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"NORTHERN SOUL" - A TRADITION OF AUTHENTICITY
Lovers of “Northern Soul” know the term does not denote just a music genre, but suggests a way of life and that extreme loyalty to the Northern Soul “cause” has ensured “Northern” has endured for more than forty-years. Remarkably it has done so without support from main stream radio or other media channels. Some may be surprised as to how a Northern Soul lover’s allegiance will and has already in many cases endured until the grave. Northern Soul then is not a matter of life or death; it is far more important than that. Northern Soul is a tradition, based on loyalty to soul music that was generally missed the first time around, that's why it's authenticity is so important and if Northern was to have a mission statement, it would surely be to promote at every opportunity the lifelong perpetuation of this rare form of remarkable music in an authentic manner and so would dictate a dedication ultimately responsible for determining a way of life. As the saying goes, Northern Soul fans traditionally “Keep on keepin on” and often wonder why Northern has remained an underground phenomena and are known to frequently say “don’t just keep the faith, spread it around”. Northern Soul then, is the domain of a relatively small, but extremely loyal band of devoted and highly knowledgeable music lovers that possess a sense of mutual obligation, personal devotion and a tradition of lifelong dedication to the authenticity of the music they proudly know and love as “Northern Soul”. Is the ongoing traditional authenticity of Northern Soul important? Personally I believe it is and so cannot understand why play lists that include the labels and serial numbers have been criticised, saying such detail is irrelevant and only of concern to “Anoraks”. Everyone is entitled to their own opinion, but for me the opposite is true, and for many good reasons. For example; there have been many releases of the same record on the same label but at different times and so with different issue numbers showing this. The same track will have sometimes been released on an entirely different label. The later issues are known as "reissues" and are usually not as valuable as the original, the record released on a different label may be an unofficial "bootleg", or may be a first issue from the UK or another country, In the true Northern Soul tradition the playing of a bootleg or reissue at a venue is not the done thing, this is simply because if another DJ has gone to the trouble of sourcing an original copy and has been prepared to pay a small fortune for it, it isn't the done thing for someone to play a cheap reissue or "boot" in the set before, and so deprive the opportunity of the original played and of course depriving the patrons of listening to the original recording. Therefore the more information provided regarding the records being played the better. Also as most Northern soul lovers know since the very inception of Northern Soul it has always been the tradition to detail labels and serial numbers, as shown below in the Top 60 British Soul Chart as published in issue 105 of the Blues and Soul magazine way back in March 1973. The chart also provides plenty of interesting info; including how it was a vibrant, diverse and fast moving chart, details the many British labels on which soul could be found and the many different types of soul music being bought. The chart also helps illustrate the direction in which soul music was heading in the UK during 1973, in particular with the "Philly" sound becoming increasingly popular (see the Philly Soul" page for more on that topic). I also couldn't help notice at No 49 the instrumental from the Trammps "Penguin at the Big Apple" on Buddha. This is the flip side of their excellent version of "Zing went the strings of my heart", an all time favourite of mine and which nowadays is looked upon as "disco", possibly because the Trammps later went in search of the disco scene, culminating in 1977 when they recorded "Disco Inferno" as featured in the perennial Travolta movie "Saturday Night Fever". Here I digress due to my love of The Trammps, who were almost a cast of thousands and recorded on many labels, including Buddha, Atlantic and their own Golden Fleece label. The Trammps evolved from another of my favourite Groups "The Volcanos" of "It's gonna be a false alarm", "Help wanted", "Storm Warning" and "Laws of Love" fame. They took the unusual name when Earl Young and Jimmy Ellis went in search of a more popular musical direction and a wise cracker said: "all they would ever be was Tramps", they good humouredly said we'll make that prediction true and so named themselves "The Trammps".
