From the mid 60s heartbeat of Detroit soul tonight we're
heading somewhere special. And tonight, in this special
episode, it's all Secret soul. I'm a big man, I die hard for my
baby. I'm a big man, I die hard for my
baby. I've got a lot of meat and I'm
hard to beat 'cause I'm a big man.
I'm a big man and a good woman rule my soul.
She got a sweet too. And you love my Jelly roll or
she won't lose 'cause she get to you, the big man.
The people try to tell you that I don't love you.
They'll not believe them 'cause I will hurt you.
I'm gonna take you to the woodshed and drop a couple of
Pikes on you. I'm a big man.
I die hard for my baby. I'm a big man.
Cough me up and I'll go crazy. And if you break your way, you
wish you never heard of a big man.
But people try to tell you that I don't love you.
They'll not believe them. But I will hurt you.
I'm gonna take you to the woodshed and drop a cop.
The long panks down you. Tonight from Manchester, UK, its
secret soul. Promise me, just don't tell.
Anyone else as Big Daddy Rogers recorded this track?
I'm a Big Man. In 1968 it was released on the
Midas record label out of Chicago.
The B side was be my Lawyer. Beyond this single, this not
much really documented about his career or background, though the
track is recognised as a strong piece of Chicago R&B from the
1960s. Next up is an artist called
Tamika Jones and this really is one of those classy crossover
soul sides that sits right on the edge between Northern Soul
and the sophisticated late 60s early 70s club sound.
You've got me in your power. Oh, it must be magic.
I'm a victimer. I praise it up the sweet and the
fame. When it's like you leave.
I wanna break away when it passes me.
I know. I got out of space.
Hold, it must be What? You trust me.
You put me in your power. Hold it must be magic.
You turn me on. You make me feel so fine and
then you turn around, wrap me out of my mind like a hurricane.
You come on strong. You make me love you baby.
You love me right around. So hope you see witchcraft, the
power. Oh, it must be magic.
It's magical. How you getting what I when you
look at me, whip your feet down. I oh, baby, don't let go.
Keep a hold of me. Keep me young man.
It's where I want to be. Oh, it must be what you present.
Get back me in your car with. Oh, it must be magic.
I really got it back in now. Now, I first came across Tamika
Jones when we had the record shop in roundabout 1975.
She issued a single on Arista Records and it was called Touch
Me Baby and it was quite a slow sort of song in one way, but the
DJ's loved it. It was something that they
played as they were trying to wind things down, and we sold
out of it within a week. But Tamika Jones was one of
those versatile vocalists who could really move effortless
between jazz, pop and soul. She was born in West Virginia,
and she built her reputation in the 60s with a polished, almost
sophisticated delivery, never oversung and always in control.
A work with Herbie Mann gave her credibility in the jazz circles,
but for the northern and crossover crowd, it was records
like this that really define her.
I have much money, money and everything I've got an old girl
speaks as honey, as a queen beast.
But if you've got to speak, old girl, I'm not the guy.
My love is just like lightning. It kind of hits you with a
sudden joke, but it's the news. It's a little bit raining, but
it's more power than the Thunderbolt.
But if you're not, get to help me.
Oh, girl, I'm at the kind, you see.
But if you've got the kind of girls, I'm alone.
But if you got the hot girls, I'm
alone, Girl, baby, you know you've got to be if you want to
be wrong. Oh yeah, 'cause I'm a soul man,
baby. Oh yeah, I'm a soul man.
I'm a soul man. If anyone can love you, baby, I
can love you. Great track, Moses Smith, and
he's not a household name. And really, that's part of the
magic. He's one of those artists whose
reputation lives almost entirely through 1 outstanding record,
and this is it. Like many on the scene, he
recorded sparingly and but when he did, it had that raw,
authentic edge that collector's crave.
It was released originally on Quinthy Records.
Alabama based the same circle as Percy Sledge.
The era was the mid 60s and really the production was
southern, rich, emotional and slightly gritty.
You can hear the Muscle Shoals influence straight away.
It's not Polly's like Detroit or Philly.
It's got weight and it's got feeling.
From the heart and soul of Manchester, it's all about soul.
It's got to be northern. This is your one beside baby.
Just to be with you. Mama.
