1 00:00:00,160 --> 00:00:02,200 From the heart and soul of Manchester. 2 00:00:02,280 --> 00:00:04,760 It's all about soul and it's got to be Northern. 3 00:00:14,320 --> 00:00:18,160 The power of the scene lies not just in the quality of the 4 00:00:18,160 --> 00:00:23,600 music, but in the memories that have been made and continue to 5 00:00:23,600 --> 00:00:28,440 be forged, experiencing this great music together. 6 00:00:45,000 --> 00:00:47,480 I got a new dance to know it sometime. 7 00:00:49,560 --> 00:00:59,720 This new dance is out right now. Come on everybody. 8 00:01:26,040 --> 00:01:28,800 You dance, baby. Let's head on your way now. 9 00:01:29,840 --> 00:01:35,760 Oh, yeah. Whipping on you. 9A day now. 10 00:01:37,480 --> 00:01:41,320 All right. The stamp is catching on like a 11 00:01:41,320 --> 00:01:47,720 fan desert. I got to whip it on me. 12 00:01:48,080 --> 00:01:53,480 You want to get some ease now. All right, all right, all right. 13 00:02:00,280 --> 00:02:12,000 Oh, do not put it on me. Do not put it on me. 14 00:02:12,160 --> 00:02:19,120 Help. We've been on me one more time. 15 00:02:26,160 --> 00:02:29,440 And I believe in you. You'll know that this is 16 00:02:29,560 --> 00:02:32,520 everybody. I want you to know all that. 17 00:02:32,520 --> 00:02:36,160 Oh, yeah. Know when you can do it if you 18 00:02:36,400 --> 00:02:39,360 let yourself go. Now, come on. 19 00:02:39,360 --> 00:02:45,800 Loosen up and whipping from your left to right, baby. 20 00:02:45,800 --> 00:02:50,400 Thank you. Whip it on me with all your 21 00:02:50,560 --> 00:02:51,080 mind. Now. 22 00:02:51,080 --> 00:02:53,200 You're looking good there. All right. 23 00:02:53,320 --> 00:03:00,240 All right, the man. All right. 24 00:03:01,920 --> 00:03:05,800 Whip it on me. You'll not whip it on me. 25 00:03:05,800 --> 00:03:09,200 You'll not whip it on me. You'll got the whip it on me in 26 00:03:09,800 --> 00:03:12,560 the morning. You'll got the whip it on me. 27 00:03:13,120 --> 00:03:16,040 They were in there. Whip it, whip it, whip it down. 28 00:03:16,160 --> 00:03:27,320 We're in hell. Dance crazies are a goal mine 29 00:03:27,320 --> 00:03:30,840 for record labels. You only need to look at how 30 00:03:30,840 --> 00:03:36,080 many follow-ups Chubby checkers, The Twist inspired to see that 31 00:03:36,280 --> 00:03:41,560 So if an unknown artist could create the next big dance craze 32 00:03:41,560 --> 00:03:46,960 to sweep the nation, they were more or less guaranteed success. 33 00:03:47,320 --> 00:03:51,800 Unfortunately, that plan didn't quite pan out for Pennsylvania 34 00:03:51,800 --> 00:03:58,640 performer Bobby Newton, who in 1969 attempted to introduce the 35 00:03:58,640 --> 00:04:03,720 whip to the dance floors, but it failed to gain much traction. 36 00:04:04,360 --> 00:04:09,400 Even if the whip didn't catch on, the unrelenting up tempo 37 00:04:09,480 --> 00:04:15,400 energy of Newton was enough to make the track a storming floor 38 00:04:15,400 --> 00:04:17,920 filler on the Northern Soul scene. 39 00:04:40,160 --> 00:04:43,360 That you understand that I'm your man. 40 00:04:43,520 --> 00:05:01,600 Because maybe I can't do without you. 41 00:05:01,600 --> 00:05:11,360 Please don't turn me away. Let me ask you, Hey, please 42 00:05:11,560 --> 00:05:15,680 don't let me go, girl, stop me from walking. 43 00:05:15,720 --> 00:05:37,340 I'm the girl because I can't do without 44 00:05:37,340 --> 00:05:38,580 you. Girl, you know you're doing 45 00:05:39,580 --> 00:05:46,800 good, treating me nice. Everything is just like sugar. 