Soultown Samples Vol 2 Rare
.Northern soul is a music and dance movement that emerged in and the in the late 1960s from the British scene, based on a particular style of, especially from the mid-1960s, with a heavy beat and fast tempo (100 and above).The northern soul movement 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 and AMG Records (Cincinnati), (Detroit), Mirwood (Los Angeles) and Shout and (New York/Chicago).Northern soul is associated with particular dance styles and fashions that grew out of the underground rhythm and soul scene of the late 1960s at venues such as the in. This scene and the associated dances and fashions quickly spread to other UK dancehalls and nightclubs like the , Catacombs , the Highland Rooms atand.As the favoured beat became more uptempo and frantic in the early 1970s, northern soul dancing became more athletic, somewhat resembling the later dance styles of. Featuring spins, flips, karate kicks and backdrops, club dancing styles were often inspired by the stage performances of touring American soul acts such as and.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.
Contents.History The phrase 'Northern soul' emanated from the record shop Soul City in, London, which was run by journalist. It was first publicly used in Godin's weekly column in magazine in June 1970.
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In a 2002 interview with of 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, 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 fans who were in 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'.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 coffee bar called The Left 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.
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, and, 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 Britain 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 were frequented by young British soul singers such as and, who both released songs of similar style to the early U.S. Soul sounds, and the emphasis in 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 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 taking with him his vast collection of UK and imported vinyl. 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 the playlist, utilising the newly developed technique to spin the vinyl. Rarer, more up-tempo imported records were added to the playlist in 1969 by the new younger DJ's like Brian '45'Phillips up until the club's eventual closure in 1971. 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!' The venue’s owners had successfully filled the vacancy left by Eagle with a growing roster of specialist soul DJs including Brian Rae, Paul Davis and Alan 'Ollie' Ollerton.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 in, the Catacombs in, Room at the Top in, Va Va's in and Shades ; the top Northern Soul venue further south in England.1970s. Commemorative sew-on patch similar to those worn by Golden Torch members.Northern soul reached the peak of its popularity in the mid- to late-1970s. At this time, there were soul clubs in virtually every major town in the Midlands and the North of England. The three venues regarded as the most important in this decade were the in, Stoke-on-Trent (1971 to 1972), (1971 to 1979) and (1973 to 1981).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. Despite its popularity, the club closed down due to licensing problems in March 1972 and attention switched to soul nights at Blackpool Mecca's Highland Room, which had started hosting rare soul nights a few months earlier.In 1972, released the song ', from their May 1972 album ', a song which appealed to the Northern soul scene, and as a result, it was successfully re-released in the UK in the spring of 1975. Commemorative sew-on patch similar to those designed by and sold at the Wigan Casino.Wigan Casino began its weekly soul all-nighters in September 1973.
Wigan Casino had a much larger capacity than many competing venues and ran its events from 2.00am until 8.00am. There was a regular roster of DJs, including the promoters Russ Winstanley and Richard Searling. By 1976, the club boasted a membership of 100,000 people, and in 1978, was voted the world's number one.
This was all going during the heyday of the nightclub in. By the late 1970s, the club had its own spin-off record label, Casino Classics.By this time, Wigan Casino was coming under criticism from many soul fans about selling out the format and playing 'anything that came along'. Contemporary black American soul was changing with the advent of, and, 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. Also, the club was subjected to heavy media coverage and began to attract many otherwise uninterested people of whom the soul purists did not approve.Blackpool Mecca was popular throughout the 1970s, although the venue never hosted all-nighters.
The regular Saturday night events began at 8.00pm and finished at 2.00am, and initially, some dancers would begin their evenings at Blackpool Mecca and then transfer to Wigan Casino. In 1974, the music policy at Blackpool Mecca sharply diverged from Wigan Casino's, with the regular DJs and including newly released US soul in their sets. Photograph of the original release (left) and a re-issue copy (right) of 'In the book Last Night a DJ Saved My Life: the history of the DJ, the authors describe Northern soul as 'a genre 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.'
