1 00:00:00,280 --> 00:00:05,000 From the mid 60s heartbeat of Detroit soul tonight we're 2 00:00:05,000 --> 00:00:31,260 heading somewhere special. And tonight, in this special 3 00:00:31,260 --> 00:00:59,400 episode, it's all Secret soul. I'm a big man, I die hard for my 4 00:00:59,440 --> 00:01:06,840 baby. I'm a big man, I die hard for my 5 00:01:06,880 --> 00:01:12,240 baby. I've got a lot of meat and I'm 6 00:01:12,240 --> 00:01:15,120 hard to beat 'cause I'm a big man. 7 00:01:17,520 --> 00:01:22,400 I'm a big man and a good woman rule my soul. 8 00:01:23,720 --> 00:01:32,680 She got a sweet too. And you love my Jelly roll or 9 00:01:32,800 --> 00:01:37,040 she won't lose 'cause she get to you, the big man. 10 00:01:40,120 --> 00:01:43,640 The people try to tell you that I don't love you. 11 00:01:44,240 --> 00:01:47,400 They'll not believe them 'cause I will hurt you. 12 00:01:48,000 --> 00:01:52,280 I'm gonna take you to the woodshed and drop a couple of 13 00:01:52,280 --> 00:02:17,640 Pikes on you. I'm a big man. 14 00:02:19,360 --> 00:02:23,920 I die hard for my baby. I'm a big man. 15 00:02:26,800 --> 00:02:33,400 Cough me up and I'll go crazy. And if you break your way, you 16 00:02:33,400 --> 00:02:36,200 wish you never heard of a big man. 17 00:02:39,240 --> 00:02:42,800 But people try to tell you that I don't love you. 18 00:02:43,360 --> 00:02:46,240 They'll not believe them. But I will hurt you. 19 00:02:47,040 --> 00:02:50,760 I'm gonna take you to the woodshed and drop a cop. 20 00:02:50,760 --> 00:03:26,570 The long panks down you. Tonight from Manchester, UK, its 21 00:03:26,570 --> 00:03:29,640 secret soul. Promise me, just don't tell. 22 00:03:29,640 --> 00:03:33,520 Anyone else as Big Daddy Rogers recorded this track? 23 00:03:33,560 --> 00:03:36,840 I'm a Big Man. In 1968 it was released on the 24 00:03:37,000 --> 00:03:40,360 Midas record label out of Chicago. 25 00:03:40,800 --> 00:03:45,760 The B side was be my Lawyer. Beyond this single, this not 26 00:03:45,760 --> 00:03:50,080 much really documented about his career or background, though the 27 00:03:50,080 --> 00:03:56,200 track is recognised as a strong piece of Chicago R&B from the 28 00:03:56,200 --> 00:03:59,240 1960s. Next up is an artist called 29 00:03:59,240 --> 00:04:03,920 Tamika Jones and this really is one of those classy crossover 30 00:04:03,920 --> 00:04:08,480 soul sides that sits right on the edge between Northern Soul 31 00:04:08,480 --> 00:04:14,080 and the sophisticated late 60s early 70s club sound. 32 00:04:20,360 --> 00:04:25,720 You've got me in your power. Oh, it must be magic. 33 00:04:29,000 --> 00:04:41,460 I'm a victimer. I praise it up the sweet and the 34 00:04:41,460 --> 00:04:44,820 fame. When it's like you leave. 35 00:04:46,820 --> 00:04:51,900 I wanna break away when it passes me. 36 00:04:53,920 --> 00:04:56,000 I know. I got out of space. 37 00:04:59,560 --> 00:05:01,560 Hold, it must be What? You trust me. 38 00:05:03,240 --> 00:05:08,600 You put me in your power. Hold it must be magic. 39 00:05:12,240 --> 00:05:19,240 You turn me on. You make me feel so fine and 40 00:05:19,240 --> 00:05:28,040 then you turn around, wrap me out of my mind like a hurricane. 41 00:05:30,560 --> 00:05:35,080 You come on strong. You make me love you baby. 42 00:05:35,400 --> 00:05:47,880 You love me right around. So hope you see witchcraft, the 43 00:05:48,160 --> 00:05:51,800 power. Oh, it must be magic. 44 00:05:55,440 --> 00:06:02,760 It's magical. How you getting what I when you 45 00:06:02,880 --> 00:06:10,360 look at me, whip your feet down. I oh, baby, don't let go. 46 00:06:10,600 --> 00:06:17,880 Keep a hold of me. Keep me young man. 47 00:06:17,880 --> 00:06:28,080 It's where I want to be. Oh, it must be what you present. 48 00:06:30,200 --> 00:06:34,760 Get back me in your car with. Oh, it must be magic. 