1 00:00:00,440 --> 00:00:03,240 Imagine this. It all started in those 2 00:00:03,400 --> 00:00:08,080 underground mod havens of the mid 60s, clubs with names like 3 00:00:08,080 --> 00:00:11,960 the Blue Orchid, King, Mojo and the Twisted Wheel. 4 00:00:12,360 --> 00:00:16,960 The music was all about that American soul, Motown, Stax, 5 00:00:17,040 --> 00:00:21,880 Atlantic, and it moved with a pulse so electric it found a 6 00:00:21,880 --> 00:00:24,320 second home in the north of England. 7 00:00:46,760 --> 00:00:50,840 And to kick things off, we're going to start with the rarest 8 00:00:50,880 --> 00:00:55,960 of all soul labels. This was called Shrine Records. 9 00:01:14,240 --> 00:01:22,640 That's what I said. You said goodbye, Lord, out of 10 00:01:22,640 --> 00:01:32,680 my soul. Wait till you come back home. 11 00:01:35,120 --> 00:01:37,360 Night after night our face will go. 12 00:01:37,440 --> 00:01:42,720 I'm thinking you're knock on my door every time I drive. 13 00:01:42,720 --> 00:01:46,840 I'll face the back and the Blues keep riding my back. 14 00:01:46,840 --> 00:01:55,880 No the way. No the way until you come back 15 00:01:56,280 --> 00:02:00,360 home after it. Go. 16 00:02:00,560 --> 00:02:04,400 You die. Be here, baby. 17 00:02:05,840 --> 00:02:12,040 Some got you. Go there. 18 00:02:12,040 --> 00:02:13,280 Some got you better. Come back. 19 00:02:15,360 --> 00:02:16,440 Come on. Go, please. 20 00:02:18,240 --> 00:02:25,040 I got to be in tired. I got to be in tired all the 21 00:02:25,680 --> 00:02:31,720 long go, go back to me and it keeps me in to me everything you 22 00:02:32,000 --> 00:02:34,400 can go, I find out. There we go. 23 00:02:35,000 --> 00:02:38,000 I just want to say there won't be love away. 24 00:02:38,000 --> 00:03:02,640 I want away. Shrine Records was one of the 25 00:03:02,640 --> 00:03:06,840 most important and mysterious labels ever connected to the 26 00:03:06,840 --> 00:03:10,520 Northern Soul scene. It was founded in Washington DC 27 00:03:10,680 --> 00:03:15,240 around about 1964 by a guy called Eddie Singleton and 28 00:03:15,240 --> 00:03:18,600 Rhinoma Gordy. Singleton, who had previously 29 00:03:18,600 --> 00:03:23,240 been connected to Motown Shrine, specialised in hard driving soul 30 00:03:23,240 --> 00:03:28,240 records with pounding rhythms, gospel style vocals and raw 31 00:03:28,320 --> 00:03:31,800 dance floor energy. Unlike Motown, Shrine never 32 00:03:31,800 --> 00:03:34,240 became a commercial giant in America. 33 00:03:34,520 --> 00:03:38,680 Many of the records barely sold at the time in the US, which 34 00:03:38,720 --> 00:03:44,120 ironically made them perfect for later Northern Soul scene in 35 00:03:44,280 --> 00:03:47,240 Britain. When UK DJs and collectors 36 00:03:47,240 --> 00:03:51,920 discovered these forgotten 40 fives in the late 60s and early 37 00:03:51,920 --> 00:03:56,400 70s, they became absolute dance floor monsters, baby. 38 00:04:06,720 --> 00:04:12,000 Don't leave me. If you do, you break my heart 39 00:04:12,080 --> 00:04:15,880 into you. Loving you is my life. 40 00:04:17,000 --> 00:04:19,240 If you leave, you'll take my life with you. 41 00:04:19,959 --> 00:04:21,240 My baby. Don't leave me. 42 00:04:24,200 --> 00:04:29,600 I thought you were satisfied. Baby, don't leave me. 43 00:04:30,880 --> 00:04:33,680 Oh, where did I go wrong? Tell me why. 44 00:04:36,200 --> 