll never. I'll never do it no wrong. 95 00:09:35,320 --> 00:09:39,880 When I finish my comma, I'm going to come stay at home. 96 00:09:40,040 --> 00:09:43,000 Kill me. So good. 97 00:09:43,000 --> 00:09:46,680 That's right. Me. 98 00:09:46,720 --> 00:09:52,840 Yeah. The good loving woman and the 99 00:09:52,960 --> 00:09:53,960 fast. Can't be. 100 00:09:53,960 --> 00:09:58,480 I'll never tell you. I'll never. 101 00:10:06,940 --> 00:10:08,740 Oh, never. Never. 102 00:10:59,520 --> 00:11:24,040 None. From the heart and soul of 103 00:11:24,040 --> 00:11:26,680 Manchester. It's all about soul and it's got 104 00:11:26,680 --> 00:11:29,240 to be Northern. The Airedales form one of the 105 00:11:29,240 --> 00:11:33,720 most unexpected and intriguing tales in all of soul music. 106 00:11:34,000 --> 00:11:36,400 Originally formed by a group of U.S. 107 00:11:36,400 --> 00:11:41,280 Navy seamen towards the tail end of the 1950's, the group 108 00:11:41,280 --> 00:11:45,840 eventually made a new life for itself in mainland Europe with 109 00:11:46,040 --> 00:11:50,760 Rocky Roberts becoming the bandleader in 1963 and 110 00:11:50,760 --> 00:11:54,920 relocating to Rome. When Roberts stepped back in 111 00:11:54,920 --> 00:12:00,400 1967 to focus on acting in a solo career, it was down to the 112 00:12:00,560 --> 00:12:06,280 North Carolina Born Museum West Johnson to take the reins, and 113 00:12:06,280 --> 00:12:12,520 he catapulted the group onto the cutting edge of funk and soul 114 00:12:12,520 --> 00:12:15,560 expression. I'll Never Turn My Back On You 115 00:12:15,960 --> 00:12:20,680 as a commanding tune, using Johnson's distinctive voice and 116 00:12:20,680 --> 00:12:26,640 the seemingly unrelenting brass of the Airedales to create a 117 00:12:26,800 --> 00:12:37,640 floor filler. Without a warning, you blow my 118 00:12:37,640 --> 00:12:41,080 heart. Without a warning, you tore it 119 00:12:41,400 --> 00:12:46,320 apart. Without a warning, you took my 120 00:12:46,480 --> 00:12:48,240 love and knew. You knew you. 121 00:12:49,320 --> 00:12:53,200 And baby, oh how you abuse without a warning. 122 00:12:56,280 --> 00:13:00,560 Certainly I must cry. Believe me. 123 00:13:00,560 --> 00:13:03,120 Say goodbye you. My hearts will die. 124 00:13:03,520 --> 00:13:07,120 Know what I'm gonna do for you till I love you to know. 125 00:13:07,640 --> 00:13:08,320 That I. Love you. 126 00:13:10,560 --> 00:13:12,880 Finding out now what I fallen in. 127 00:13:12,920 --> 00:13:15,520 I don't live. Without a doubt. 128 00:13:15,840 --> 00:13:18,320 Don't live and you won't lie. You're so hot. 129 00:13:18,600 --> 00:13:39,240 You're so hot. I can't save my ass or ask who's 130 00:13:39,240 --> 00:13:42,320 the only reason why. Could that be a matter of life? 131 00:13:43,200 --> 00:13:46,680 I don't. Love you finding out now what I 132 00:13:46,680 --> 00:13:49,320 found in the only I don't want it without a woman, without a 133 00:13:49,320 --> 00:13:50,600 woman without a woman, without a woman. 134 00:14:04,560 --> 00:14:08,720 Before Curtis Mayfield became a groundbreaking soul star in his 135 00:14:08,720 --> 00:14:13,000 own right, The Move On Up songwriter was a prolific 136 00:14:13,080 --> 00:14:18,400 songwriter and producer at the heart of Chicago's rich soul 137 00:14:18,400 --> 00:14:21,520 scene. This high tempo, energising 138 00:14:21,520 --> 00:14:27,960 stomper Without a Warning by the Minnesota group The Amazes was 139 00:14:27,960 --> 00:14:32,200 just one of the tracks that Curtis Mayfield worked on during 140 00:14:32,200 --> 00:14:37,440 his time with Thomas Records during the late 1960s, and he 141 00:14:37,440 --> 00:14:41,560 seems to have successfully really injected the song with 142 00:14:41,560 --> 00:14:46,600 his own knack for creating timeless, dynamic soul 143 00:14:46,600 --> 00:15:04,120 masterpieces. Ain't no soul nothing. 