49 00:06:34,760 --> 00:06:48,840 I really got it back in now. Now, I first came across Tamika 50 00:06:48,840 --> 00:06:52,960 Jones when we had the record shop in roundabout 1975. 51 00:06:53,280 --> 00:06:58,280 She issued a single on Arista Records and it was called Touch 52 00:06:58,280 --> 00:07:03,280 Me Baby and it was quite a slow sort of song in one way, but the 53 00:07:03,280 --> 00:07:06,160 DJ's loved it. It was something that they 54 00:07:06,160 --> 00:07:10,120 played as they were trying to wind things down, and we sold 55 00:07:10,120 --> 00:07:13,680 out of it within a week. But Tamika Jones was one of 56 00:07:13,680 --> 00:07:17,520 those versatile vocalists who could really move effortless 57 00:07:17,720 --> 00:07:21,960 between jazz, pop and soul. She was born in West Virginia, 58 00:07:21,960 --> 00:07:26,400 and she built her reputation in the 60s with a polished, almost 59 00:07:26,600 --> 00:07:32,160 sophisticated delivery, never oversung and always in control. 60 00:07:32,680 --> 00:07:37,240 A work with Herbie Mann gave her credibility in the jazz circles, 61 00:07:37,520 --> 00:07:41,480 but for the northern and crossover crowd, it was records 62 00:07:41,680 --> 00:07:44,760 like this that really define her. 63 00:07:53,440 --> 00:08:04,680 I have much money, money and everything I've got an old girl 64 00:08:04,680 --> 00:08:05,680 speaks as honey, as a queen beast. 65 00:08:06,360 --> 00:08:20,960 But if you've got to speak, old girl, I'm not the guy. 66 00:08:24,920 --> 00:08:29,440 My love is just like lightning. It kind of hits you with a 67 00:08:29,520 --> 00:08:35,159 sudden joke, but it's the news. It's a little bit raining, but 68 00:08:35,240 --> 00:08:37,840 it's more power than the Thunderbolt. 69 00:08:38,840 --> 00:08:41,720 But if you're not, get to help me. 70 00:08:41,760 --> 00:08:46,600 Oh, girl, I'm at the kind, you see. 71 00:08:46,600 --> 00:08:50,080 But if you've got the kind of girls, I'm alone. 72 00:08:54,720 --> 00:09:20,370 But if you got the hot girls, I'm 73 00:09:22,970 --> 00:09:37,200 alone, Girl, baby, you know you've got to be if you want to 74 00:09:37,200 --> 00:09:46,600 be wrong. Oh yeah, 'cause I'm a soul man, 75 00:09:46,600 --> 00:09:48,960 baby. Oh yeah, I'm a soul man. 76 00:09:49,800 --> 00:09:54,640 I'm a soul man. If anyone can love you, baby, I 77 00:09:54,680 --> 00:09:59,160 can love you. Great track, Moses Smith, and 78 00:09:59,160 --> 00:10:01,960 he's not a household name. And really, that's part of the 79 00:10:01,960 --> 00:10:04,040 magic. He's one of those artists whose 80 00:10:04,040 --> 00:10:09,520 reputation lives almost entirely through 1 outstanding record, 81 00:10:09,840 --> 00:10:13,360 and this is it. Like many on the scene, he 82 00:10:13,360 --> 00:10:17,160 recorded sparingly and but when he did, it had that raw, 83 00:10:17,320 --> 00:10:21,200 authentic edge that collector's crave. 84 00:10:21,600 --> 00:10:23,920 It was released originally on Quinthy Records. 85 00:10:24,000 --> 00:10:27,560 Alabama based the same circle as Percy Sledge. 86 00:10:27,840 --> 00:10:32,240 The era was the mid 60s and really the production was 87 00:10:32,240 --> 00:10:36,200 southern, rich, emotional and slightly gritty. 88 00:10:36,440 --> 00:10:40,000 You can hear the Muscle Shoals influence straight away. 89 00:10:40,280 --> 00:10:42,680 It's not Polly's like Detroit or Philly. 90 00:10:43,000 --> 00:10:45,800 It's got weight and it's got feeling. 91 00:10:45,880 --> 00:10:49,080 From the heart and soul of Manchester, it's all about soul. 92 00:10:49,360 --> 00:11:05,520 It's got to be northern. This is your one beside baby. 93 00:11:05,600 --> 00:11:06,520 Just to be with you. Mama. 94 00:11:06,520 --> 00:11:12,200 Baby. But, Lana, would you like to pay 95 00:11:12,320 --> 00:11:18,520 the prize to give them what you want me to do now? 96 00:11:18,960 --> 00:11:20,120 Come on. It's a new sensation. 