Northern soul
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Northern soul is a music and dance movement that emerged in
The Northern soul movement generally eschews
Northern soul is associated with dance styles and fashions that grew out of the underground rhythm and soul scene of the late 1960s at venues such as the
As the favoured beat became more uptempo and frantic in the early 1970s, northern soul dancing became more athletic, resembling the later dance styles of
In the late 1960s and early 1970s, popular northern soul records generally dated from the mid-1960s. This meant that the movement was sustained (and "new" recordings added to playlists) by prominent DJs discovering rare and previously overlooked records. Later on, certain clubs and DJs began to move away from the 1960s Motown sound and began to play newer releases with a more contemporary sound.
History
This section needs additional citations for verification. (July 2023) |
1960s
The term "northern soul" emanated from the record shop Soul City in Covent Garden, London, which was run by the soul music collector Dave Godin.[5][full citation needed] It was first publicly used in Godin's weekly column in Blues & Soul magazine in June 1970.[6] In a 2002 interview with Chris Hunt of Mojo magazine, Godin said he had first come up with the term in 1968, to help employees at Soul City differentiate the more modern funkier sounds from the smoother. Godin referred to the latter's requests as "northern soul":
I had started to notice that northern football fans who were in London to follow their team were coming into the store to buy records, but they weren't interested in the latest developments in the black American chart. I devised the name as a shorthand sales term. It was just to say "if you've got customers from the north, don't waste time playing them records currently in the U.S. black chart, just play them what they like – 'Northern Soul'".[7]
The music style most associated with northern soul is the heavy
By 1968 the reputation of the Twisted Wheel and the type of music being played there had grown nationwide, and soul fans were travelling from all over the United Kingdom to attend the Saturday all-nighters. Until his departure in 1968, resident 'All Niter' DJ Bob Dee compiled and supervised[13][full citation needed] the playlist, utilising the newly developed slip-cueing technique to spin the vinyl. Rarer, more up-tempo imported records were added to the playlist in 1969 by the new younger DJs like Brian "45" Phillips up until the club's eventual closure in 1971.[14][full citation needed][15][full citation needed] After attending one of the venue's all-nighters in November 1970, Godin wrote: "it is without doubt the highest and finest I have seen outside of the USA ... never thought I'd live to see the day where people could so relate the rhythmic content of Soul music to bodily movement to such a skilled degree!"[16] The venue's owners had successfully filled the vacancy left by Eagle with a growing roster of specialist soul DJs including Brian Rae, Paul Davies and Alan 'Ollie' Ollerton.
In America, after the doo-wop boom was over, Northern soul started. Motown, Chess, and Vee-Jay records were notable northern soul labels. By the mid-1960s, Motown got good songwriters and producers such as Robinson,
.From 1961 to 1971, Motown had 110
Chicago label Vee-Jay Records became a major soul label with
hitting singles on both the pop and R&B charts. Vee-Jay was also the first label to nationally issue a record by Gladys Knight & the Pips.Vee-Jay had significant success with pop/rock acts, such as
1970s
In America, Holland-Dozier-Holland's successful acts on '70s Invictus Records were
In September 1970, the British music magazine NME reported that Invictus had the UK's top two singles. Freda Payne's "Band of Gold" was #1, while Chairmen of the Board's "Give Me Just a Little More Time" was #3 on the UK Singles Chart. Both records were million-sellers in the US, but neither topped the pop or R&B charts. Invictus had two other gold records: Freda Payne's "Bring the Boys Home" and 8th Day's "She's Not Just Another Woman", both in 1971. Northern soul reached the peak of its popularity in the mid- to late-1970s.[21][full citation needed] At this time, there were soul clubs in virtually every major town in the Midlands and the North of England.[22] Some nightclubs regarded as the most important in this decade were the Golden Torch, and Wigan Casino (1973 to 1981).[4]
Although Wigan Casino is now the most well-known, the best-attended northern soul all-night venue at the beginning of the decade was actually the Golden Torch, where regular Friday night soul "all-nighters" began during the latter months of 1970. Chris Burton, the owner, stated that by 1972, the club had a membership of 12,500 and had hosted 62,000 separate customer visits.[23][full citation needed]
In 1972, white soul group
Wigan Casino began its weekly soul all-nighters in September 1973.