46 00:05:46,800 --> 00:06:08,390 All you got to do is stay at the fight. 47 00:06:08,590 --> 00:06:10,670 Girl. Now just take my head. 48 00:06:12,350 --> 00:06:18,630 Tell you that you understand. Tell me that you need me. 49 00:06:18,870 --> 00:06:53,600 So, so you know. Deon Jackson never really hit 50 00:06:53,600 --> 00:06:57,480 the big time, despite his prolific range of recordings 51 00:06:57,480 --> 00:07:01,600 throughout the 1960s and into the 1970s. 52 00:07:01,960 --> 00:07:05,880 Realistically, his only nationwide entry into the pop 53 00:07:05,880 --> 00:07:11,600 charts came with 1960 Fives Love Makes the World Go Round, also 54 00:07:11,600 --> 00:07:15,600 released on Carla Records. Yet he is amongst the most 55 00:07:15,600 --> 00:07:21,000 beloved figures in the realm of Northern Soul, thanks largely to 56 00:07:21,000 --> 00:07:24,360 the timeless efforts like Oh Baby. 57 00:07:51,480 --> 00:07:55,400 Could this be the end of time? The heavens are falling down 58 00:07:55,400 --> 00:07:58,640 from the sky. What's the sun doing shining so 59 00:07:58,760 --> 00:08:01,120 bright? I just got to bed at the middle 60 00:08:01,160 --> 00:08:06,280 of the night. I reach out for him to touch his 61 00:08:06,280 --> 00:08:09,280 sweet lips. Open my eyes and no lips to 62 00:08:09,280 --> 00:08:12,000 kiss. The light and the storms coming 63 00:08:12,000 --> 00:08:14,560 home. The whole wide world of my baby 64 00:08:14,840 --> 00:08:18,160 dolls. There's an earthquake. 65 00:08:20,960 --> 00:08:25,600 Heartbreaking. I'll shake it all around me. 66 00:08:26,000 --> 00:08:32,200 Tears falling out around me. Earthquake, 67 00:08:45,610 --> 00:08:49,370 my heartbreaking. It saved my life and make it so 68 00:08:49,370 --> 00:08:51,490 wonderful. Come, come around. 69 00:08:53,000 --> 00:08:57,200 Make it worth living for. Let's face it, he's gone. 70 00:08:58,400 --> 00:09:03,000 And that he'll always be The sweet magic of his love. 71 00:09:03,640 --> 00:09:12,200 He's gonna go. My heart's breaking round. 72 00:09:12,480 --> 00:09:16,520 Shaking all around me. Tears falling by the ground. 73 00:09:16,680 --> 00:09:21,040 Me. Earthquake, Earthquake. 74 00:09:23,160 --> 00:09:27,800 I'm breaking when I shake it all around me. 75 00:09:28,360 --> 00:09:31,560 Tears falling around me. Earth way. 76 00:09:33,280 --> 00:09:38,240 My heart breaking. I shake it all around me. 77 00:09:38,240 --> 00:09:40,920 Tears falling around me. Earth way. 78 00:09:40,920 --> 00:09:56,280 Earth Way. It's only 2 1/2 minutes in 79 00:09:56,280 --> 00:09:59,400 length. Earthquake is a short, sharp 80 00:09:59,400 --> 00:10:04,880 soul anthem driven by orchestral strings and a strong baseline, 81 00:10:05,320 --> 00:10:10,280 but with the powerful vocals of Lynne always at the core of its 82 00:10:10,280 --> 00:10:13,160 appeal. Its adoption by Northern Soul 83 00:10:13,160 --> 00:10:19,160 circles was lightly helped along by the fact that the 1968 single 84 00:10:19,520 --> 00:10:23,960 was issued in the UK on the Stateside label before being 85 00:10:23,960 --> 00:10:29,400 reissued again in 1971 under the Bell record label. 86 00:10:30,040 --> 00:10:34,760 Whoever Bobby Lynn was and what her fate was after her 87 00:10:34,760 --> 00:10:38,120 fledgering soul career, it remains a mystery. 88 00:10:38,440 --> 00:10:43,800 But Earthquake still lives on as an incredible Northern Soul 89 00:10:43,800 --> 00:11:00,560 anthem. Break your heart in a minute. 