97 00:11:24,400 --> 00:11:26,680 I think you misunderstand my job. 98 00:11:27,680 --> 00:11:30,560 Come on, baby. Do the temptation part. 99 00:11:31,920 --> 00:11:38,640 Temptation. Temptation walkers. 100 00:11:38,640 --> 00:11:40,960 You'll lift your legs way up. Hiding. 101 00:11:42,040 --> 00:11:42,920 No, no, Jackie. Bye. 102 00:11:43,160 --> 00:11:46,160 Bye. Please let me finish. 103 00:11:46,160 --> 00:11:49,680 Say they give me a try. No, no, no, Jackie. 104 00:11:49,760 --> 00:11:56,520 We said fire, fire. Hey, I'll let you I'll put you 105 00:11:56,720 --> 00:12:03,320 in the I thank you. Misunderstand my Come on, baby. 106 00:12:03,440 --> 00:12:06,400 Let us walk. Do the temptation. 107 00:12:07,120 --> 00:12:08,680 You live on him. I do the temptation. 108 00:12:13,120 --> 00:12:14,480 Not first. You tried it. 109 00:12:16,440 --> 00:12:18,680 I'll let you decided. Baby. 110 00:12:20,160 --> 00:12:27,160 Forget about all that promise. All I want to do is stand up. 111 00:12:27,680 --> 00:12:32,360 Don't dash it. Do the temptation. 112 00:12:32,440 --> 00:12:36,200 Walk, walk, walk. Do the temptation walk. 113 00:12:36,360 --> 00:12:39,640 Walk, walk. Do the temptation walk. 114 00:12:46,280 --> 00:12:53,400 Hey, I want you to say I'll let you do the same, baby. 115 00:12:54,640 --> 00:12:59,840 Forget about all my love. Come on, let's dance. 116 00:13:20,720 --> 00:13:25,280 None from Los Angeles and the Merwood staple Jackie Lee, also 117 00:13:25,280 --> 00:13:30,040 known as Earl Nelson, the voice behind some of the 60s most 118 00:13:30,160 --> 00:13:33,960 infectious dance records, best known for the duck. 119 00:13:34,120 --> 00:13:38,760 But tonight we're digging deeper into do the Temptation walk. 120 00:13:39,000 --> 00:13:43,040 Next up is an artist called Camela Brooks, and she's really 121 00:13:43,040 --> 00:13:48,720 largely obscure soul singer who released this single Tell Me 122 00:13:48,720 --> 00:14:16,800 Baby around 1966. Yeah. 123 00:14:17,640 --> 00:14:22,680 What will you tell your Gustan friend when they inquire? 124 00:14:22,760 --> 00:14:27,600 I ask you how I've been. Tell him I'm doing fine. 125 00:14:27,680 --> 00:14:35,920 I read the end of the line. I know I really shouldn't be sad 126 00:14:35,960 --> 00:14:39,880 how I record all the good time we've had. 127 00:14:40,720 --> 00:14:45,560 It's a new game. I'll never be the same. 128 00:14:55,800 --> 00:14:59,520 And I recall all the good times we've had. 129 00:15:00,800 --> 00:15:05,480 It's all in the game. I'll never be the same. 130 00:15:05,920 --> 00:15:12,960 Tell me. Tell me, baby, what to do. 131 00:15:12,960 --> 00:15:15,240 I you and I you and I are through. 132 00:15:41,480 --> 00:15:45,520 OK, Next up is a group called the Out of Sights, and they were 133 00:15:45,520 --> 00:15:51,760 a soul group from Cleveland, OH active in the late 1960s to the 134 00:15:52,040 --> 00:15:55,880 early 1970s. They recorded for Saroo Records, 135 00:15:56,120 --> 00:16:01,520 a Cleveland label active around from 1968 to 71. 136 00:16:01,960 --> 00:16:07,880 Their single For the rest of my life was AB Side to Tears, Don't 137 00:16:07,880 --> 00:16:14,720 Care Who Cries released around 1969 and it became a rare 138 00:16:14,720 --> 00:16:18,040 favourite in the Northern Soul scene. 139 00:16:48,120 --> 00:16:56,040 My life I'm going to be wandering and waiting for 140 00:16:56,440 --> 00:17:01,400 someone to tell me we can my baby be. 141 00:17:03,240 --> 00:17:13,480 I pray in my pride and see this is in my heart. 