144 00:15:04,520 --> 00:15:06,560 Below you, sister, you've been gone. 145 00:15:09,440 --> 00:15:10,960 We ain't scared. To. 146 00:15:11,000 --> 00:15:13,640 Watch out this. Leather and put them. 147 00:15:14,320 --> 00:15:19,800 On SO, I still feel. The real love. 148 00:15:21,320 --> 00:15:24,520 Can't do nothing without that, ain't no. 149 00:15:24,720 --> 00:15:25,080 Soul. Nothing. 150 00:15:27,280 --> 00:15:28,720 There's. Human these old. 151 00:15:31,360 --> 00:15:32,480 Ladies that between. Places. 152 00:15:32,520 --> 00:15:35,120 The devil's eyes lay there, the music Fang out, but there's 153 00:15:35,200 --> 00:15:39,920 nothing I've. Seen cry go out. 154 00:15:40,360 --> 00:15:43,160 And feel. The real love. 155 00:15:43,160 --> 00:15:50,920 Look if you. Know anything without? 156 00:15:53,000 --> 00:15:53,600 That ain't no. Soul. 157 00:15:53,920 --> 00:17:08,200 Nothing, baby. We're taking a trip now to OK 158 00:17:08,200 --> 00:17:13,119 Records, a truly fascinating record label and one which plays 159 00:17:13,119 --> 00:17:16,000 a pivotable role on the Northern Soul scene. 160 00:17:16,280 --> 00:17:21,400 Mississippi vocalist Major Lance was amongst the labels flagship 161 00:17:21,440 --> 00:17:27,760 acts during the 1960s. This sharp, short single is 162 00:17:27,920 --> 00:17:32,720 bursting at the seams with soul. It's rousing rhythm are enough 163 00:17:32,720 --> 00:17:36,960 to put this track in the floor filler category alongside 164 00:17:36,960 --> 00:17:42,640 countless other OK singles which found a home in the Northern 165 00:17:42,640 --> 00:18:19,480 Soul scene. As fast as. 166 00:18:19,480 --> 00:18:26,880 Blue colour white. A. 167 00:18:51,600 --> 00:20:07,720 Big, bright yellow. None. 168 00:20:36,240 --> 00:21:06,480 Music. The. 169 00:21:32,920 --> 00:21:36,400 Music a great track from Colour One and Tear Black. 170 00:21:36,720 --> 00:21:40,440 Now 7 inch singles have always been the bread and butter of 171 00:21:40,440 --> 00:21:45,560 Northern Soul, the ammo with which DJ's have been infecting 172 00:21:45,600 --> 00:21:50,160 audiences since the very early days of the movement. 173 00:21:50,520 --> 00:21:54,880 Still, the importance of album deep cuts shouldn't be 174 00:21:54,880 --> 00:21:58,600 overlooked. And this is from Linda Jones. 175 00:22:10,640 --> 00:22:15,360 I thought I found the right guy, but my mother girl caught his 176 00:22:15,480 --> 00:22:18,680 eye when it turned his back on me. 177 00:22:20,000 --> 00:22:25,360 Lord, I thought I'd die. I'm just a hand on. 178 00:22:26,520 --> 00:22:33,000 Most of my hope is gone, gone still ain't come since they 179 00:22:33,000 --> 00:22:39,360 stepping through my finger. Her last minute miracle is all I 180 00:22:39,360 --> 00:22:45,280 can hold for get in hysterical praying. 181 00:22:45,280 --> 00:22:46,480 He walks through. The door. 182 00:22:47,600 --> 00:22:52,400 And it's this Harding and all heartbreaking, my old back. 183 00:22:52,440 --> 00:22:59,640 That's all I need. In fact. 184 00:22:59,640 --> 00:23:01,600 You wish you can. Lester is hard. 185 00:23:01,840 --> 00:23:04,600 I'm anticipated making a new star. 186 00:23:04,800 --> 00:23:10,440 If I can't share his weakness, my life will see two exists. 187 00:23:11,520 --> 00:23:16,360 A last minute Miraca is all I can hold. 188 00:23:18,160 --> 00:23:23,720 Giving my love to a stranger. Living my heart and danger all 189 00:23:23,920 --> 00:23:28,000 hope it's fading away. Please let him come back to 190 00:23:28,000 --> 00:23:30,960 death. And I'm gonna live in miracle. 