Baby. But, Lana, would you like to pay
the prize to give them what you want me to do now?
Come on. It's a new sensation.
I think you misunderstand my job.
Come on, baby. Do the temptation part.
Temptation. Temptation walkers.
You'll lift your legs way up. Hiding.
No, no, Jackie. Bye.
Please let me finish.
Say they give me a try. No, no, no, Jackie.
We said fire, fire. Hey, I'll let you I'll put you
in the I thank you. Misunderstand my Come on, baby.
Let us walk. Do the temptation.
You live on him. I do the temptation.
Not first. You tried it.
I'll let you decided. Baby.
Forget about all that promise. All I want to do is stand up.
Don't dash it. Do the temptation.
Walk, walk, walk. Do the temptation walk.
Walk, walk. Do the temptation walk.
Hey, I want you to say I'll let you do the same, baby.
Forget about all my love. Come on, let's dance.
None from Los Angeles and the Merwood staple Jackie Lee, also
known as Earl Nelson, the voice behind some of the 60s most
infectious dance records, best known for the duck.
But tonight we're digging deeper into do the Temptation walk.
Next up is an artist called Camela Brooks, and she's really
largely obscure soul singer who released this single Tell Me
Baby around 1966. Yeah.
What will you tell your Gustan friend when they inquire?
I ask you how I've been. Tell him I'm doing fine.
I read the end of the line. I know I really shouldn't be sad
how I record all the good time we've had.
It's a new game. I'll never be the same.
And I recall all the good times we've had.
It's all in the game. I'll never be the same.
Tell me. Tell me, baby, what to do.
I you and I you and I are through.
OK, Next up is a group called the Out of Sights, and they were
a soul group from Cleveland, OH active in the late 1960s to the
early 1970s. They recorded for Saroo Records,
a Cleveland label active around from 1968 to 71.
Their single For the rest of my life was AB Side to Tears, Don't
Care Who Cries released around 1969 and it became a rare
favourite in the Northern Soul scene.
My life I'm going to be wandering and waiting for
someone to tell me we can my baby be.
I pray in my pride and see this is in my heart.
I love unto the happy soul. OK Next up is a group called the
Charades and they were a soul group from Tolar which was in
California. Originally formed in the late
1950s. They released a single called
The Key to My Happiness and this was released on MGM records in
1966 with the B Side Weeping Cup.
Although they started with do open surf influence sounds, this
track became a Northern Soul favourite.
I look at the cows and see another day it breaks.
You drink it through breaking, through breaking.
I don't say it's another day living without you.
I'm trying. The down overnight you cry
chills in my lonely chips ain't bad.
I'm trying hard.
I repossessed the kid of mine. I'm in my own way.
God represents the kid of mine. I'm on that way.
Now tonight, this no tried and tested anthems you've heard 1000
times is said. We're diving deep into a
selection bursting with soul. This is the sound of discovery,
the heartbeat of the underground and the spirit of Northern Soul
at its purest. I'm in love with you.
I hope you love me too. All my aching hearts tearing me
apart now being dead you. I'm in love with you.
I hope you love me too. Oh my, my heart is telling me
about my baby, baby, baby, baby. Hard as I'm in love.
Pains in my heart over you, you, you, you, you God, me wondering
just what, just what to do. Your love dream.
Love's gotta be love. Love for you.
Business nights disturbed. I see my journey home.
Oh, for you to be with me. Just you.
Yes, my love. Julia.
Love's gotta be love for you. I'm in love with you.
I hope you love me too. Yes, I'm in love.
Yes, I'm in love with you.
Love. Yes, I'm in love with you.
Unique Blend and they were a Chicago-based soul group active
in the early to mid 1970s, and they're a perfect example of the
kind of act that defines the deeper side of the Northern Soul
scene. They recorded for a small but
respected Chicago label called All Team Records, working with
local producers who specialised in that lush, harmony driven
sound coming right out of the city.
At the time, Chicago of course was a hotbed for soul talent,
and while some acts broke big, others like Unique Blend remain
under the radar in the US. But they've found a second life
here in the UK. The standout track I pick Yes
I'm In Love. It's a real gem.
Smooth vocals, tight group harmonies and that mid tempo
groove that DJs could slip into a set or change the mood without
losing the floor. It's not an out and out stomper,
but it's got soul in every groove.