00:04:42,600 Baby, don't leave me. After all we've been through, we 45 00:04:42,680 --> 00:04:47,920 did our oh, and I'll die. But now you're saying what we 46 00:04:48,040 --> 00:04:52,760 all do. And baby, if you leave me, I'd 47 00:04:52,800 --> 00:04:56,840 be like a child without his toy. Baby, don't leave me. 48 00:04:58,960 --> 00:05:01,400 You take away the life that I am gone. 49 00:05:25,390 --> 00:06:03,320 I thought you were satisfied. The label sound was tougher and 50 00:06:03,320 --> 00:06:05,960 grittier than polished Detroit soul. 51 00:06:06,280 --> 00:06:09,960 Shrine Records often had heavy tambourines, urgent brass and 52 00:06:10,160 --> 00:06:15,040 dramatic vocals, exactly the kind of uptempo beat ballads 53 00:06:15,280 --> 00:06:19,400 that Northern dancers loved. Some of the most legendary 54 00:06:19,400 --> 00:06:22,880 Shrine artists include the cautions, Eddie Day in the Four 55 00:06:22,880 --> 00:06:26,880 Bars, the Prophets, the Presidents, the Enjoyables, the 56 00:06:27,040 --> 00:06:30,480 Admirations. Many original Shrine singles 57 00:06:30,480 --> 00:06:34,960 became incredibly rare because the label folded so quickly. 58 00:06:35,200 --> 00:06:40,920 An unsold stock was reportedly destroyed or abandoned in 59 00:06:40,920 --> 00:06:44,040 warehouses. That scarcity helped create the 60 00:06:44,120 --> 00:06:49,640 mythology around the label and in the UK all night to see. 61 00:07:24,560 --> 00:07:36,520 You don't do all of my life, all of my strangers were just for 62 00:07:36,760 --> 00:07:42,480 you. Now you're saying baby, shame 63 00:07:43,360 --> 00:07:49,840 that we are through. I lay back the same day. 64 00:07:51,440 --> 00:07:56,320 Will it come true? No, baby. 65 00:07:58,720 --> 00:08:03,000 Oh, no. I can't go without you. 66 00:08:03,000 --> 00:08:05,320 You can make me go. No, baby. 67 00:08:05,400 --> 00:08:20,480 Love you yesterday. Oh, I was crying just going to 68 00:08:20,480 --> 00:08:28,280 make it out baby or I thought I was lying dead show anytime 69 00:08:28,280 --> 00:08:36,320 before I oh you were so good Show me show me I live back to 70 00:08:36,440 --> 00:08:43,159 think that I did or I thought I was dying die no way. 71 00:08:49,200 --> 00:08:55,080 Oh, I can't go now. Please don't make me go. 72 00:08:55,120 --> 00:09:02,440 I can't go away. I can't go now. 73 00:09:02,440 --> 00:09:11,520 Yeah, yeah. No, baby, I can't go away. 74 00:09:38,410 --> 00:09:43,090 That's Dorothy Morrison, and she released this rare, I would say 75 00:09:43,130 --> 00:09:46,170 modern soul single called I Can't Go Without You. 76 00:09:46,680 --> 00:09:50,960 It was actually released in 1975 on the Brown Door label. 77 00:09:51,120 --> 00:09:56,440 It was composed by Marvin Holmes and produced by Chuck Brown and 78 00:09:56,520 --> 00:09:59,720 Marvin Holmes. Although it's a prized Northern 79 00:09:59,720 --> 00:10:03,480 Soul collectible, not much really is known about Morris's 80 00:10:03,480 --> 00:10:05,640 background. From the heart and soul of 81 00:10:05,640 --> 00:10:08,280 Manchester. It's all about soul and it's got 82 00:10:08,280 --> 00:10:28,680 to be Northern. You stop spinning, go head, get 83 00:10:28,680 --> 00:10:34,080 the rock and you don't know up 100 and nothing I'm better. 84 00:10:34,080 --> 00:10:43,720 You get you left standing all along. 85 00:10:44,280 --> 00:10:48,600 Don't get inside and go head but stop a rocket. 