191 00:23:30,960 --> 00:23:43,280 I'm gonna live in Miracle so fast, This computer. 192 00:23:45,480 --> 00:23:48,120 Yeah, yeah. Never have I been together. 193 00:23:48,760 --> 00:23:53,480 Losing. Will I ever no more get hurt her 194 00:23:53,480 --> 00:24:01,240 last minute miracle Hello I can hope or get in hysterical 195 00:24:02,640 --> 00:24:03,720 brainy. One through. 196 00:24:06,240 --> 00:24:07,400 The door and this, hearty and that. 197 00:24:08,280 --> 00:24:31,420 All heartbreaking, my old man. Linda Jones, another last minute 198 00:24:31,420 --> 00:24:34,540 miracle. It perfectly complements the awe 199 00:24:34,540 --> 00:24:37,900 inspiring vocals of the New Jersey vocalists. 200 00:24:38,140 --> 00:24:41,940 It's a song which seems tailor made as a single yet. 201 00:24:41,940 --> 00:24:47,680 Loma, the R&B imprint of Warner Brothers, never issued it as a 202 00:24:47,680 --> 00:24:51,200 single. In fact, it wasn't until 2005 203 00:24:51,480 --> 00:24:55,920 that Warner Brothers released the song as a 7 inch single. 204 00:25:20,200 --> 00:25:32,160 I see a call from the woman telling me these feet and that 205 00:25:35,120 --> 00:25:40,440 she was all along blue. Oh, she didn't know. 206 00:25:41,160 --> 00:25:47,920 Oh Lord, what to do. Oh, my baby feeling might say, 207 00:25:49,960 --> 00:25:55,680 let the change be behind coming home in the morning. 208 00:25:59,560 --> 00:26:05,720 I'm coming home in the morning. Right home, baby. 209 00:26:14,080 --> 00:26:28,040 Oh, baby roll. My pain special D troller didn't 210 00:26:28,040 --> 00:26:29,920 know love. That's wrong. 211 00:26:31,000 --> 00:26:33,440 She'd have a little patient baby. 212 00:26:35,080 --> 00:26:43,280 I was surely coming home and I coming home in the morning. 213 00:26:44,880 --> 00:26:50,960 Oh babe, I'm coming home in the morning. 214 00:26:52,600 --> 00:27:09,880 Right on, right on. I'll be right back. 215 00:27:44,800 --> 00:27:52,240 I'm going to be that bitch baby beside you baby. 216 00:27:53,680 --> 00:28:04,400 I'm going to eat the pain. I love your heart. 217 00:28:07,040 --> 00:28:11,800 I never want to go. Never both going to travel this 218 00:28:11,920 --> 00:28:22,720 land. So I oh Lord, coming home. 219 00:28:22,760 --> 00:28:25,080 So I don't know. I'll tell you baby, right now 220 00:28:27,280 --> 00:28:31,240 I'm coming home. Oh my baby. 221 00:28:31,640 --> 00:28:49,040 I'm working on this baby. What can y'all say? 222 00:28:49,040 --> 00:28:53,560 Call. Me on the birthday spoken babe 223 00:28:54,920 --> 00:29:05,240 for I coming I ain't chosen babe sitting I'm running that never 224 00:29:05,240 --> 00:29:41,560 came I'll be. So that. 225 00:30:10,160 --> 00:30:14,240 Luke Pride, the Chicago born songwriter who upon launching 226 00:30:14,240 --> 00:30:20,640 his solo career in 1970, came out with this absolute stormer. 227 00:30:20,800 --> 00:30:25,840 It was issued on the Texas label Sumi, so-called for its tagline. 228 00:30:26,120 --> 00:30:31,040 If you don't like it, Sumi. The Reco was only ever pressed 229 00:30:31,040 --> 00:30:35,160 in small numbers without the widespread distribution of major 230 00:30:35,160 --> 00:30:39,080 labels. How exactly it made its way over 231 00:30:39,080 --> 00:30:43,920 to Lancashire is something of a mystery, but original copies of 232 00:30:43,920 --> 00:30:49,080 The Single will set you back multiple thousands of pounds in 233 00:30:49,080 --> 00:31:05,280 the modern age. I've got a. 234 00:31:05,600 --> 00:31:07,800 Lady. Lady love, lady love. 235 