Moving back to the subject at hand, I guess it has to be conceded that some Northern Soul lovers are not as concerned with tradition and authenticity as others and are only worried as to “what’s in the groove” or to be more accurate what comes out of the speakers, that's OK, it's a personal preference. On the other hand, the serious Northern Soul lovers, DJ’s and record collectors are by tradition usuallyinterested in the details of records played at Northern Soul venues around the World. The reasons for this are many, some are not so obvious, others are, perhaps the first being to identify if records are US, Canadian, British or issues from other countries, then of course to help identify if soul lovers have listened to bootlegs, second issues or even counterfeits. Such information will reflect on the credibility of a DJ and the venue at which he or she plays. This topic is certainly important to the majority of DJ’s and record collectors that I know, as they frequently shell out hundreds and sometimes thousands of pounds for an original record. Understandably they may not be too pleased if a DJ going on before them plays a £5 bootleg and so discourages them as the next DJ from “repeating” the track. This also deprives soul lovers of the opportunity of listening to the original version and so perhaps more attention should be paid by all soul lovers as to what records are actually placed on the turn-tables. The habit of playing “bootlegs” is therefore understandably frowned upon and has long been established as a definite “No-No” and out of line with accepted and expected DJ etiquette, other than on a very few occasions and when it is known the original is not going to be played. Therefore anything that helps identify the undesirable practice of playing non authentic records from bootlegs, counterfeits and the like, can't be a bad thing for Northern Soul. This topic is of such importance on the Northern scene there has even been a book written on the subject, it's called a "Guide to:- Bootlegs, Counterfeits, Reissues of Northern Soul 45's", it was written by the recognised long time Northern Soul authority, DJ and record dealer John Manship. It's essential reading for any collector of Northern Soul vinyl, see the "LINKS" page for their excellent online record shop and website. Understandably some DJ’s and soul lovers prefer not to attend venues that knowingly break with tradition in allowing the playing of bootlegs, reissues and counterfeits. When considering this point of view, it may be said that the caliber of not only the DJ, but also the venue is gauged by the quality and authenticity of the records played. In this tradition and few will doubt that tradition has always and will always be a key value that has contributed to the longevity of the Northern Soul scene, play lists complete with labels and release numbers will be of significant interest and indeed considered essential to serious promoters, DJ’s and Northern Soul fans alike. Whereas it may be conceded that some soul lovers are only interested in what comes out of the speakers and are not concerned if the media is bootlegged, counterfeited or reissued vinyl, or dare I mention being played from CD’s, Computers or Ipod’s, perhaps they could or should be; read on as to why. Many Northern Soul lovers traditionally travel hundreds and some times thousands of miles to attend a venue, it is therefore a reasonable request that they know beforehand if they will be listening to original vinyl records, which provide authenticity and a lot of enjoyment and so will certainly help attract good crowds. The playing of original vinyl can therefore be seen as being so important to soul lovers that it will influence which gigs they attend. Why is this so? Is it just Northern Soul snobbery, the behaviour of obsessed “Anoraks” or a just a genuine concern for authentic records? Why is the media, the record label and the issue number important? Should anyone be really concerned if the tracks are originals, from 45’s, LP’s or are second issues, counterfeits or are being played from CD’s? It's a personal choice, the answer for me is a definite “Yes” and not just because of a record's price, but also availability, quality and authenticity, because it is important to note that in many cases second issues, bootlegs and counterfeits offer not only much lower prices than originals, but can frequently deliver greatly reduced sound quality and even different renditions than those released on the original first issue vinyl records, as of course is also often the case with CD's. Even original records of the same title and on the same label can be different versions, it's a minefield out there and the more information available the better. It goes without saying that for the majority of Northern Soul lovers the very best and closest possible sound to the original release is traditionally desired. In reality this is only available from an original vinyl record. This is because vinyl records have been created using the “analog” recording method, whereas by comparison CDs, Computers and Ipods have been created using “digital” recording techniques. By its very nature digital is unable to reproduce the whole analogue sound wave, because even though the resulting signal from the speaker is analogue, it is reproduced from a digital recording that has taken only “samples” from the original analog signal. In other words, a digital recording "misses" some of the original sound and does not capture the complete analogue sound wave (see Fig 1). Digital recordings can only ever closely "approximate" analog sound when using digital “sample” points taken from a series of “digital” steps from the original analog signal. This can mean that tracks with fast transitions, such as drum beats, saxophone, trumpet notes etc can be slightly distorted in parts or even missed altogether by the “sampling” technique of digital recording. It's true however that rapidly improving technology has provided real and significant improvement in digital recording and reproduction, but if the truly authentic analogue recorded sound is required, then it can only be obtained from records and not CD's or digital sound files. Therefore if it is accepted that for the sake of authenticity and originality vinyl records should be used and if a venue goes to the trouble and expense of providing the best in record decks, mixers, amplifiers and speakers to achieve this, what is the point of using reissues and/or counterfeits records that will often fail to provide the authenticity of sound available from an original vinyl record?