86 00:10:48,880 --> 00:11:02,080 You fall in love of your heart. You stop feeling all around in 87 00:11:02,080 --> 00:11:10,040 circles when love comes to you. So don't win this girl. 88 00:11:10,360 --> 00:11:19,750 You win this girl. Love is waiting for you 89 00:11:19,750 --> 00:11:39,120 everyday, baby. You start spinning all around in 90 00:11:39,840 --> 00:11:44,520 circles when love come to you, so long as it's scary. 91 00:11:45,200 --> 00:11:49,080 But you will discover love is waiting for you. 92 00:12:11,440 --> 00:12:16,000 The Blue Orchid Club, just outside Derby, was a vital early 93 00:12:16,000 --> 00:12:21,360 soul venue in the late 1960s. It had this unique suspended 94 00:12:21,400 --> 00:12:25,800 dance floor above a swimming pool and it quickly became a hub 95 00:12:25,800 --> 00:12:30,440 for rare American soul imports. Though it was short lived, it 96 00:12:30,440 --> 00:12:34,680 really helped shape the Northern Soul scene in the Midlands and 97 00:12:34,680 --> 00:12:37,240 Yorkshire. Tracks like Love is a Serious 98 00:12:37,240 --> 00:12:43,120 Business by Alfie Davidson and Calvin Grayson Love Just Begun 99 00:12:43,400 --> 00:12:48,440 were played at those nights you. Know dancing is a part of life. 100 00:12:48,640 --> 00:12:54,560 It's one of the thrills of Young America, and Young America has 101 00:12:54,640 --> 00:12:57,720 been responsible for setting most of the world's dance 102 00:12:57,720 --> 00:13:01,280 creams. We get the twist, the monkey, 103 00:13:01,880 --> 00:13:04,880 the duck, and now we're going to do the skate. 104 00:13:05,560 --> 00:13:09,360 So come on, stop it. All right, we go. 105 00:13:10,520 --> 00:13:15,920 Here we go. Now there's that beat and I must 106 00:13:17,400 --> 00:13:17,920 dance. Oh, yeah. 107 00:13:19,440 --> 00:13:24,520 Now there's that rhythm that puts me in a trim. 108 00:13:24,600 --> 00:13:27,400 Oh, yeah. Now that beat and that rhythm 109 00:13:27,600 --> 00:13:31,200 just keeps building up. It's too high for me to slow 110 00:13:31,320 --> 00:13:42,640 down and my feet, now there's that groove that makes me want 111 00:13:42,640 --> 00:13:47,120 to move high. Yeah, now that groove is filled 112 00:13:47,320 --> 00:13:52,920 with soul and I can't help but lose control 'cause that feet 113 00:13:52,920 --> 00:13:55,760 and that rhythm just keep riddling up. 114 00:13:55,760 --> 00:14:00,640 It's too hot for me to slow down and my feet are filled with 115 00:14:00,640 --> 00:14:04,120 happiness. And I'm determined with that. 116 00:14:05,200 --> 00:14:09,920 Hey now, music is such an attraction to move my feet into 117 00:14:10,000 --> 00:14:13,440 my first reaction 'cause that's the only way to get 118 00:14:13,440 --> 00:14:17,000 satisfaction. Watch me now as I go into 119 00:14:17,360 --> 00:14:19,560 action. Now I'll let you again. 120 00:14:20,680 --> 00:14:26,440 And that'll rhythm too high. Hey, hit music make you feel 121 00:14:26,440 --> 00:14:30,360 like I do. You gotta dance too, all right? 122 00:14:31,840 --> 00:14:38,000 Just keep feeling. It's too hot for me to slow down 123 00:14:38,000 --> 00:14:43,320 and my feet are filled with happiness, and I'm going to do 124 00:14:43,320 --> 00:14:48,880 that. Hey, you know, I feel great. 125 00:14:49,480 --> 00:14:54,120 All right, I'm going to do that. Hey now watch me. 126 00:14:55,720 --> 00:14:58,960 The fantastic Beating Rhythm by Richard Temple. 