Music style The music style most associated with Northern soul is the heavy, beat and fast tempo of mid-1960s, which was usually combined with soulful vocals. These types of records, which suited the athletic dancing that was prevalent, became known on the scene as stompers. Notable examples include Tony Clarke’s 'Landslide' (popularised by at Blackpool Mecca) and ’ ' (purchased by Richard Searling on a trip to the United States in 1973 and popularised at Va Va’s in Bolton, and later, Wigan Casino). According to northern soul DJ Ady Croadsell, viewed retrospectively, the earliest recording to possess this style was the 1965 single ' by the, although that record was never popular in the Northern soul scene because it was too mainstream.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) and the Mob’s 'I Dig Everything About You'. Every all-nighter at Wigan Casino ended with the playing of three well-known Northern soul songs with a particular going home theme. These came to be known as the '3 before 8' and were: 'Time Will Pass You By' by, 'Long After Tonight is Over' by and '.
Commercial pop songs that matched the up-tempo beat of the stompers were also played at some venues, including the Orchestra’s instrumental 'Theme From Joe 90' at Wigan Casino and the ’ surf-guitar song 'Sliced Tomatoes' at Blackpool Mecca.As the scene developed in the mid and late 1970s, the more contemporary and rhythmically sophisticated sounds of and became accepted at certain venues following its adoption at Blackpool Mecca. This style is typified musically by ' 'I Love Music' (UK No. 13, January 1976), which gained popularity before its commercial release at Blackpool Mecca in late 1975. The record that initially popularised this change is usually cited as, ' (Red Coach), a record initially released late in 1973 on promotional copies - but quickly withdrawn due to lack of interest from American radio stations. The hostility towards any contemporary music style from Northern soul traditionalists at Wigan Casino led to the creation of the spin-off movement in the early 1980s.Rarity of Northern soul records. See also: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.'
These records were sometimes obtained through specialist importers or, in some cases, by DJs visiting the US and purchasing old warehouse stock. Many of the original singers and musicians remained unaware of their newfound popularity for many years.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. Later on, a number of 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.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, and the records had to conform to a certain musical style and gain acceptance on the dance floor. Northern soul collectors seek rare singles by artists such as,.
's ' has been rated the rarest and most valuable Northern soul single. In December 2014, collectors were bidding in excess of £11,000 for a copy of the version of ' ', thought to be the only copy in circulation. It had previously been thought that all the original versions had been destroyed when rival label won the rights to release the single. 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 actually make the UK charts several years after their original issue. Is generally credited with being the first UK entrepreneur to start this trend, setting up the in 1968, and striking a deal with to licence 's 1965 recording 'Nothing Can Stop Me', which had been popular for several years at the Twisted Wheel.
Issued as a 45 on Soul City, the track peaked at UK No. 41 in August 1968, becoming the first Northern Soul-derived chart hit. A few months later in January 1969, ' 1966 single 'I Spy (For the FBI)' was similarly licensed and reissued, hitting UK No. 44.The trend continued into the 1970s, as many 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 ' 1964 recording ' (UK No. 1, July 1971) - which was popularised by Midlands DJ Carl Dene - ' 1966 single ' (UK No. 32, 1971), ' ' (UK No.
3 July 1971), ' 1965 American hit ' (UK No. 10, October 1971), 's 'Love Love Love' which was originally the B-side of 'A Satisfied Mind' (UK No. 32, August 1972), 's ' recorded in 1968 (UK No.
10, November 1973) and ’s ' from 1967 (UK No. 3, May 1974).The Northern soul scene also spawned many lesser chart hits, including 's 1968 cut ' (UK No. 41 in 1975), 's ' (UK No. 42, September 1975) and ' ' (UK No. 42, July 1976).A variety of recordings were made later in the 1970s that were specifically aimed at the Northern soul scene, which also went on to become UK top 40 hits.