By this time, Wigan Casino was coming under criticism from many soul fans about selling out the format and playing anything that came along. The contemporary black American soul was changing with the advent of funk, disco and jazz-funk, and the supply of recordings with the fast-paced northern soul sound began to dwindle rapidly. As a result, Wigan Casino DJs resorted to playing any kind of record that matched the correct tempo.[29][full citation needed] Also, the club was subjected to intense media coverage and began to attract many otherwise uninterested people of whom the soul purists did not approve.[30][full citation needed]
The northern soul movement between Wigan Casino's fans and Blackpool Mecca's wider approach accepted the more contemporary sounds of
Back in England I found this dealer called John Anderson who'd moved from Scotland to Kings Lynn. I told him I wanted this Carstairs record and he'd just had a shipment in from America of 100,000 demo records from radio stations. We went through this collection, me, Andy Hanley, and Bernie Golding, and we found three copies of the Carstairs record. Went back to Blackpool, played the record and changed the whole scene. Blackpool Mecca suddenly became the home of this new Northern soul sound. I would've heard this record in 1973, when it was supposedly released, but not obtained it until 1974.[31]
Other major northern soul venues in the 1970s include the Catacombs in Wolverhampton, Va Va's in Bolton, the Talk of the North all-nighters at the Pier and Winter Gardens in Cleethorpes, Tiffany's in Coalville, Samantha's in Sheffield, Neil Rushton's Heart of England soul club all-dayers at the Ritz in Manchester and the Nottingham Palais.[32] As the 1970s progressed, the northern soul scene expanded even further nationally. There was a notable scene in the east of England: Shades Northampton was one of the leading venues in this area of the country during the early 1970s until it closed in 1975. Later came the all-nighters at the St Ivo Centre in St Ives, the Phoenix Soul club at the Wirrina Stadium in Peterborough and the Howard Mallett in Cambridge.[33][full citation needed] Other towns with notable northern soul venues at this time included Kettering, Coventry, Bournemouth, Southampton and Bristol.[22]
1980s and later
When Wigan Casino closed in 1981, many believed the northern soul scene was on the verge of disintegrating.[who?] However, the late 1970s mod revival, the thriving scooterboy subculture, and the late 1980s acid jazz movement were popular among music fans. The popularity of the music was introduced by a wave of reissues and compilation albums from minor independent record labels. The rare groove boom started in the late 1980s with underground DJ Barrie Sharpe[34][35][full citation needed][36][full citation needed] and Lascelles Gordon. Both played that brand of obscure American import records, singles and albums ("looking back retrospectively"), that they had in their collection. These were bought from specialist import record shops such as Moondogs in East Ham and Contempo record shop at 42 Hanway Street in the West end of London, owned by John Abbey, founder of Blues & Soul magazine. The magazine also had its own record label (also called Contempo), releasing music from the 1970s, which, starting in 1984, played at a club previously known as Whisky-A-Go-Go, founded by Rene Gelston in Wardour Street.
Norman Jay's show was a collaboration with DJ Judge Jules, featuring a mainly urban soundtrack from the 1970s and 1980s mixed with early house music. Tracks similar to "rare grooves" had begun to see a following in the 1970s northern soul movement, which curated a collection of rare and obscure soul. Many of these labels were set up by DJs and collectors who had been part of the original northern soul scene. The 1980s – often dismissed as a low period for Northern soul by those who had left the scene in the 1970s — featured almost 100 new venues in places such as Bradford, London, Peterborough, Leighton Buzzard, Whitchurch, Coventry and Leicester. Pre-eminent among the 1980s venues were Stafford's Top of the World and London's 100 Club.
Today there are regular northern soul events in various parts of the United Kingdom, such as the Nightshift Club all-nighters at the
The Northern soul movement inspired the film
According to Will Hermes of Rolling Stone, the 2008 Raphael Saadiq album The Way I See It is an original evocation of "classic Northern soul".[45] The music of Yorkshire singer John Newman has also been described as 'northern soul', including his No. 1 hit "Love Me Again". One version of the video for the song features stereotypical Northern soul dancing; additionally, the track samples the famous soul drum break from James Brown's "Funky Drummer", performed by Clyde Stubblefield.