I found out about you. Girl, girl, girl, girl.
I'm a fairy tale and you never be true.
I thought that you, you must steal my heart to joy.
You chipped me, baby. I want your bread and I don't
want you. There never be true the number
one I'm going to stop running after you all you ever want with
every guy in time. Really made me like a fool
today. I bought your help and you
weren't home and the person said you didn't go to school.
Go, go on to bed. You'll let me go.
Go away with my me, little girl. I'm not going to call you.
I'm trying to jump apart. I found out about you.
Girl, girl, girl, girl, girl, girl, girl, girl.
And you rather come to. The phonetics were one of those
elusive soul outfits who reputation rests almost entirely
on one outstanding Northern Soul classic.
Their track Just a Boy's Dream is 1A beautifully crafted piece
of mid tempo soul with a haunting vocal, rich harmonies
and that unmistakable longing that cuts right through you.
Very little is documented about the group, which only adds to
the mystique and a familiar story in northern Seoul.
Hey, hey, you. I need you here by my side.
I'll try to fight it on it. Don't run it hard.
Just play the sea. You're not belong with me.
Just on my lips feels like if I remove my headphones and all my
friends to put it constantly with your heart on the beef.
Oh, I know that you. So girl, I have my love and you
see love and you see my this thing, my love all I see you
just don't do me wrong. Everything wrong?
Hey, How you? How you?
How you?
The Montclairs were a Chicago-based vocal group who
brought a smoother, more sophisticated edge to 70 Soul,
blending tight harmonies with a polished, almost crossover
sound. The track Hey You Don't Fight It
is a stand out. It's driven by laid back groove,
worn vocals and that unmistakable Chicago production.
It's the kind of record that sits beautifully in a set,
easing the tempo without losing the soul.
It was originally released on Paula Records in the early
1970's. The group didn't achieve major
chart success, but like so many acts of that era, they found
lasting appreciation through the Northern Sea.
It's not a full on stomper, but a classy, soulful groove that
works the floor in different ways.
Every time I feel like walking out the door I think I'm just
going to take it anymore. This was lies those bells in
disguise was moving into leaving you 'cause I know much better.
And if they storm me when I will ride it over you.
Yeah. I'm on the roadside of town.
JJ, I'm bringing you down. I'm on the roadside of town.
Goodbye to your love. Shines to watch us have to fight
for your love. To talk about me when I'm not
around. Try to make you live without me.
Lose the love that went down. Tell them where we go.
Tell them that I know. I'm going home late.
I'm on the roadside of town. Jay-Z, I'm bringing you down.
I'm on the roadside of town. I'm going to have goodbye to
your love Suns to watch this guy to fight for your world.
I'm from the roadside of the town.
Change it. I'm bringing you down.
I'm from the roadside of the town.
You're trans. You're talking about me.
You say you won't live without me inside.
I hope you won't live without. Me The Four Candles are another
of those beautifully obscure acts that Northern Soul
collectors love, a group whose legacy hangs on one rare and
atmospheric recording. The track The Wrong Side of Town
is a real mood piece, slightly darker in tone with a brooding
edge that sets it apart from more upbeat dance floor cuts.
In fact, there's a sense of storytelling in the vocal,
backed by a steady groove and subtle arrangement that really
draws you in. It's not a big, explosive
dancer. Instead, it's the kind of record
that creates a moment in a set late into the night, when the
floor is still moving but the mood is deepened.
Very little is known about the group themselves, which only
adds to the intrigue like many Northern Soul favourites.
I'm all right. I wouldn't please at all.
I said to follow you when you need to please, when you need to
understand. You feed my legs, I'm sorry
about them. And then you're loving me all
alone. None.
The Dinells were a Detroit soul outfit and like many groups from
the Motor City, they carried that raw, heartfelt edge that
sat somewhere between Polish, Motown and grittier independent
productions. The track Call On Me is a
Northern Soul favourite, driven by urgent vocal, punchy rhythm
and that irresistible beat that keeps the dance floor moving.