127 00:14:59,200 --> 00:15:03,440 It was a rare Northern Soul track released roundabout 1966 128 00:15:03,440 --> 00:15:07,720 on the Merwood label and it was really known for its up Temple 129 00:15:07,720 --> 00:15:11,600 beat and became a cult favourite after being played at the 130 00:15:11,640 --> 00:15:15,360 Catacombs Club. However, little is known about 131 00:15:15,360 --> 00:15:19,000 Richard Temple himself. No biographical details or 132 00:15:19,280 --> 00:15:23,680 recording personnel have been documented, so really it remains 133 00:15:23,680 --> 00:15:26,360 an underground mystery of the scene. 134 00:15:48,400 --> 00:15:50,760 I'd rather fight it. Don't run it. 135 00:15:52,920 --> 00:15:57,760 Don't run it hard. It's plain to see. 136 00:15:57,760 --> 00:16:00,360 You're not belong with me. You're not 137 00:16:11,480 --> 00:16:13,160 lonely just on my. This feels like everybody remove 138 00:16:16,560 --> 00:16:20,000 my headphone. Oh my Christmas to put it 139 00:16:20,000 --> 00:16:32,800 constantly in your heart. I will be up and there and you, 140 00:16:51,420 --> 00:16:59,960 so you, oh God, I have my love and you see all I see you. 141 00:17:00,040 --> 00:17:01,320 Just don't do me wrong. Everything alone. 142 00:17:03,560 --> 00:17:20,960 Help me there and you help me there, and you. 143 00:17:29,080 --> 00:17:39,440 Hey, hey, hey, hey, hey, hey, hey, hey, you. 144 00:17:39,760 --> 00:17:43,960 You are bad. How you looking at my me? 145 00:17:43,960 --> 00:17:48,840 How you I get in love with the thing How you hate? 146 00:17:52,280 --> 00:17:56,760 Me one of the most underrated groups of all time, and that was 147 00:17:56,760 --> 00:17:59,120 the Montclairs. They were a vocal group from 148 00:17:59,280 --> 00:18:01,320 East St. Louis, IL. 149 00:18:01,720 --> 00:18:06,480 Their track Hey You Don't Fight It was written by Phil Perry 150 00:18:06,680 --> 00:18:11,960 when he was about 17 years old, and it was released in 1969 on 151 00:18:11,960 --> 00:18:16,240 the Arch record label, though they didn't charge at the time. 152 00:18:16,240 --> 00:18:21,880 The record became a rare gem in the UK Northern Soul scene, with 153 00:18:21,960 --> 00:18:26,760 Phil Perry's lead vocals helping it to really stand out. 154 00:18:40,640 --> 00:18:45,800 Isn't me all you want to know, or do you want to use me like 155 00:18:45,840 --> 00:18:50,800 you use your gloves? If it is, I want you to know 156 00:18:51,520 --> 00:18:57,040 what that was got to do to show I'm pro from nothing, come from 157 00:18:57,320 --> 00:19:00,960 hot, and I need a man who's going to wake it up. 158 00:19:01,120 --> 00:19:05,160 Oh man, nobody can come to me now. 159 00:19:06,720 --> 00:19:15,840 Walk down with God hard time told me he full time baby full 160 00:19:17,000 --> 00:19:21,520 time talking twice before you make a pan and that'll be in 161 00:19:21,920 --> 00:19:30,320 love and in battle and me more and more and more now there's 162 00:19:33,040 --> 00:19:37,720 just a wonderful way. I know, maybe I can miss that 163 00:19:37,880 --> 00:19:41,920 way. Come up on time now. 164 00:19:42,720 --> 00:19:50,840 I need a man who's going to work it out full time. 165 00:19:53,840 --> 00:19:57,600 No part time, no me down. Full time is going to be your 166 00:19:57,600 --> 00:19:58,200 part time. No biggie. 