These included: ’ '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), and ’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 a white label promotional copy to Russ Winstanley (a Wigan Casino DJ and promoter), and the tune became popular among the dancers at the venue.
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, the performer was accompanied by two Wigan Casino dancers.In at least one case, a previously obscure recording was specially remixed to appeal to Northern soul fans: the 1968 recording ' 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.
In addition, the Northern soul favourite ', originally by the Invitations, was covered by local band Wigan's Ovation, and reached No. 12 in the UK Singles Chart. These versions were not well received by the Northern soul community as their success brought wider awareness to the subculture.The first domestic hit, ' (UK No. 1, 1974), which was created by singer and producer in Britain, was influenced by the Northern soul scene.In 2000, Wigan Casino DJ Kev Roberts compiled The Northern Soul Top 500, which was based on a survey of Northern soul fans. The top ten songs were: ' by, 'Out on the Floor' by, 'You Didn't Say a Word' by, ' by, 'Long After Tonight is Over' by, 'Seven Day Lover' by James Fountain, 'You Don't Love Me' by Epitome of Sound, 'Looking for You' by, 'If That's What You Wanted' by & the Butlers and 'Seven Days Too Long' by Chuck Wood.Fashion and imagery.
Photograph of a sew-on patch featuring the clenched fist symbol adopted by the Northern soul movementA large proportion of Northern soul's original audience came from within the 1960s. In the late 1960s, when some mods started to embrace and, other mods - especially those in Northern England - stuck to the original mod soundtrack of soul. From the latter category, two strands emerged: and the Northern soul scene.Early Northern soul fashion included strong elements of the classic mod style, such as button-down shirts, blazers with centre vents and unusual numbers of buttons, trickers and shoes and shrink-to-fit jeans. Some non-mod items, such as shirts, were also popular. Later, Northern soul dancers started to wear light and loose-fitting clothing for reasons of practicality. This included high-waisted, baggy and sports vests. These were often covered with sew-on badges representing soul club memberships.The clenched symbol that has become associated with the Northern soul movement emanates from the 1960s movement of the United States.
On his visit to the Twisted Wheel in 1971, Dave Godin recalled that '.very many young fellows wore black 'right on now' racing gloves. Between records one would hear the occasional cry of 'right on now!' Or see a clenched gloved fist rise over the tops of the heads of the dancers!' Drugs In 2007, Andrew Wilson (lecturer in criminology at the ) published the extensively researched sociological study Northern Soul: Music, drugs and subcultural identity. This work details in some depth the lifestyles associated with the Northern soul scene and the extensive use of (otherwise known as speed) by many involved. Wilson argues that, although many did not use drugs, their usage was heavily ingrained in the fast-paced culture of the Northern soul scene, contributing to participants' ability to stay up all night dancing. Many clubs and events were closed down or refused licences due to the concern of local authorities that soul nights attracted drug dealers and users.
Roger Eagle, DJ at the Twisted Wheel club in Manchester, cited amphetamine usage among participants as his reason for quitting the club in 1967. Of the regular attendees he said, 'All they wanted was fast-tempo black dance music. but they were too blocked on amphetamines to articulate exactly which Jackie Wilson record they wanted me to play.'
Cultural legacy The Northern soul scene has had a notable influence on DJ culture, 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 of the culture of the 2000s. Two of the most notable DJs from the original Northern soul era are. As in contemporary club culture, Northern soul DJs built up a following based on satisfying the crowd's desires for music that they could not hear anywhere else. The competitiveness between DJs to unearth 'in-demand' sounds led them to cover up the labels on their records, giving rise to the modern pressing.