It's got that classic early to mid 60s feel, direct, emotional
and built for movement. Originally released on a small
Detroit label, the record didn't achieve major commercial success
at a time, but when UKDJS played it, it found a new life where it
really mattered. It's a kind of record that fits
perfectly into an up tempo set, energetic without being
overplayed, and full of authentic soul intensity that
collectors are always chasing. The world's just not the same.
At least not. To me, 'cause I won't see you
again, You're setting you free. But I wish you the world a
happiness. No, you hurt me, I'll sleep.
The world happiness. No, you didn't need.
Go see the world with her outside this lonely room.
But I must sit here with no friends to share my lonely blue.
But I will see you. No, you hurting me.
I'll see you now. I'll be on your way in.
Shall I stay with her, though? In my broken heart, the pain
will never burn again. But maybe if I wait long enough.
Maybe if I cry long enough. Maybe if I lay as long enough.
Maybe if my heart is long enough.
The. But lately, I'm in my way.
I'm on my way. I don't know.
Maybe my heart is wrong about you.
Oh, happiness, now you hurt me. I've seen the world.
Oh, happiness, though, you do Let me out.
Anne Robinson is one of those names that surfaces in the
Northern Soul circles and it's attached to this single.
Attract The World of Happiness is a bright, uplifting slice of
soul built on a steady groove with an optimistic vocal
delivery that really carries the real warmth.
It sits in that sweet spot between mid tempo dancer and
feel good crossover soul. What makes records like this so
valued on the scene isn't chart history, but discovery.
It's the feeling of lifting A45 from obscurity and hearing
something that instantly makes sense on a dance floor.
I can't do without you, so I don't.
It's the attention that I've touched your mind by dancing on
a typo. But that's such a strange place.
It has no eyes. I turn my back to Richmond, but
I still hear its eyes, so I go on.
It's the attention that I touch your mind by dancing on a every
day is the same but I go just like they came but a fever in my
brain. My friends say we're the same.
You will cause me so much pain for the time.
Go away, you play, man, Like walking the tide.
But I can't go without you, so I go on.
Is there chance that I'll cut your mind like this?
What a fever and my friend, my friends ain't by the same.
Want to shame everything. You will cost me so much pain.
And the tiger. And the tiger.
Well, I'm really digging deep tonight.
That's a group called the Soul Blenders, and they were part of
that rich wave of late 60s soul vocal groups, delivering the
tight harmonies and emotionally driven performances that sat
right in the Northern Soul sweet spot.
The track Tightrope is a perfect example, balancing a steady,
danceable rhythm with a slightly tense, dramatic feel that
matches the title. There's a real sense of urgency
in the vocal, backed by crisp instrumentation and that classic
group harmony sound. It's the same.
Oh, she could be so nice, Be my little paradise.
But she's not dead, not American baby.
Let them meet all my friends. Then she gives me a great big
friend. Oh, she could be so kind.
The man can walking up and down the street knowing
all my friends we meet that day with the head and the half.
Oh but she have a pretty face why I can't seem to relieve but
she's like a jet lag. The Merry Dan baby.
And that's your love for tonight, a special journey into
the deeper grooves. No big hits, just real soul.
The way was meant to be heard. From the Soul Blenders to Anne
Robinson, the Dionells and the four Vandals, tonight's
soundtrack was all about discovery, atmosphere and the
unmistakable Northern Soul feeling.
All on. Original 40 fives, all from the
heart. I'll be back soon with more
hidden gems and dance floor memories.
Until then, bye bye, let. Her go.
You don't really love that girl. Can't you see what she believed
you do? Why keep the hanging on when
there's nothing to hang on to? Why do you tell her things that
you know? Hold on.
Truth. Let her go.
Do the right thing. Let her go, your friend.
Let her go. Oh, let her go.
You just got to let her go. I can't help her.
Let her go. Oh, yeah, yeah, yeah.
Do the right thing. You need to live with this.
This, this. Let her go.
Oh, yeah. Let her.
Tell her that you just don't care.
Let her go. Let her know.
Let her she can walk out freely. Let her.
She means nothing to you. But she has a very much to me.
And it ain't right. Nothing.
It can be. Go do the right thing.
Let her go. Be a friend.
Let her go. Can't you hear me?
Let her go. Oh, you just got to let her go.
I can't help her. Oh, get in here.
Do the right thing. Come on, let her go.