00:31:09,880 --> 00:31:15,760 She's a man and I love her. So look, we won't fall because I 236 00:31:15,880 --> 00:31:28,360 know with my lady lady love, we walk. 237 00:31:28,360 --> 00:31:29,600 Down the streets. Don't do that. 238 00:31:31,240 --> 00:31:34,320 Compliment from all the people we meet, people we meet, people 239 00:31:37,560 --> 00:31:40,600 we meet. Oh. 240 00:31:41,080 --> 00:31:46,200 She treats. Me Doo Doo Doo like a cute just 241 00:31:46,480 --> 00:31:49,600 like a. And she does. 242 00:31:49,600 --> 00:31:54,240 For me, Doo Doo. Most everything Doo ever. 243 00:31:56,400 --> 00:32:00,360 And to meet. The girls dear, and I love. 244 00:32:01,280 --> 00:32:02,280 To have. A new. 245 00:32:04,120 --> 00:32:27,760 My lady ladylove. And to me the. 246 00:32:27,880 --> 00:32:31,960 Girl is dear and I love. To have. 247 00:32:32,120 --> 00:32:37,680 A new. Lady love talking about my lady, 248 00:32:37,720 --> 00:32:57,160 talking about my lady. Chicago Soul with that smooth, 249 00:32:57,320 --> 00:33:00,960 slightly haunting edge. The Von Tastics. 250 00:33:00,960 --> 00:33:05,480 They were part of the mid 60s Chicago scene recording for the 251 00:33:05,600 --> 00:33:09,520 Saint Laurents record label. They never hit the big 252 00:33:09,520 --> 00:33:13,640 commercial heights, but that's exactly why they became prized 253 00:33:14,040 --> 00:33:18,360 on the Northern Soul circuit. Records like this had the under 254 00:33:18,360 --> 00:33:22,960 the radar magic DJ's were always hunting for. 255 00:33:34,200 --> 00:33:45,890 Oh, I'd like. To hold you tired baby. 256 00:33:45,930 --> 00:33:50,890 You're my guiding light. Like holding on to my last. 257 00:33:51,330 --> 00:33:53,010 Breath of life. I need. 258 00:33:57,250 --> 00:34:03,680 Sitting here looking at the wall, it's like having now no 259 00:34:03,680 --> 00:34:08,440 life at all, I heard. And why don't you call? 260 00:34:08,520 --> 00:34:09,120 I need. You. 261 00:34:21,719 --> 00:34:25,360 Hold my hand to make me understand I need. 262 00:34:25,520 --> 00:34:35,159 You. That's going around. 263 00:34:38,880 --> 00:34:44,440 That is in love with. No, no, no. 264 00:34:49,719 --> 00:34:57,760 No, my right side and I'm. Here. 265 00:35:04,640 --> 00:35:11,160 To hold on to when I'm down, I need you. 266 00:35:11,200 --> 00:35:20,280 I always need you to arrive. Sitting here looking at the 267 00:35:20,440 --> 00:35:24,640 wall, it's like having no, no words at all. 268 00:35:26,080 --> 00:35:53,120 Say honey, please call. That's Johnny McCall, and 269 00:35:53,120 --> 00:35:57,040 really, it's a romantic slice of Chicago. 270 00:35:57,040 --> 00:36:01,480 So although the Doo Wop singer opts for a laid back, almost 271 00:36:01,480 --> 00:36:06,400 mellow performance on this song, his voice is still capable of 272 00:36:06,400 --> 00:36:11,680 capturing that gut wrenching emotion of romantic turmoil. 273 00:36:27,080 --> 00:36:30,920 In a moment, In a moment, I can see. 274 00:36:30,920 --> 00:36:34,800 In a moment my I'm on my I can see. 275 00:36:34,800 --> 00:36:35,800 In a moment. In a moment I. 276 00:36:35,960 --> 00:36:45,840 Can turn up. I go to love me, you love your 277 00:36:46,280 --> 00:36:47,800 soul. Yeah. 278 00:36:49,160 --> 00:36:52,160 That too long? We follow everywhere I go. 279 00:36:53,440 --> 00:36:56,800 Give me that girl. Hey, hey, hey, every. 280 00:36:57,520 --> 00:37:03,320 Day in a. Moment Don't you know that I 281 00:37:03,360 --> 00:37:07,840 love you, love you, love you, love you, love I let you? 282 00:37:08,240 --> 00:37:09,840 So hard. In a moment in a. 283 00:37:10,360 --> 00:37:15,640 Moment, I guess in a moment. My my my. 284 00:37:15,960 --> 00:37:18,200 In a. Moment in a moment, I can tell. 285 00:37:18,200 --> 00:37:32,360 I know. Indeed, my soul Oh yeah, let you 286 00:37:32,560 --> 00:37:39,600 know and follow everywhere I go hey girl hey, hey, hey, every. 