90 00:11:00,600 --> 00:11:10,040 It breaks every room. Yeah, Anything I can do with 91 00:11:10,200 --> 00:11:12,640 girl. I know what you're making, girl. 92 00:11:12,760 --> 00:11:18,560 Maybe I'm maybe I'm jealous. I'm so jealous. 93 00:11:18,720 --> 00:11:26,160 I'm so jealous. So that friend of mine. 94 00:11:28,360 --> 00:11:33,960 Oh yeah. When it comes out for you to go, 95 00:11:39,280 --> 00:11:44,200 remember what I had to say. The spirit day. 96 00:11:49,680 --> 00:11:50,920 Yeah. You believe to love ever after. 97 00:11:50,920 --> 00:11:54,920 You don't really live here. Listen to listen to the 98 00:11:54,920 --> 00:12:01,600 laughter. Listen to the laughter, because 99 00:12:01,680 --> 00:12:10,600 I'm so I'm that friend of man. I'm that friend of man. 100 00:12:13,560 --> 00:12:17,400 Don't be surprised of whatever you do. 101 00:12:17,440 --> 00:12:22,880 You know who's better than me? That's you on my back with one 102 00:12:22,880 --> 00:12:26,360 hand and pick your pocket with the other. 103 00:12:28,320 --> 00:13:13,800 Yeah. This track features the 104 00:13:13,800 --> 00:13:17,760 production work from Chicago's finest A Guy Called James 105 00:13:17,760 --> 00:13:22,240 Shelton Junior, and this slice of Northern Soul excellence is 106 00:13:22,240 --> 00:13:26,280 one of only two singles ever recorded by Samuel Moore. 107 00:13:26,520 --> 00:13:31,400 Not to be confused with some Moore of the iconic soul duo Sam 108 00:13:31,400 --> 00:13:34,160 and Dave. Both of those tracks were 109 00:13:34,160 --> 00:13:39,520 released via the Chicago label DJO, and both are equally as 110 00:13:39,520 --> 00:13:43,600 capable of getting people up on the dance floor. 111 00:13:44,200 --> 00:13:49,520 It's a stomping dance track, telling the typical soul tale of 112 00:13:49,760 --> 00:13:53,280 a heartbroken lover. The rhythm section of the 113 00:13:53,280 --> 00:13:58,400 backing band credited to the TNTS forms a particular 114 00:13:58,400 --> 00:14:01,520 captivating aspect of this single. 115 00:14:14,600 --> 00:14:17,560 I wanted to put me down. I was headed for a heartbreak 116 00:14:17,560 --> 00:14:19,520 town. I just picked myself up. 117 00:14:19,520 --> 00:14:23,000 I knew that I hadn't hidden them all the adventures all over my 118 00:14:23,080 --> 00:14:26,280 bed. If I can't leave it, baby, I 119 00:14:26,320 --> 00:14:30,960 can't tell you where. No, I can't leave out and tell 120 00:14:31,040 --> 00:14:34,360 you when you're lone. I'm going to win something. 121 00:14:35,000 --> 00:14:42,640 Dated lady. No breakdown and lovely girl. 122 00:14:45,600 --> 00:14:51,800 Breakdown and lovely girl baby. No wind, rain, steepest snow is 123 00:14:51,800 --> 00:14:55,400 going to keep you away from you no matter where you always go. 124 00:14:55,400 --> 00:14:59,200 Hey, I'm going to be there too. And I'll be able to say I told 125 00:14:59,320 --> 00:15:05,000 the soul no, I don't know. I don't know the plan and I 126 00:15:05,000 --> 00:15:07,880 can't even change the time. But I'm gone. 127 00:15:07,880 --> 00:15:17,800 I knew Oh sophista get it laid in devastating laid at oh 128 00:15:18,800 --> 00:15:24,200 breakdown and lovely girl Breakdown and lovely girl 129 00:15:38,800 --> 00:16:16,840 just I love you. Heartbreak anthems make numerous 130 00:16:16,840 --> 00:16:19,800 appearances on tonight's episode. 