142 00:17:13,599 --> 00:17:42,000 I love unto the happy soul. OK Next up is a group called the 143 00:17:42,000 --> 00:17:46,720 Charades and they were a soul group from Tolar which was in 144 00:17:46,800 --> 00:17:49,440 California. Originally formed in the late 145 00:17:49,440 --> 00:17:52,120 1950s. They released a single called 146 00:17:52,120 --> 00:17:57,240 The Key to My Happiness and this was released on MGM records in 147 00:17:57,240 --> 00:18:01,200 1966 with the B Side Weeping Cup. 148 00:18:01,520 --> 00:18:06,680 Although they started with do open surf influence sounds, this 149 00:18:06,680 --> 00:18:10,200 track became a Northern Soul favourite. 150 00:18:24,800 --> 00:18:28,840 I look at the cows and see another day it breaks. 151 00:18:28,840 --> 00:18:31,560 You drink it through breaking, through breaking. 152 00:18:31,560 --> 00:18:35,920 I don't say it's another day living without you. 153 00:18:37,200 --> 00:19:26,960 I'm trying. The down overnight you cry 154 00:19:28,760 --> 00:19:30,640 chills in my lonely chips ain't bad. 155 00:19:31,360 --> 00:19:46,810 I'm trying hard. 156 00:19:46,810 --> 00:19:51,730 I repossessed the kid of mine. I'm in my own way. 157 00:19:54,290 --> 00:20:00,370 God represents the kid of mine. I'm on that way. 158 00:20:11,880 --> 00:20:15,840 Now tonight, this no tried and tested anthems you've heard 1000 159 00:20:15,840 --> 00:20:18,680 times is said. We're diving deep into a 160 00:20:18,680 --> 00:20:23,920 selection bursting with soul. This is the sound of discovery, 161 00:20:23,920 --> 00:20:28,600 the heartbeat of the underground and the spirit of Northern Soul 162 00:20:29,040 --> 00:20:47,800 at its purest. I'm in love with you. 163 00:20:48,120 --> 00:20:53,280 I hope you love me too. All my aching hearts tearing me 164 00:20:53,280 --> 00:20:59,560 apart now being dead you. I'm in love with you. 165 00:20:59,960 --> 00:21:04,360 I hope you love me too. Oh my, my heart is telling me 166 00:21:04,440 --> 00:21:14,120 about my baby, baby, baby, baby. Hard as I'm in love. 167 00:21:14,200 --> 00:21:24,440 Pains in my heart over you, you, you, you, you God, me wondering 168 00:21:25,680 --> 00:21:30,760 just what, just what to do. Your love dream. 169 00:21:30,760 --> 00:21:33,680 Love's gotta be love. Love for you. 170 00:21:33,680 --> 00:21:46,440 Business nights disturbed. I see my journey home. 171 00:21:48,480 --> 00:21:52,920 Oh, for you to be with me. Just you. 172 00:21:52,920 --> 00:21:54,200 Yes, my love. Julia. 173 00:21:54,600 --> 00:22:20,200 Love's gotta be love for you. I'm in love with you. 174 00:22:24,040 --> 00:22:31,840 I hope you love me too. Yes, I'm in love. 175 00:22:31,920 --> 00:22:54,160 Yes, I'm in love. Yes, I'm in love with you. 176 00:22:55,200 --> 00:22:57,000 Love. Yes, I'm in love with you. 177 00:23:11,640 --> 00:23:15,840 Unique Blend and they were a Chicago-based soul group active 178 00:23:15,840 --> 00:23:20,040 in the early to mid 1970s, and they're a perfect example of the 179 00:23:20,320 --> 00:23:24,920 kind of act that defines the deeper side of the Northern Soul 180 00:23:24,920 --> 00:23:27,400 scene. They recorded for a small but 181 00:23:27,400 --> 00:23:31,960 respected Chicago label called All Team Records, working with 182 00:23:32,040 --> 00:23:36,080 local producers who specialised in that lush, harmony driven 183 00:23:36,080 --> 00:23:38,480 sound coming right out of the city. 184 00:23:38,760 --> 00:23:44,200 At the time, Chicago of course was a hotbed for soul talent, 185 00:23:44,400 --> 00:23:49,040 and while some acts broke big, others like Unique Blend remain 186 00:23:49,240 --> 00:23:53,200 under the radar in the US. But they've found a second life 187 00:23:53,200 --> 00:23:58,000 here in the UK. The standout track I pick Yes 188 00:23:58,080 --> 00:24:00,880 I'm In Love. It's a real gem. 189 00:24:01,120 --> 00:24:05,440 Smooth vocals, tight group harmonies and that mid tempo 190 00:24:05,440 --> 00:24:10,760 groove that DJs could slip into a set or change the mood without 191 00:24:10,760 --> 00:24:14,760 losing the floor. It's not an out and out stomper, 192 00:24:15,120 --> 00:24:18,240 but it's got soul in every groove. 