These then are just some of the reasons as to why it is relevant for a DJ to know, understand and not be afraid to declare the label and release numbers of records played at Northern Soul venues. Let’s face it, I suspect there wouldn’t be a Northern Soul fan who on one occasion or another after dancing or listening to a record hasn’t thought to themselves that it didn’t sound quite right. There may have been something missing (or even something added) to the record and so the enjoyment of listening was not all that it could and should have been. Causes of the disappointment will no doubt in many cases have been due to a bootleg, counterfeit or re worked second issue having been played rather than the original first issue. Here then, rests the real and tangible importance regarding the significance of a records label and release number, as without an understanding or concern for what they denote, the enjoyment of everyone attending a soul night can be unwittingly impaired by the less knowledgeable and/or diligent of DJ’s. Whereas not all remakes or reissues are bad, it must be considered that a real misdemeanor has been committed by a venue or DJ if after playing a non authentic record anyone should go away believing they have heard the original version and then later end up questioning the validity of the authentic version when hearing it played in the original format. For the overall good of the Northern Soul scene and the enjoyment of all, it appears only fair and reasonable to expect anyone desiring to gain a reputation as even a half decent Northern Soul DJ should be prepared to take the time and effort to acquaint themselves with and acknowledge the significance of the record labels and release numbers they are playing. To illustrate the difference between the real thing and re issues, counterfeits etc, let’s take a look at some well tried examples and the corresponding values of each. A perfect starting place appears to be the Northern Soul anthem “If you ask me (because I love you)” by Jerry Williams. This track from the singer, writer and producer Jerry Williams who first recorded under the name of “Little Jerry Williams” and has from the 1970's been aka “Swamp Dogg”, is much revered on the Northern Soul scene. The track however has had around half a dozen releases on varying labels, some foreign, others bootlegged and many of which are not true to the original 1966 version on Calla 116. This is reflected in the prices of the different versions which range from just £5 to in excess of £150. Calla 116 DJ -
£150
(Published 1965, released 1966 USA)
Exit 2501 (Picture
Sleeve) £100
(Published 1965, released 1966
Spain)
Calla 116 (1973) -
£20
Out of the Past 30 -
£10
International Soul Club
£15
Pye Disco Demand 102 - £5
(UK 1974)
In what seems to have become part of the true Northern Soul tradition the artist Jerry Williams is on record as saying how this record was a huge flop the first time around in the USA and that he was never paid for the original track or of course for any of the bootlegs. This 1966 track gained legendary status on the Northern scene after being played at the Torch around 1973 and from which time it became a Northern Soul anthem that is still immensely popular today, but which version? The bootlegs and re issues of this track have been played so frequently that often the modified version with the longer mix and modified instrumental break is thought to be the original. This is a real travesty, as the modified version loses a lot of the original 1960's 'feel" when compared with the original 1966 version. This is just one example of why more details than just the label name should be given on a play list. That is of course if you believe it’s worth knowing which version was actually played and what’s the point of a play list if it doesn’t tell you this?