Northern soul music
In the book Last Night a DJ Saved My Life: the history of the DJ, the authors describe northern soul as "built from failures", stating: "... Northern soul was the music made by hundreds of singers and bands who were copying the Detroit sound of Motown pop. Most of the records were complete failures in their own time and place ... but in Northern England from the end of the 1960s through to its heyday in the middle 1970s, were exhumed and exalted."[46][full citation needed]
Music style
Other related music styles also gained acceptance in the northern soul scene. Slower, less-danceable soul records were often played, such as Barbara Mills' "Queen of Fools" (popular in 1972 at the Golden Torch)
As the scene developed in the mid and late 1970s, the more contemporary and rhythmically sophisticated sounds of
Rarity of northern soul records
Some northern soul records were so rare that only a handful of copies were known to exist, so specific DJs and clubs became associated with particular records that were almost exclusively in their own playlists. Keith Rylatt and Phil Scott wrote:
As venues such as the Twisted Wheel evolved into northern soul clubs in the late 1960s and the dancers increasingly demanded newly discovered sounds, DJs began to acquire and play rare and often deleted US releases that had not gained even a release in the UK.[54][full citation needed]
These records were sometimes obtained through specialist importers or, in some cases, by DJs visiting the US and purchasing old warehouse stock.[55] Many of the original singers and musicians remained unaware of their newfound popularity for many years.[56][who?]
As the scene increased in popularity, a network of UK record dealers emerged who could acquire further copies of the original vinyl and supply them to fans at prices commensurate with their rarity and desirability.[55] Later on, several UK record labels capitalised on the booming popularity of northern soul and negotiated licences for certain popular records from the copyright holders and reissue them as new 45s or compilation LPs. Among these labels were Casino Classics, PYE Disco Demand, Inferno, Kent Modern and Goldmine.[57][full citation needed][58][full citation needed]
The notoriety of DJs on the northern soul scene was enhanced by the possession of rare records, but exclusivity was not enough on its own. The records had to conform to a certain musical style and gain acceptance on the dance floor.
Hits and favourites
The northern soul movement spawned an active market in reissuing older soul recordings in the UK, several of which became popular enough to make the UK charts several years after their original issue.
The trend continued into the 1970s, as songs from the 1960s that were revived on the northern soul scene were reissued by their original labels and became UK top 40 hits. These include the Tams' 1964 recording "Hey Girl Don't Bother Me" (UK No. 1, July 1971) – which was popularised by Midlands DJ Carl Dene – the Fascinations' 1966 single "Girls Are Out to Get You" (UK No. 32, 1971), the Elgins' "Heaven Must Have Sent You" (UK No. 3 July 1971), the Newbeats' 1965 American hit "Run, Baby Run (Back Into My Arms)" (UK No. 10, October 1971), Bobby Hebb's "Love Love Love" which was originally the B-side of "A Satisfied Mind" (UK No. 32, August 1972), Robert Knight's "Love on a Mountain Top" recorded in 1968 (UK No. 10, November 1973) and R. Dean Taylor's "There's a Ghost in My House" from 1967 (UK No. 3, May 1974).
The northern soul scene also spawned lesser chart hits, including
Various recordings were made later in the 1970s specifically aimed at the northern soul scene, which also went on to become UK top 40 hits. These included: the Exciters' "Reaching For the Best" (UK No. 31, October 1975), L. J. Johnson's "Your Magic Put a Spell on Me" (UK No. 27, February 1976),[65][full citation needed] and Tommy Hunt's "Loving On the Losing Side" (UK No. 28, August 1976). "Goodbye Nothing To Say", by the white British group the Javells, was identified by Dave McAleer of Pye's Disco Demand label as having an authentic northern soul feel. McAleer gave acetates to Wigan Casino DJs Russ Winstanley, Kev Roberts, Richard Searling (a Wigan Casino DJ and promoter), and the tune became popular among the dancers at the venue. The song was also the subject of potential legal action against the writers of Maxine Nightingale's "Right Back Where We Started From".[66] Disco Demand then released the song as a 45 rpm single, reaching UK No. 26 in November 1974. To promote the single on BBC's Top of the Pops, the performer was accompanied by two Wigan Casino dancers.[67][full citation needed]
In at least one case, a previously obscure recording was specially remixed to appeal to northern soul fans: the 1968 recording "Footsee" by Canadian group the Chosen Few was sped up, overdubbed and remixed to emerge as the 1975 UK No. 9 hit "Footsee", now credited to Wigan's Chosen Few.[68][full citation needed] In addition, the northern soul favourite "Skiing in the Snow", originally by the Invitations, was covered by local band Wigan's Ovation, and reached No. 12 in the UK Singles Chart.[69] These versions were not well received by the northern soul community as their success brought wider awareness to the subculture.[70]
The first domestic disco hit, "Kung Fu Fighting" (UK No. 1, 1974), which was created by singer Carl Douglas and producer Biddu in Britain, was influenced by the northern soul scene.[71]
In 2000, Wigan Casino DJ Kev Roberts compiled The Northern Soul Top 500, which was based on a survey of northern soul fans.