167 00:19:58,200 --> 00:20:11,080 Full time baby, full time. No part time love me no time 168 00:20:11,080 --> 00:20:18,280 with God to me no part time love me no more can leave me. 169 00:20:20,480 --> 00:20:27,040 I am like to your heart and if around with boy, you're not a 170 00:20:27,240 --> 00:20:31,760 channel, not your boy. So is not love coming back? 171 00:20:55,620 --> 00:21:00,340 Martha Starr was one of those mysterious Detroit soul artists 172 00:21:00,340 --> 00:21:05,340 whose reputation grew decades after the original records 173 00:21:05,340 --> 00:21:09,080 disappeared from the shops. A best known track is the one I 174 00:21:09,080 --> 00:21:11,680 Played You No Part Time Love for Me. 175 00:21:11,960 --> 00:21:16,560 It was released in 1966 on the Detroit based Thelma record 176 00:21:16,560 --> 00:21:19,080 label. Bit of a rarity label as well. 177 00:21:19,280 --> 00:21:23,080 The label itself was connected to the rich Detroit soul scene 178 00:21:23,080 --> 00:21:27,520 that surrounded Motown, but operated on a much smaller, 179 00:21:28,000 --> 00:21:44,040 underground level. Watch with this coldness that I 180 00:21:44,360 --> 00:21:50,400 feel inside. I never felt like this before, 181 00:21:52,040 --> 00:21:57,120 just since we've been in a car every night. 182 00:21:57,280 --> 00:22:05,360 I can't sleep away. I tossed in my sleep every day. 183 00:22:05,480 --> 00:22:13,440 I can't get away from that song. One thing you said, What's with 184 00:22:14,760 --> 00:22:19,480 this holiness? I feel like I just can't go 185 00:22:19,560 --> 00:22:24,160 home. I'm all mixed up inside. 186 00:22:25,800 --> 00:22:32,640 Everything I do is wrong. Every night I can't sleep away. 187 00:22:34,160 --> 00:22:42,560 I crossed and I turned. Every day I can't get away from 188 00:22:44,360 --> 00:22:47,760 that song. Everything you say, I've tried 189 00:22:47,760 --> 00:22:56,160 so hard to win your love. I've tried everything. 190 00:22:58,760 --> 00:23:01,320 Tried to get that baby back again. 191 00:23:03,560 --> 00:23:10,800 Watch with this loneliness I give my heart and soul to get 192 00:23:10,800 --> 00:23:14,200 you back. I only hope you hear my 193 00:23:14,360 --> 00:23:18,240 bleeding. And if you know what I'm going 194 00:23:20,440 --> 00:23:23,160 through every night I can't sleep away. 195 00:23:25,160 --> 00:23:33,600 I tossed in my sleep every day. I can't get away from your smile 196 00:23:33,680 --> 00:23:38,600 and nothing you say. Watch with this loneliness. 197 00:23:39,560 --> 00:23:43,360 Oh baby, watch with this loneliness. 198 00:23:43,400 --> 00:23:47,560 I can't go on. Watch with this loneliness. 199 00:23:47,800 --> 00:23:49,120 I can't be packed. I well be here. 200 00:23:49,120 --> 00:23:50,600 Come back and let me know what's wrong. 201 00:23:50,680 --> 00:24:00,000 What's wrong with the baby? Chuck Jackson was one of the 202 00:24:00,040 --> 00:24:03,520 finest male soul vocalists of the 1960s. 203 00:24:03,520 --> 00:24:07,800 Smooth, sophisticated and blessed with one of the richest 204 00:24:07,840 --> 00:24:14,360 voices in American R&B, he first sang gospel before joining the 205 00:24:14,560 --> 00:24:17,560 Dell Vikings. Then he went solo after being 206 00:24:17,560 --> 00:24:20,160 spotted by producer Luther Dixon. 