131 00:16:20,160 --> 00:16:24,080 Given just how reoccurring that theme has been within the 132 00:16:24,280 --> 00:16:29,800 landscape of funk, soul and R&B music since the very early days, 133 00:16:30,200 --> 00:16:34,480 however, this particular stomper takes a more self affirming, 134 00:16:34,600 --> 00:16:37,400 rousing approach than many others. 135 00:16:37,640 --> 00:16:42,520 With incredible horns and of course a vocal performance from 136 00:16:42,520 --> 00:16:47,760 the mysterious Chicago Outfit, Sophisticated Lady is an 137 00:16:47,880 --> 00:16:52,160 undisputable Northern Soul classic, and for a very good 138 00:16:52,160 --> 00:16:54,840 reason. Within the song, the summits 139 00:16:54,840 --> 00:17:00,200 capture the kind of feeling that really resonated with audiences 140 00:17:00,200 --> 00:17:04,280 at the Torch and Wigan Casino, and continues to resonate with 141 00:17:04,359 --> 00:17:07,839 modern audiences too. In terms of the summits 142 00:17:07,839 --> 00:17:12,200 themselves, little is known about the group other than they 143 00:17:12,319 --> 00:17:20,079 were from Chicago and released 3 singles between 1964 and 1968. 144 00:17:38,600 --> 00:17:48,880 Every time I hear your name, yeah, your name makes me wonder 145 00:17:49,320 --> 00:17:51,000 if things will ever be gonna say. 146 00:17:55,200 --> 00:18:05,840 It's so hard to realise with all my love with Castor Sand. 147 00:18:10,160 --> 00:18:19,360 You think it's funny, but you don't know what you've done has 148 00:18:19,440 --> 00:18:25,120 hurt me So. Because I love you back here. 149 00:18:26,760 --> 00:18:32,440 I still love you. If I love you. 150 00:18:32,720 --> 00:18:35,200 Yeah. I still love you. 151 00:18:38,560 --> 00:18:41,200 Tell my friends I ain't no good. That's all right. 152 00:18:41,320 --> 00:18:44,200 I understood. But I love you all right. 153 00:18:45,760 --> 00:18:48,640 Sticks and stones may break my bones, but words will never 154 00:18:48,640 --> 00:18:52,080 change the way I feel about you. About you, all right? 155 00:18:54,400 --> 00:18:57,560 That's the way we got to be together. 156 00:19:00,840 --> 00:19:04,320 When you let both agree that your love will always be 157 00:19:04,320 --> 00:19:15,440 together, 'cause I know if you take it back there'll be no 158 00:19:15,920 --> 00:19:30,080 hurry, 'cause I see that here I still love you, 'cause I love 159 00:19:30,120 --> 00:19:42,280 you, here I still. The Seven Souls and the group 160 00:19:42,280 --> 00:19:46,920 formed in Los Angeles in the mid 1960s during a period when the 161 00:19:46,920 --> 00:19:51,800 West Coast had a thriving soul and R&B record industry. 162 00:19:52,480 --> 00:19:57,680 LA studios were producing a huge number of vocal groups and often 163 00:19:57,680 --> 00:20:02,120 recorded quickly and released on smaller independent labels. 164 00:20:02,480 --> 00:20:06,200 The Seven Souls were part of this scene, a tight vocal 165 00:20:06,200 --> 00:20:11,080 harmony group influenced by Motown and Chicago soul, but 166 00:20:11,080 --> 00:20:15,000 with a slightly raw West Coast edge. 167 00:20:15,480 --> 00:20:20,280 One reason the group attracts attention from soul historians 168 00:20:20,640 --> 00:20:23,440 is the involvement of Bobby Smith. 169 00:20:24,080 --> 00:20:28,360 Bobby Smith later became the lead singer of the legendary 170 00:20:28,360 --> 00:20:44,000 Motown group The Spinners. Sometimes I love sometimes. 