193 00:24:32,960 --> 00:24:54,080 I found out about you. Girl, girl, girl, girl. 194 00:24:55,880 --> 00:24:59,560 I'm a fairy tale and you never be true. 195 00:25:03,920 --> 00:25:08,720 I thought that you, you must steal my heart to joy. 196 00:25:11,400 --> 00:25:14,720 You chipped me, baby. I want your bread and I don't 197 00:25:14,800 --> 00:25:25,920 want you. There never be true the number 198 00:25:26,200 --> 00:25:33,640 one I'm going to stop running after you all you ever want with 199 00:25:34,480 --> 00:25:38,800 every guy in time. Really made me like a fool 200 00:25:40,680 --> 00:25:42,560 today. I bought your help and you 201 00:25:42,560 --> 00:25:46,320 weren't home and the person said you didn't go to school. 202 00:25:54,320 --> 00:26:01,720 Go, go on to bed. You'll let me go. 203 00:26:01,800 --> 00:26:08,840 Go away with my me, little girl. I'm not going to call you. 204 00:26:08,840 --> 00:26:12,400 I'm trying to jump apart. I found out about you. 205 00:26:12,400 --> 00:26:16,840 Girl, girl, girl, girl, girl, girl, girl, girl. 206 00:26:19,600 --> 00:26:33,760 And you rather come to. The phonetics were one of those 207 00:26:33,760 --> 00:26:37,920 elusive soul outfits who reputation rests almost entirely 208 00:26:38,120 --> 00:26:41,080 on one outstanding Northern Soul classic. 209 00:26:41,400 --> 00:26:46,880 Their track Just a Boy's Dream is 1A beautifully crafted piece 210 00:26:46,880 --> 00:26:51,800 of mid tempo soul with a haunting vocal, rich harmonies 211 00:26:52,120 --> 00:26:56,440 and that unmistakable longing that cuts right through you. 212 00:26:57,160 --> 00:27:01,040 Very little is documented about the group, which only adds to 213 00:27:01,040 --> 00:27:05,640 the mystique and a familiar story in northern Seoul. 214 00:27:20,640 --> 00:27:26,640 Hey, hey, you. I need you here by my side. 215 00:27:29,280 --> 00:27:33,320 I'll try to fight it on it. Don't run it hard. 216 00:27:36,200 --> 00:27:41,360 Just play the sea. You're not belong with me. 217 00:27:51,200 --> 00:27:57,280 Just on my lips feels like if I remove my headphones and all my 218 00:27:59,120 --> 00:28:04,400 friends to put it constantly with your heart on the beef. 219 00:28:05,920 --> 00:28:37,160 Oh, I know that you. So girl, I have my love and you 220 00:28:37,160 --> 00:28:44,200 see love and you see my this thing, my love all I see you 221 00:28:46,440 --> 00:28:47,480 just don't do me wrong. Everything wrong? 222 00:28:53,400 --> 00:29:00,560 Hey, How you? How you? 223 00:29:18,640 --> 00:29:22,840 How you? How you? 224 00:29:32,400 --> 00:29:36,800 The Montclairs were a Chicago-based vocal group who 225 00:29:36,800 --> 00:29:41,200 brought a smoother, more sophisticated edge to 70 Soul, 226 00:29:41,520 --> 00:29:45,640 blending tight harmonies with a polished, almost crossover 227 00:29:45,640 --> 00:29:48,760 sound. The track Hey You Don't Fight It 228 00:29:48,960 --> 00:29:52,560 is a stand out. It's driven by laid back groove, 229 00:29:52,800 --> 00:29:57,400 worn vocals and that unmistakable Chicago production. 230 00:29:57,720 --> 00:30:00,760 It's the kind of record that sits beautifully in a set, 231 00:30:01,080 --> 00:30:04,200 easing the tempo without losing the soul. 232 00:30:04,720 --> 00:30:08,000 It was originally released on Paula Records in the early 233 00:30:08,000 --> 00:30:11,080 1970's. The group didn't achieve major 234 00:30:11,080 --> 00:30:15,160 chart success, but like so many acts of that era, they found 235 00:30:15,160 --> 00:30:19,000 lasting appreciation through the Northern Sea. 236 00:30:19,760 --> 00:30:24,400 It's not a full on stomper, but a classy, soulful groove that 237 00:30:24,400 --> 00:30:27,200 works the floor in different ways. 238 00:30:42,840 --> 00:30:51,080 Every time I feel like walking out the door I think I'm just 239 00:30:51,120 --> 00:31:00,080 going to take it anymore. This was lies those bells in 240 00:31:00,400 --> 00:31:07,840 disguise was moving into leaving you 'cause I know much better. 