Many argue that Northern soul was instrumental in creating a network of clubs, DJs, record collectors and dealers in the UK, and was the first music scene to provide the British charts with records that sold entirely on the strength of club play.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 being known for this method. DJ personalities and their followers involved in the original Northern soul movement went on to become important figures in the and scenes. David Nowell Anova Books, 1999, accessed 11 May 2014. Norcliffe, Josh (28 February 2014). Retrieved 17 October 2016., Northern Soul Stories, Chapter 1, page 15. 'The Up-North Soul Groove', Blues & Soul magazine, June 1970.
23 September 1973. Retrieved 3 June 2015. Haslam, Dave, Manchester, England. 1999. David Nowell, Too Darn Soulful: The Story of Northern Soul page 35. Bolton Evening News 'Marvellous Days and Memories' Saturday 15 March 2003 page 10. Manchester Evening News 'Where is Bobby Now?'
Saturday 3 January 2004 page 20. ^. Retrieved 15 August 2019. by and Frank Broughton.
Last Night a DJ Saved My Life, Chapter four, Northern Soul. Section: 'Soul Wars: Wigan Casino vs Blackpool Mecca', page 98. ^ Stickings, Reg. Searching For Soul.
Haslam, Dave. Adventures on the Wheels of Steel: The Rise of the Superstar DJs, Chapter six, 'Leaving the Go-Go Girls at Home', page 170. Retrieved 15 August 2019. 4 April 2015. Retrieved 15 August 2019. Russ Winstanley and David Nowell. Soul Survivors: The Wigan Casino Story.
Chapter one, page 14. and Frank Broughton. Last Night A DJ Saved My Life. Chapter four, page 99, 'Soul Wars: Wigan Casino versus Blackpool Mecca'. Russ Winstanley and David Nowell. Soul Survivors: The Wigan Casino Story.
Chapter seven, page 101. Ritson, Mike & Russell, Stuart. The In Crowd: The Story of the Northern & Rare Soul Scene, Chapter twenty, page 273.
Haslam, Dave. Adventures on the Wheels of Steel: The Rise of the Superstar DJs, Chapter six, 'Leaving The Go-Go Girls At Home', page 180. 29 July 2014. Retrieved 3 June 2015. Ritson, Mike & Russell, Stuart. The In Crowd: The Story of the Northern & Rare Soul Scene, Chapter 19, page 263.
Ritson, Mike. 'Northern Exposure' column in Echoes magazine. March 2009. Article by Terry Christian in, 27 August 2008. Stickings, Reg, Searching for Soul.
David Nowell, Too Darn Soulful: The Story of Northern Soul. Chapter 12, page 319. 1 January 1970. Retrieved 29 May 2014. Hewitt, Paolo (21 August 2010).
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and Frank Broughton. Last Night A DJ Saved My Life. Chapter four, page 86, 'A Genre Built From Failures'. Haslam, Dave, Manchester, England, chapter six, p147. Sleeve notes written by Ian Levine accompanying the CD 'Reachin’ For the Best: The Northern Soul of the Blackpool Mecca' on Sanctuary records. Haslam, Dave, Manchester, England, chapter six, p172.
Paolo Hewitt. The Soul Stylists. 111, quote from Ady Croadsell. Sleeve notes written by Neil Rushton accompanying the LP Out on the Floor Tonight on Inferno Records. Sleeve notes written by Ian Levine accompanying the CD 'Reachin’ For the Best: The Northern Soul of the Blackpool Mecca'.
Sleeve notes accompanying the LP Casino Classics Chapter One on Casino Classics Records. Russ Winstanley and David Nowell Soul Survivors: The Wigan Casino Story. Chapter seven, page 109. Sleeve notes written by Ian Levine accompanying the CD Reachin’ For the Best: The Northern Soul of the Blackpool Mecca. Retrieved 23 September 2013.
and Frank Broughton. Last Night a DJ Saved My Life Chapter four, page 106, 'Fighting for the soul of soul'. Rylatt, Keith and Phil Scott, Central 1179: The Story of Manchester's Twisted Wheel Club, chapter 8 “Bye Bye Blues”.