287 00:37:40,320 --> 00:37:50,440 Day. I love you, love you, love you, 288 00:37:50,440 --> 00:37:51,440 love you. I love you so. 289 00:37:51,440 --> 00:37:57,680 All in the fall, in the morning. I can say in a moment, in a 290 00:37:57,680 --> 00:38:09,320 moment, in a moment. I can say. 291 00:38:09,400 --> 00:38:12,760 La La, La La la. La. 292 00:38:12,800 --> 00:38:20,520 La La la. La La la. 293 00:38:33,320 --> 00:38:35,960 Go baby in a moment. In a moment. 294 00:38:38,960 --> 00:38:48,800 In a moment. In a moment. 295 00:38:57,120 --> 00:39:00,280 This is a stunning example of Philadelphia Soul. 296 00:39:00,480 --> 00:39:04,520 The single features incredible vocal performances from the 297 00:39:04,520 --> 00:39:08,280 group, but it's the beating, horn driven rhythm of the song 298 00:39:08,480 --> 00:39:12,120 which makes it such a anthem for Northern Soul. 299 00:39:12,520 --> 00:39:16,160 While it's energy level is not as high as some of the floor 300 00:39:16,160 --> 00:39:21,240 filling heavy hitters, the song still maintains a strong command 301 00:39:21,640 --> 00:39:26,080 over soul dance floors. Tonight wasn't about 1 sound, it 302 00:39:26,080 --> 00:39:30,200 was about the blend, the voices, the grooves, the emotion in 303 00:39:30,200 --> 00:39:33,600 between because that's where soul really lives. 304 00:39:33,760 --> 00:39:36,640 Not in one place, but in the mix. 305 00:39:37,240 --> 00:39:52,960 Until the next time, bye bye. There's a soul in there. 306 00:39:53,560 --> 00:40:01,320 There's a soul in. The soul in the soul I've. 307 00:40:02,520 --> 00:40:12,080 Got a feeling people been talking there. 308 00:40:12,200 --> 00:40:14,800 You've got to somebody new. Yeah. 309 00:40:17,000 --> 00:40:19,000 Care what they're saying. I don't care what they're 310 00:40:21,040 --> 00:40:21,680 saying. Don't know. 311 00:40:21,680 --> 00:40:29,080 Chill. Chat, it really doesn't matter. 312 00:40:29,880 --> 00:40:34,560 People get misinterpretation because they don't understand 313 00:40:34,560 --> 00:40:37,120 the real situation. Ease. 314 00:40:37,280 --> 00:40:40,880 My mind and say you need staying and my. 315 00:40:42,280 --> 00:40:43,640 Darling. What? 316 00:40:44,040 --> 00:40:50,960 They're saying. Hey, tell me that it's not. 317 00:40:51,160 --> 00:40:57,800 So. No, no it's not. 318 00:40:58,080 --> 00:41:07,800 So. Sometimes I hear them, they're 319 00:41:08,480 --> 00:41:11,160 whispering. They say I'm just for wasting my 320 00:41:11,200 --> 00:41:11,560 time. I. 321 00:41:12,320 --> 00:41:14,720 Don't. Care what they're saying. 322 00:41:14,720 --> 00:41:16,240 I don't care what they're saying. 323 00:41:16,280 --> 00:41:19,320 No. No. 324 00:41:25,360 --> 00:41:29,520 Really doesn't matter. People always jump into 325 00:41:29,600 --> 00:41:34,040 conclusion, talk to cheap and call the confusion. 326 00:41:34,640 --> 00:41:40,480 Call me close and say you'll never leave me back my darling. 327 00:41:41,160 --> 00:41:42,120 What that? Say, say. 328 00:41:42,200 --> 00:41:59,400 Say, say, say. People always jumping to 329 00:41:59,400 --> 00:42:04,800 concluded you talk is cheek. And call this conceivable homie. 330 00:42:04,800 --> 00:42:08,640 Trophy Hey, you'll never leave me let my. 331 00:42:09,920 --> 00:42:15,880 Darling, what that say? Oh. 332 00:42:16,120 --> 00:42:19,360 Baby tell me that it's. Not so. 333 00:42:21,720 --> 00:42:22,600 Oh baby.