Fashion and imagery
A large proportion of northern soul's original audience came from the 1960s mod subculture. In the late 1960s, when some mods started embracing freakbeat and psychedelic rock, other mods – especially those in Northern England – stuck to the original soundtrack of soul and Blue Beat. From the latter category, two strands emerged: skinheads and the northern soul scene.
Early Northern soul fashion included strong elements of the classic mod style, such as button-down
The clenched
In 2014, the clenched fist logo was subject to a trademark dispute in the UK after a bag retailer in Manchester tried to register the logo. The IPO refused the trademark, considering it generic. The ruling was unusual as it considered not just the usage from other manufacturers, but also its wide usage by members of the public to be relevant.[75]
Drugs
In 2007, Andrew Wilson (lecturer in criminology at the
Cultural legacy
The northern soul scene has notably influenced DJ culture and certain musicians and has been portrayed in literature, theatre and cinema.
Influence on DJ culture
The Northern soul movement is cited by many as being a significant step towards the creation of contemporary club culture and the
A technique employed by northern soul DJs in common with their later counterparts was the sequencing of records to create euphoric highs and lows for the crowd. DJ, Laurence 'Larry' Proxton is known for this method. DJ personalities and their followers involved in the original Northern soul movement went on to become important figures in the house and dance music scenes.[81][full citation needed] Notable among these are Mike Pickering, who introduced house music to the Haçienda in Manchester in the 1980s, the influential DJ Colin Curtis, Neil Rushton the A&R manager of the house music record label Kool Kat Music and the dance record producers Pete Waterman, Johnathan Woodliffe, Ian Dewhirst and Ian Levine.
Radio
Former Casino DJ Richard Searling presents a weekly radio show on BBC Radio Manchester, BBC Radio Stoke and SOLAR Radio (Sunday at 10 am UK time) dedicated to northern soul,[82] whilst John Kane's Northern Soul is broadcast across various BBC local radio stations in the North of England.[83]
"Northern soul with Tony Deller" is broadcast each week on Cambridge community radio station Cambridge 105.[84]
Australian DJ and PBS FM radio presenter Vince Peach[85][full citation needed] absorbed the northern soul culture at the Twisted Wheel, where he also DJed,[86] and took it to Australia in 1982. He started a dedicated Northern soul radio programme called Soul Time in 1984,[87] which continues and is believed to be the longest-running Soul program in the World.[88]
The Northern Soul Show with Stuart Blackburn[89] has been broadcast weekly across various internet radio stations since 2010.