171 00:20:44,000 --> 00:20:59,800 Sometimes the sun just can't be bad. 172 00:21:24,080 --> 00:21:56,120 Some days are good. The. 173 00:22:25,760 --> 00:22:48,200 I. None. 174 00:22:51,280 --> 00:22:55,760 Tonight's episode is featuring rare and some familiar soul 175 00:22:55,760 --> 00:23:00,240 music and this was from a group called the Broadways and they 176 00:23:00,240 --> 00:23:04,600 were a chicago-based soul vocal group who recorded during the 177 00:23:04,840 --> 00:23:10,360 golden era of 1960s soul music. Chicago at the time was a 178 00:23:10,360 --> 00:23:14,320 powerhouse for soul recordings with labels and studios 179 00:23:14,720 --> 00:23:19,560 producing A distinctive sound that makes gospel style vocals, 180 00:23:19,880 --> 00:23:24,280 strong rhythm sections and sharp horn arrangements. 181 00:23:24,560 --> 00:23:27,760 The group is best remembered for recordings released on the 182 00:23:28,000 --> 00:23:33,800 Chicago label Midas Records, but also the most notable member of 183 00:23:33,800 --> 00:23:56,800 the group was Willie Hutch. Same old 2 feet walking down 184 00:23:57,480 --> 00:24:05,160 your feet, same old hand. There it goes knocking on your 185 00:24:05,160 --> 00:24:08,240 door. The same old boys to her so many 186 00:24:08,240 --> 00:24:10,480 times before. It's here. 187 00:24:10,480 --> 00:24:16,200 It's here once more, baby. Please let me in. 188 00:24:20,920 --> 00:24:21,720 Love you. Love you, baby. 189 00:24:21,760 --> 00:24:24,200 Just let me love you. Once more than I did so many 190 00:24:24,360 --> 00:24:28,120 times before. Yeah, call me. 191 00:24:28,160 --> 00:24:38,280 I love you. Same old loneliness. 192 00:24:38,360 --> 00:24:48,000 I love you, Sammy. Only you love me there has a 193 00:24:48,720 --> 00:24:52,640 power and only let me come back home. 194 00:24:53,960 --> 00:24:59,920 No more more will I go baby, please let me in. 195 00:25:05,000 --> 00:25:09,600 Just let me love you once more like I did so many times before. 196 00:25:10,560 --> 00:25:11,040 Yeah. Love me. 197 00:25:12,000 --> 00:25:18,920 Wait that to him. I love 198 00:25:29,640 --> 00:25:30,200 you. Wait that to him. 199 00:25:30,200 --> 00:25:35,480 I need some more softy tea. I'm shady once more. 200 00:25:37,120 --> 00:25:41,280 Please hear my lonely feet. Come on, baby. 201 00:25:41,720 --> 00:25:45,680 Shield by me only. Let me come back home. 202 00:25:47,160 --> 00:25:52,240 No more. No more will I hold baby. 203 00:25:52,240 --> 00:26:10,880 Please let me go back. A classic soul track from JJ 204 00:26:10,880 --> 00:26:16,040 Barnes, and he was part of the Detroit soul scene of the 1960s, 205 00:26:16,040 --> 00:26:19,960 recording during the same explosive period that produced 206 00:26:19,960 --> 00:26:24,200 the sound of Motown Records. Before launching his solo 207 00:26:24,200 --> 00:26:28,320 career, Barnes performed in a vocal group called the Falcons, 208 00:26:28,640 --> 00:26:32,120 and this group was an important training ground for several 209 00:26:32,120 --> 00:26:36,280 future soul stars, including Wilson Pickett. 210 00:26:36,640 --> 00:26:42,240 By the late 1960s and early 70s, Barnes records were being played 211 00:26:42,240 --> 00:26:44,920 in the underground soul clubs of Britain. 212 00:26:45,200 --> 00:26:49,520 They fitted perfectly with the high energy dance floors at 213 00:26:49,520 --> 00:26:52,800 venues like the legendary Twisted Wheel. 