Northern Soul

Northern soul is a music and dance movement that emerged independently in Northern England, the English Midlands, Scotland and Wales[1] in the late 1960s from the British mod scene. Northern soul mainly consists of a particular style of black American soul music based on the heavy beat and fast tempo of the mid-1960s Tamla Motown sound.

The northern soul movement, however, generally eschews Motown or Motown-influenced music that has had significant mainstream commercial success. The recordings most prized by enthusiasts of the genre are usually by lesser-known artists, released only in limited numbers, often by small regional American labels such as Ric-Tic and Golden World Records (Detroit), Mirwood (Los Angeles) and Shout and Okeh (New York/Chicago).

Northern soul is associated with particular dance styles and fashions that grew out of the underground rhythm & soul scene of the late 1960s at venues such as the Twisted Wheel in Manchester. This scene and the associated dances and fashions quickly spread to other UK dancehalls and nightclubs like the Chateau Impney (Droitwich), Catacombs (Wolverhampton), the Highland Rooms at Blackpool Mecca, Golden Torch (Stoke-on-Trent) and Wigan Casino.

As the favoured beat became more uptempo and frantic, by the early 1970s, northern soul dancing became more athletic, somewhat resembling the later dance styles of disco and break dancing. Featuring spins, flips, karate kicks and backdrops, club dancing styles were often inspired by the stage performances of touring American soul acts such as Little Anthony & The Imperials and Jackie Wilson.

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

he phrase northern soul emanated from the record shop Soul City in Covent Garden, London, which was run by journalist Dave Godin.[2] It was first publicly used in Godin’s weekly column in Blues & Soulmagazine in June 1970.[3] 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, Motown-influenced soul of a few years earlier. With contemporary black music evolving into what would eventually become known as funk, the die-hard soul lovers of northern England still preferred the mid-1960s era of Motown-sounding black American dance music. 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’.[4]

The venue most commonly associated with the early development of the northern soul scene was the Twisted Wheel in Manchester. The club began in the early 1950s as a beatnik coffee bar called The Right Wing, but in early 1963, the run-down premises were leased by two Manchester businessmen (Ivor and Phil Abadi) and turned into a music venue.[5] Initially, the Twisted Wheel mainly hosted live music on the weekends and Disc Only nights during the week. Starting in September 1963, the Abadi brothers promoted all-night parties at the venue on Saturday nights, with a mixture of live and recorded music. DJ Roger Eagle, a collector of imported American soul, jazz and rhythm and blues, was booked around this time, and the club’s reputation as a place to hear and dance to the latest American R&B music began to grow. However, other towns and cities across England had similar enthusiasts around this time who would tune into pirate radio broadcasts, and record shops would help bring the U.S. soul sound into Britain. Pubs such as the Eagle in Birmingham were frequented by young British soul singers such as Steve Winwood and Robert Plant, who both released songs of similar style to the early U.S. soul sounds, and the emphasis in the Midlands was more on live soul bands than discos.

Throughout the mid-1960s, the Twisted Wheel became the focus of Manchester’s emerging mod scene, with a music policy that reflected Eagle’s eclectic tastes in soul and jazz, and featuring live performances by British beat musicians and American R&B stars. Gradually, the music policy became less eclectic and shifted heavily towards fast-paced soul, in response to the demands of the growing crowds of amphetamine-fuelled dancers who flocked to the all-nighters. Dismayed at the change in music policy and the frequent drug raids by the police, Eagle quit the club in 1966.

Commemorative sew-on patch similar to those worn by Twisted Wheel members.

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 [6] the playlist, utilising the newly developed slip-cueing technique to spin the vinyl. Rarer, more up-tempo records were added to the playlist in 1969 by the new younger DJ’s up until the club’s eventual closure in 1971.[7][8] 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!”[9] The venue’s owners had successfully filled the vacancy left by Eagle with a growing roster of specialist soul DJs.

The Twisted Wheel gained a reputation as a drug haven, and under pressure from the police and other authorities, the club closed in January 1971. However, by the late 1960s, the popularity of the music and lifestyle associated with the club had spread further across the north and midlands of England, and a number of new venues had begun to host soul all-nighters. These included the King Mojo in Sheffield, The Catacombs in Wolverhampton, Room at the Top in Wigan, Va Va’s in Bolton& Shades (Northampton) the top Northern Soul venue further south of England.

Taken from wikipedia Read More

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