Former Wigan Casino DJ Dave Evison presents the "Rolling Back the Carpets" northern soul show every Sunday from 5 pm until 7 pm in the UK on The Hitmix 107.5.[citation needed]
Influence on musicians
This section may contain embedded lists. by removing items or incorporating them into the text of the article. (July 2023) |
Northern soul has influenced several notable musicians. In his 2008 article about Northern soul for The Times, Terry Christian wrote: "There's an instant credibility for any artist or brand associated with a scene that has always been wild, free and grassroots".[citation needed]
- Soft Cell had chart success in the early 1980s with covers of two popular northern soul songs, "Tainted Love" (originally recorded by Gloria Jones) and "What?" (originally recorded by Melinda Marx on VJ, 1965, Judy Street 1966 and Tina Mason 1967). Soft Cell member Dave Ball attended soul nights at Blackpool Mecca and Wigan Casino occasionally.[90][full citation needed]
- The Fall's 1981 song "Lie Dream of a Casino Soul" is about the northern soul scene.[91] Writer and singer Mark E. Smith said in an interview published in the NME on 1 October 1983: "That song actually did create quite a bit of resentment in the North because people thought it was being snobby and horrible about the old soul boys, which it was never about anyway. Because I was brought up with people that were into northern soul five years before anybody down here [London] had even heard about it. But they've all grown out of it, which is what the song is about, but it wasn't putting them down at all. If anything, it was glorifying them, but not in the format of, where are those soul boys that used to be here?"[92]
- better source needed]
- Fatboy Slim's 1998 big beat single "The Rockafeller Skank" samples the Just Brothers' "Sliced Tomatoes". The song reached number 6 in the UK Singles Chart and also had success in many other countries.
- The music video for Duffy's 2008 song "Mercy" features Duffy singing on a platform, accompanied by northern soul dancers performing elaborate moves.[94]
- Plan B's 2010 album, The Defamation of Strickland Banks, displays a significant northern soul influence.[95][96][97] The video for "Stay Too Long" features Northern soul-style dance moves such as spins, flips and backdrops. The album sleeve features Northern soul-style sew-on patches.
- The video for John Newman's "Love Me Again" featured northern soul dancing as a backdrop to a Romeo and Juliet-style romance.
- The video for the Courteeners' Are You in Love with a Notion? featured Northern soul dancing.
- The video for Above & Beyond's "Sun & Moon" contained Northern soul dancing.
- Paul Stuart Davies recorded Northern Soul Reimagined EP in 2015, with guidance from Russ Winstanley, presenting classic northern soul tracks in a new light.
- Above & Beyond's 2017 release "Northern Soul" contains lyrics describing Detroit and the northern soul scene and also alludes to the decline of Detroit in the late 20th century.[98]
Literature
The Northern soul subculture has spawned several memoirs, novels and short stories. Maxwell Murray's Crackin Up: A Tale of Sex Drugs and Northern Soul was published in 1999.[99] Ian Snowball and Pete McKenna published In the Blood in 2012[100] and a volume including their All Souled Out short stories and Nightshift memoir in 2013.[101] Both focus on the East London scene. Chris Rose's 2014 Wood, Talc and Mr J takes a more literary approach and is based on the Sheffield scene.[102][103] The "Mr J" in the title is Chuck Jackson. Northern soul also features in Nick Hornby's Juliet, Naked.
Several academic texts have been written on the topic of the northern soul scene, including The Northern Soul Scene (2019, Equinox) by Prof. Tim Wise (Birmingham City University), Dr Nicola Watchman Smith (Liverpool/ Advance HE) and Dr Sarah Raine.[citation needed]
Theatre
Northern Soul is the title of a 2012 theatre piece by the British visual and performance artist Victoria Melody. According to a description on the Solo Theatre website,[104] 'Victoria, an untrained dancer, has been travelling the dance halls and living rooms of England being taught to dance by Northern Soul's ex-champions. Northern Soul draws on those investigations and explores the 'soul of the north' using film and original Northern Soul dance moves.'[104]
Film
Films set in the northern soul scene include 2010's Soulboy and 2014's Northern Soul.
See also
References
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- ^ Haslam, Dave, Manchester, England, chapter six, p. 147
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Wigan's Ovation's cover version of a rare northern Soul song became a major top 20 chart hit in 1975. I think Wigan's Ovation's Skiing In The Snow was bad for Northern Soul. Terrible cover version of The Invitations' classic. That was when it was no longer underground. Everybody knew about it. 'I was into Bay City Rollers last year. Now I'm into Northern Soul'. You'd be speaking to work colleagues, they'd be saying, 'What are you into?', you'd say, 'Northern Soul', and they'd go, 'Oh, like Wigan's Ovation?'... 'No! How many times do I have to explain, that's as far away as it can possibly be?'... It horrified the purists. None of us at the venues were very happy about it, but what it did, it put Northern Soul on the music map for the industry.
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