Footnote
THE RIGHT TRACK
Even the beginning to the story as to
how this great track from Billy Butler and the Enchanters became a Northern Soul
classic is quite amazing, as in the true tradition of Northern Soul it was
actually released as a B side on OKeh 7245, the "A" side being "Boston Monkey"
co produced by Major Lance. The Right Track became popular in England when spun at
the Twisted Wheel in late 1968 and the rest as they say is history. The Okeh label was for a long time
operated but not owned by Carl Davis and Curtis Mayfield who pumped
out about 200 good selling records from 1961 to 1970. In 1970 the
label was sold to the industry giant Columbia and placed under the
control of their subsidiary EPIC (Epic appears the right term for what
was about to follow). Curtis Mayfield and others walked from the label,
allegedly disliking
Columbia's approach and from then on the label never really performed well
again and was subject to staff walkouts, takeovers and bungled non
issues etc. One of what may be referred to as a "bungle" was the re release of Billy Butlers Right Track. Rumour has it that
the original master tape and acetate were handed over to Epic for a
re release in 1972 after persuasion from England's Northern Soul
specialists Selectadisc. The recording was bungled when again pressed on
the Okeh label incorrectly with the
instrumental version and not the vocal. The records were pressed and stamped
on Okeh with exactly the same matrix number as the vocal and with the familiar big 45
on the label, so
their was no real way of telling the two versions apart without actually playing them. The official 70's Columbia / Okeh issue can be spotted though as the Okeh logo is in black not white. Two versions had been cut, the vocal and the instrumental, the instrumental having the small 45 on the left of the label. Then it was found another big blooper had been made as on what was supposed to be the vocal version they had again cut the instrumental track. Epic UK then wanted to release the vocal track, but then it was found that Columbia had the original acetate stripped to be reused and the master tape of the Right Track was unbelievably wiped instead of the Boston Monkey because on the tape it was labeled as a "B" side. Epic had no choice but to cut a new version made with what they believed to be another copy of an Okeh master tape. This was Another blooper, as it was sampled from an old rejected master tape from the Okeh 60's vaults (it's thought that Dave Godin still had control of the only remaining authentic master tape because it was used to cut his Soul City release in 1969). The rejected master tape had actually been 'enhanced' with a synthesised drum machine and then another blooper followed when apparently Epic never recognised this and used the synthesised drum rejected tape to produce the English version on the yellow Epic 2508 label. This became immensely popular during the mid 70's and a generation of soul lovers came to know it as the "original" version. Bootleggers however recognised this as a big opportunity and so pressed up thousands of copies from the original 1960's Okeh vocal recording and counterfeited the original purple and white Okeh label with the big 45. So it's a sad fact that some of the bootlegs are more authentic to the original version than are the official UK Epic "originals", which ended up as not really originals at all, but re issues cut from the rejected Okeh 60's version with a synthesised drum beat. Hence the difference between the Epic 1970's and the OKeh and original Soul City versions of this Northern Soul classic.
Now........ the story could end there, but it doesn't as legend has it that the 'Right Track' is the actual record
behind the
terminology 'Northern Soul'. I know many will question this wisdom,
but the 'Right Track' was certainly at least the catalyst for the terminology, allow me to
explain:
The term 'like up North' eventually became "you know... that Northern stuff
like the Right Track", which then became "you know that Northern
Soul stuff, like the Right Track" and then just become known as plain
old "Northern Soul". Then of course came Dave Godin's
pilgrimage to the Wheel in 1970 (all bow, we were not worthy) and the
subsequent write up in the magazine he worked for 'Blues and Soul'.
In the Blues and Soul article he used the term he had been using in
his shop for the very first time in writing and so there it was for
the first time ever published 'Northern Soul'. Which of course he
had already been using for at least a whole year in his London shop.
The name stuck, because the punters did not know how to refer to
this type of music and until then had used the term 'Soul' or 'Rare
Soul', which were not really appropriate as black music was no
longer rare and 'Northern Soul' was unique and different to
just 'Soul' It also had a nice ring to it and also denoted the birth
place of the music.
MIND BLOWING !
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1973 DJ
Issue
Re issued 12" version of both the vocal and
instrumental "Right Tracks" on SMP
Re issued
7" version of both the vocal and
instrumental "Right Tracks" on SMP