241 00:31:10,040 --> 00:31:14,000 And if they storm me when I will ride it over you. 242 00:31:15,080 --> 00:31:18,120 Yeah. I'm on the roadside of town. 243 00:31:18,200 --> 00:31:25,520 JJ, I'm bringing you down. I'm on the roadside of town. 244 00:31:28,200 --> 00:31:32,120 Goodbye to your love. Shines to watch us have to fight 245 00:31:32,240 --> 00:31:39,600 for your love. To talk about me when I'm not 246 00:31:39,600 --> 00:31:43,480 around. Try to make you live without me. 247 00:31:43,480 --> 00:31:55,320 Lose the love that went down. Tell them where we go. 248 00:31:57,720 --> 00:32:09,160 Tell them that I know. I'm going home late. 249 00:32:09,280 --> 00:32:13,400 I'm on the roadside of town. Jay-Z, I'm bringing you down. 250 00:32:13,400 --> 00:32:20,320 I'm on the roadside of town. I'm going to have goodbye to 251 00:32:20,560 --> 00:32:24,520 your love Suns to watch this guy to fight for your world. 252 00:32:41,520 --> 00:32:44,880 I'm from the roadside of the town. 253 00:32:45,280 --> 00:32:46,600 Change it. I'm bringing you down. 254 00:32:47,000 --> 00:32:50,480 I'm from the roadside of the town. 255 00:32:51,920 --> 00:32:54,560 You're trans. You're talking about me. 256 00:32:55,680 --> 00:32:58,160 You say you won't live without me inside. 257 00:32:58,160 --> 00:33:04,240 I hope you won't live without. Me The Four Candles are another 258 00:33:04,240 --> 00:33:08,000 of those beautifully obscure acts that Northern Soul 259 00:33:08,000 --> 00:33:12,880 collectors love, a group whose legacy hangs on one rare and 260 00:33:13,040 --> 00:33:17,120 atmospheric recording. The track The Wrong Side of Town 261 00:33:17,280 --> 00:33:22,160 is a real mood piece, slightly darker in tone with a brooding 262 00:33:22,160 --> 00:33:26,880 edge that sets it apart from more upbeat dance floor cuts. 263 00:33:27,040 --> 00:33:30,560 In fact, there's a sense of storytelling in the vocal, 264 00:33:30,800 --> 00:33:34,920 backed by a steady groove and subtle arrangement that really 265 00:33:35,120 --> 00:33:38,280 draws you in. It's not a big, explosive 266 00:33:38,280 --> 00:33:40,880 dancer. Instead, it's the kind of record 267 00:33:40,880 --> 00:33:46,080 that creates a moment in a set late into the night, when the 268 00:33:46,080 --> 00:33:49,520 floor is still moving but the mood is deepened. 269 00:33:50,120 --> 00:33:53,360 Very little is known about the group themselves, which only 270 00:33:53,360 --> 00:33:58,240 adds to the intrigue like many Northern Soul favourites. 271 00:34:20,239 --> 00:34:23,840 I'm all right. I wouldn't please at all. 272 00:34:24,280 --> 00:34:40,520 I said to follow you when you need to please, when you need to 273 00:34:40,520 --> 00:34:42,520 understand. You feed my legs, I'm sorry 274 00:34:42,520 --> 00:34:46,360 about them. And then you're loving me all 275 00:34:46,360 --> 00:35:49,020 alone. None. 276 00:35:59,570 --> 00:36:03,610 The Dinells were a Detroit soul outfit and like many groups from 277 00:36:03,610 --> 00:36:07,690 the Motor City, they carried that raw, heartfelt edge that 278 00:36:07,690 --> 00:36:12,210 sat somewhere between Polish, Motown and grittier independent 279 00:36:12,210 --> 00:36:15,090 productions. The track Call On Me is a 280 00:36:15,090 --> 00:36:19,610 Northern Soul favourite, driven by urgent vocal, punchy rhythm 281 00:36:19,920 --> 00:36:23,480 and that irresistible beat that keeps the dance floor moving. 