214 00:26:53,320 --> 00:26:59,120 Today, JJ Barnes is regarded as one of the great cult figures of 215 00:26:59,360 --> 00:27:39,080 Detroit soul. Golly, there's a one experience 216 00:27:39,080 --> 00:27:42,040 of my life. There's a one experience of my 217 00:27:42,080 --> 00:27:51,400 life as I walk along the lonely St and I walk home, keep the 218 00:27:51,400 --> 00:27:55,400 tide. I began to feel the lonely legs 219 00:27:56,280 --> 00:28:00,960 for the first time in my life. And then I say I'm the pain in 220 00:28:04,840 --> 00:28:08,800 life and the birth and die. Then I fly back from the 221 00:28:10,000 --> 00:28:23,920 timeline. So I must go down to the 222 00:28:24,200 --> 00:28:28,640 newspaper and begin to advertise Darling. 223 00:28:29,040 --> 00:28:37,080 They're the double winger, but they're the double winger. 224 00:28:40,040 --> 00:28:45,880 Want to see the cross and learn, Want to take the job and mend 225 00:28:45,880 --> 00:28:50,920 his heart. Come my heart fool you now. 226 00:28:51,200 --> 00:28:57,280 I went to see a blocker, the play of the day. 227 00:28:57,280 --> 00:29:03,360 I explained that thing to wait down there and he turn me. 228 00:29:03,560 --> 00:29:13,320 By the way, you're the field that can prescribe Stella. 229 00:29:13,800 --> 00:29:19,440 You've got to see some newspaper and begin to advertise. 230 00:29:19,960 --> 00:29:30,160 I really feel some cinder. I don't want to hold on my back 231 00:29:30,520 --> 00:29:55,280 like a plane. Well, that's about it for 232 00:29:55,280 --> 00:29:59,160 tonight's episode, and it's been a journey through the rare raw 233 00:29:59,280 --> 00:30:03,600 and underplayed soul with just a few familiar names along the 234 00:30:03,600 --> 00:30:05,560 way. We've heard great sounds from 235 00:30:05,560 --> 00:30:11,080 the Del Larks, JJ Barnes, the Broadways, the Summits, and 236 00:30:11,160 --> 00:30:15,040 many, many more records that might have been forgotten over 237 00:30:15,040 --> 00:30:20,280 time but found a second life on turntables and dance floors. 238 00:30:21,040 --> 00:30:24,440 Thanks for listening, until the next time, bye bye. 239 00:30:55,640 --> 00:30:59,080 So many things you give to me. Why not? 240 00:30:59,200 --> 00:31:05,880 I'll never be free. No one else I keep doing. 241 00:31:06,400 --> 00:31:08,480 That's why I keep on telling you. 242 00:31:08,480 --> 00:31:12,680 People can think that they will lie, but in my heart you'll not 243 00:31:12,760 --> 00:31:17,680 sleep. But I got love. 244 00:31:17,760 --> 00:31:24,200 I got love hallucinating what happened this way when you walk 245 00:31:24,200 --> 00:31:29,840 out for me, that's too long. I did it wrong. 246 00:31:30,200 --> 00:31:34,960 I'm not gonna be. Please forgive me. 247 00:31:35,480 --> 00:31:38,920 Come along and take me back in your heart. 248 00:31:42,120 --> 00:31:48,200 And we will never. I'm so much too much. 249 00:32:11,640 --> 00:32:16,200 Give it a Sharon and I always care all about everything we've 250 00:32:17,520 --> 00:32:25,200 do so much harder. If I do my way, there's a little 251 00:32:25,200 --> 00:32:29,880 more time and I'm going to prove this love of mine. 252 00:32:29,880 --> 00:32:31,800 I'm going to make our life much stronger. 253 00:32:32,720 --> 00:32:36,920 Hurdles together. First time I've got to laugh. 254 00:32:38,360 --> 00:32:44,760 I've got a heart. I've got a kiss with emotion. 255 00:32:45,240 --> 00:32:53,680 I'm a true love and desire. I've got a heart and a fire. 256 00:32:54,040 --> 00:33:03,240 I've got a keys full of emotion, understand and love and desire. 257 00:33:03,240 --> 00:33:04,840 I've got a heart.