207 00:24:20,360 --> 00:24:25,560 He signed to 1 Records in 1960 and that just changed 208 00:24:25,680 --> 00:24:48,560 everything. I love you, I love you. 209 00:24:48,560 --> 00:24:49,960 I'm so weak. I'm so weak. 210 00:24:51,560 --> 00:24:56,360 So we can die hard, down hard. Everything. 211 00:24:56,800 --> 00:25:01,000 What I found, it's been wrong since we parted. 212 00:25:02,920 --> 00:25:08,560 You gave me your love to try to make you feel sad. 213 00:25:10,080 --> 00:25:14,680 You gave me your heart. I didn't know what. 214 00:25:14,680 --> 00:25:19,600 I listen. I want you, baby. 215 00:25:20,680 --> 00:25:23,120 I'm outside. Listen, baby. 216 00:25:23,920 --> 00:25:26,960 I love you. I want you, baby. 217 00:25:27,200 --> 00:25:28,840 Bye. Bye, son. 218 00:25:29,560 --> 00:25:35,680 Listen, honey, I really love you. 219 00:25:35,680 --> 00:25:37,280 You know, you've got to listen to me. 220 00:25:46,520 --> 00:25:52,280 Need your love every day. And I've got to have it every 221 00:25:52,280 --> 00:25:56,600 night. Oh, no, baby, you know you can 222 00:25:57,600 --> 00:25:58,800 make everything. All right. 223 00:25:58,920 --> 00:26:02,040 All right. Hold on, bear. 224 00:26:02,120 --> 00:26:05,760 Hold on. I want you to come on back. 225 00:26:05,800 --> 00:26:13,680 Hold on, hold on, hold on. Please don't make me wait too 226 00:26:15,040 --> 00:26:17,880 long. I want you, baby. 227 00:26:18,160 --> 00:26:21,240 I'm outside. Dig me, baby. 228 00:26:21,240 --> 00:26:25,160 I really love you. Meet you, baby. 229 00:26:26,480 --> 00:26:28,720 I'm outside. Go, baby. 230 00:26:30,920 --> 00:26:31,520 I love you. Oh, yeah. 231 00:26:33,880 --> 00:26:38,440 You know, I really love you. Now, honey, there's no other 232 00:26:38,560 --> 00:26:43,400 girl in the world after you that would never be a love. 233 00:26:44,800 --> 00:26:46,800 And I know I could never number one else. 234 00:26:46,800 --> 00:26:51,680 Nobody mind. You. 235 00:26:51,800 --> 00:26:54,760 And so tonight we've travelled back to a time before the scene 236 00:26:54,760 --> 00:26:56,840 had a name. Into the basements, the 237 00:26:56,840 --> 00:27:00,960 ballrooms and the underground clubs where rare American Soul 238 00:27:01,320 --> 00:27:05,440 first found his home in Britain. From the Twisted Wheel and the 239 00:27:05,480 --> 00:27:10,360 King Mojo to the Blue Orchid and Samantha's, these were the 240 00:27:10,360 --> 00:27:15,000 places where young Soul fans danced until dawn to records 241 00:27:15,360 --> 00:27:19,720 most people had never heard. Until the next time. 242 00:27:20,480 --> 00:27:20,920 Bye. Bye. 243 00:27:35,240 --> 00:27:41,680 Try your eyes, baby. Don't cry. 244 00:27:41,680 --> 00:27:50,360 I didn't want you to stay, girl. I'll be right on that. 245 00:27:52,520 --> 00:28:01,200 Comfort you to guide you in all the love that you need. 246 00:28:05,320 --> 00:28:12,040 Why the teeth go away from your hide. 247 00:28:14,960 --> 00:28:20,600 I can't stand it, darling, To see my little bird cry. 248 00:28:21,880 --> 00:28:30,800 That's why I'll need that. To give all of the love that you 249 00:28:30,880 --> 00:28:42,560 need. I know, dear, why you cry. 250 00:28:45,520 --> 00:28:47,280 I know the pain that must be inside. 251 00:28:49,360 --> 00:28:58,760 What is going to leave me? What I see is true. 252 00:29:02,880 --> 00:29:07,560 Your hope. Daddy is coming back around to 253 00:29:08,120 --> 00:29:11,120 you. I want to smile.