282 00:36:23,720 --> 00:36:29,240 It's got that classic early to mid 60s feel, direct, emotional 283 00:36:29,520 --> 00:36:33,720 and built for movement. Originally released on a small 284 00:36:33,720 --> 00:36:37,960 Detroit label, the record didn't achieve major commercial success 285 00:36:37,960 --> 00:36:44,440 at a time, but when UKDJS played it, it found a new life where it 286 00:36:44,440 --> 00:36:47,600 really mattered. It's a kind of record that fits 287 00:36:47,760 --> 00:36:52,400 perfectly into an up tempo set, energetic without being 288 00:36:52,400 --> 00:36:57,720 overplayed, and full of authentic soul intensity that 289 00:36:57,720 --> 00:37:00,040 collectors are always chasing. The world's just not the same. 290 00:37:00,040 --> 00:37:15,880 At least not. To me, 'cause I won't see you 291 00:37:15,880 --> 00:37:23,280 again, You're setting you free. But I wish you the world a 292 00:37:28,880 --> 00:37:35,440 happiness. No, you hurt me, I'll sleep. 293 00:37:35,440 --> 00:37:37,360 The world happiness. No, you didn't need. 294 00:37:37,360 --> 00:37:41,840 Go see the world with her outside this lonely room. 295 00:37:44,120 --> 00:37:49,480 But I must sit here with no friends to share my lonely blue. 296 00:37:50,400 --> 00:38:03,960 But I will see you. No, you hurting me. 297 00:38:04,080 --> 00:38:08,040 I'll see you now. I'll be on your way in. 298 00:38:09,440 --> 00:38:16,920 Shall I stay with her, though? In my broken heart, the pain 299 00:38:16,960 --> 00:38:22,560 will never burn again. But maybe if I wait long enough. 300 00:38:23,000 --> 00:38:29,800 Maybe if I cry long enough. Maybe if I lay as long enough. 301 00:38:30,120 --> 00:38:33,400 Maybe if my heart is long enough. 302 00:39:05,800 --> 00:39:47,520 The. But lately, I'm in my way. 303 00:39:47,680 --> 00:39:56,880 I'm on my way. I don't know. 304 00:39:57,000 --> 00:40:00,160 Maybe my heart is wrong about you. 305 00:40:00,320 --> 00:40:06,520 Oh, happiness, now you hurt me. I've seen the world. 306 00:40:07,600 --> 00:40:13,920 Oh, happiness, though, you do Let me out. 307 00:40:16,240 --> 00:40:20,000 Anne Robinson is one of those names that surfaces in the 308 00:40:20,040 --> 00:40:23,520 Northern Soul circles and it's attached to this single. 309 00:40:23,760 --> 00:40:28,440 Attract The World of Happiness is a bright, uplifting slice of 310 00:40:28,440 --> 00:40:32,600 soul built on a steady groove with an optimistic vocal 311 00:40:32,600 --> 00:40:35,600 delivery that really carries the real warmth. 312 00:40:35,880 --> 00:40:40,440 It sits in that sweet spot between mid tempo dancer and 313 00:40:40,440 --> 00:40:45,000 feel good crossover soul. What makes records like this so 314 00:40:45,000 --> 00:40:49,120 valued on the scene isn't chart history, but discovery. 315 00:40:49,360 --> 00:40:54,360 It's the feeling of lifting A45 from obscurity and hearing 316 00:40:54,360 --> 00:40:58,760 something that instantly makes sense on a dance floor. 317 00:41:19,080 --> 00:41:22,840 I can't do without you, so I don't. 318 00:41:22,960 --> 00:41:25,400 It's the attention that I've touched your mind by dancing on 319 00:41:25,400 --> 00:41:31,840 a typo. But that's such a strange place. 320 00:41:33,760 --> 00:41:39,560 It has no eyes. I turn my back to Richmond, but 321 00:41:39,680 --> 00:41:43,640 I still hear its eyes, so I go on. 322 00:41:44,440 --> 00:41:53,400 It's the attention that I touch your mind by dancing on a every 323 00:41:53,440 --> 00:42:04,920 day is the same but I go just like they came but a fever in my 324 00:42:05,040 --> 00:42:07,000 brain. My friends say we're the same. 325 00:42:08,240 --> 00:42:11,800 You will cause me so much pain for the time. 326 00:42:50,160 --> 00:42:54,280 Go away, you play, man, Like walking the tide. 327 00:42:54,600 --> 00:43:05,440 But I can't go without you, so I go on. 328 00:43:05,440 --> 00:43:08,160 Is there chance that I'll cut your mind like this? 329 00:43:20,200 --> 00:43:25,240 What a fever and my friend, my friends ain't by the same. 330 00:43:25,640 --> 00:43:29,240 Want to shame everything. You will cost me so much pain. 331 00:43:29,240 --> 00:43:36,320 And the tiger. And the tiger. 332 00:43:52,280 --> 00:43:54,200 Well, I'm really digging deep tonight. 333 00:43:54,200 --> 00:43:57,080 That's a group called the Soul Blenders, and they were part of 334 00:43:57,080 --> 00:44:01,840 that rich wave of late 60s soul vocal groups, delivering the 335 00:44:02,040 --> 00:44:05,920 tight harmonies and emotionally driven performances that sat 336 00:44:05,920 --> 00:44:09,200 right in the Northern Soul sweet spot. 337 00:44:09,800 --> 00:44:14,080 The track Tightrope is a perfect example, balancing a steady, 338 00:44:14,160 --> 00:44:18,680 danceable rhythm with a slightly tense, dramatic feel that 339 00:44:18,680 --> 00:44:22,280 matches the title. There's a real sense of urgency 340 00:44:22,280 --> 00:44:27,080 in the vocal, backed by crisp instrumentation and that classic 341 00:44:27,400 --> 00:44:52,320 group harmony sound. It's the same. 342 00:44:54,880 --> 00:45:00,040 Oh, she could be so nice, Be my little paradise. 343 00:45:01,040 --> 00:45:08,040 But she's not dead, not American baby. 344 00:45:17,280 --> 00:45:20,600 Let them meet all my friends. Then she gives me a great big 345 00:45:20,680 --> 00:45:25,160 friend. Oh, she could be so kind. 346 00:45:30,600 --> 00:45:51,320 The man can walking up and down the street knowing 347 00:45:51,520 --> 00:45:57,520 all my friends we meet that day with the head and the half. 348 00:45:58,240 --> 00:46:06,480 Oh but she have a pretty face why I can't seem to relieve but 349 00:46:07,360 --> 00:46:14,160 she's like a jet lag. The Merry Dan baby. 350 00:46:23,320 --> 00:46:26,320 And that's your love for tonight, a special journey into 351 00:46:26,320 --> 00:46:29,960 the deeper grooves. No big hits, just real soul. 352 00:46:30,240 --> 00:46:34,000 The way was meant to be heard. From the Soul Blenders to Anne 353 00:46:34,000 --> 00:46:37,560 Robinson, the Dionells and the four Vandals, tonight's 354 00:46:37,560 --> 00:46:41,640 soundtrack was all about discovery, atmosphere and the 355 00:46:41,880 --> 00:46:44,520 unmistakable Northern Soul feeling. 356 00:46:44,960 --> 00:46:48,760 All on. Original 40 fives, all from the 357 00:46:48,760 --> 00:46:51,160 heart. I'll be back soon with more 358 00:46:51,160 --> 00:46:53,920 hidden gems and dance floor memories. 359 00:46:54,200 --> 00:47:12,360 Until then, bye bye, let. Her go. 360 00:47:14,200 --> 00:47:22,200 You don't really love that girl. Can't you see what she believed 361 00:47:22,200 --> 00:47:27,000 you do? Why keep the hanging on when 362 00:47:27,120 --> 00:47:34,800 there's nothing to hang on to? Why do you tell her things that 363 00:47:36,200 --> 00:47:37,200 you know? Hold on. 364 00:47:37,360 --> 00:47:41,200 Truth. Let her go. 365 00:47:42,680 --> 00:47:46,480 Do the right thing. Let her go, your friend. 366 00:47:47,720 --> 00:47:49,000 Let her go. Oh, let her go. 367 00:47:49,040 --> 00:47:54,760 You just got to let her go. I can't help her. 368 00:47:54,760 --> 00:47:58,040 Let her go. Oh, yeah, yeah, yeah. 369 00:47:58,320 --> 00:48:07,000 Do the right thing. You need to live with this. 370 00:48:07,000 --> 00:48:16,080 This, this. Let her go. 371 00:48:16,880 --> 00:48:19,200 Oh, yeah. Let her. 372 00:48:19,200 --> 00:48:20,800 Tell her that you just don't care. 373 00:48:23,800 --> 00:48:24,920 Let her go. Let her know. 374 00:48:24,920 --> 00:48:27,080 Let her she can walk out freely. Let her. 375 00:48:27,080 --> 00:48:30,680 She means nothing to you. But she has a very much to me. 376 00:48:30,760 --> 00:48:41,720 And it ain't right. Nothing. 377 00:48:41,960 --> 00:48:48,520 It can be. Go do the right thing. 378 00:48:49,280 --> 00:48:51,800 Let her go. Be a friend. 379 00:48:52,960 --> 00:48:55,560 Let her go. Can't you hear me? 380 00:48:56,200 --> 00:49:01,600 Let her go. Oh, you just got to let her go. 381 00:49:02,560 --> 00:49:10,000 I can't help her. Oh, get in here. 382 00:49:11,520 --> 00:49:27,960 Do the right thing. Come on, let her go.