^ Keith Rylatt and Phil Scott, Central 1179: The Story of Manchester's Twisted Wheel Club, chapter 10 “The Records”. Blackford, Andy, Disco Dancing Tonight, chapter 5 “In the beginning”. Ritson, Mike & Russell, Stuart. The In Crowd: The Story of the Northern & Rare Soul Scene, Chapter 15, page 215. and Frank Broughton.
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Russ Winstanley and David Nowell. Soul Survivors: The Wigan Casino Story. Chapter 2, page 37. Russ Winstanley and David Nowell.
Soul Survivors: The Wigan Casino Story. Chapter 7, page 95. Schildt, Axel; Detlef, Siegfried (2006). New York: Berghahn Books. Northern Soul: Living for the Weekend.
Soultown Samples Vol 2 Rare Edition
25 July 2014. 40 minutes in. Retrieved 2 September 2017. '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?' 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.' . James Ellis.
Retrieved 17 April 2011. Retrieved 29 May 2014. Keith Rylatt and Phil Scott. Central 1179: The Story of Manchester's Twisted Wheel Club.
BeeCool Publishing. 2001.
Andy Wilson. Northern Soul: Music, Drugs and Subcultural Identity. Chapter 2, Page 78. Andy Wilson. Northern Soul: Music, Drugs and Subcultural Identity. Chapter 3, Page 82.
Keith Rylatt and Phil Scott, Central 1179: The Story of Manchester's Twisted Wheel Club, BeeCool Publishing. 2001. and Frank Broughton. Last Night a DJ Saved My Life, Chapter 4, 'Northern Soul: The First Rave Culture', page 85. Archived from on 19 October 2015.
Retrieved 3 June 2015. and Frank Broughton.
Last Night a DJ Saved My Life, Chapter 4, 'From Northern Soul to Nu-NRG', page 113. Retrieved 2 January 2016. Retrieved 2 January 2016.
Cambridge 105. Archived from on 15 July 2012. Retrieved 2 January 2016. MOD: A Very British Style (Google eBook) Richard Weight Random House, 28 March 2013 p.182. Too darn soulful: the story of Northern soul David Nowell Robson, 1999, p.299. 2 August 2014. Retrieved 3 June 2015.
Retrieved 3 June 2015. Retrieved 2 January 2016.
Winstanley, Russ and David Nowell, Soul Survivors: The Wigan Casino Story, Part V, p. Retrieved 29 December 2017. Watson, Don (1 October 1983). 'Looking At The Fall Guise'.
New Musical Express. 8 April 2006. Retrieved 29 May 2014. Knight, David (22 January 2008). Retrieved 19 July 2009. 27 August 2010 at the. 18 April 2010.
Retrieved 29 May 2014. Retrieved 29 May 2014. Megan Armstrong (3 November 2017). Retrieved 4 May 2019. Retrieved 3 June 2015. Retrieved 3 June 2015. Retrieved 15 August 2019.
Retrieved 3 June 2015. 13 October 2014. Retrieved 3 June 2015. ^. Retrieved 3 June 2015.Bibliography. Neil Rushton (2009).
Soultown Samples Vol 2 Rare Card
Northern Soul Stories: Angst and Acetates. Soulvation.
Mike Ritson and Stuart Russell (1999). The In Crowd: The Story of the Northern & Rare Soul Scene, Volume 1. Bee Cool.
David Nowell (2001). Too Darn Soulful: The Story of Northern Soul. Robson Books. Andy Wilson (2007).
Northern Soul: Music, Drugs and Subcultural Identity. Willan Publishing. Keith Rylatt and Phil Scott (2001). CENtral 1179: The Story of Manchester's Twisted Wheel Club. Bee Cool.
Russ Winstanley and David Nowell (1996). Soul Survivors: The Wigan Casino Story.
Robson Books. Kev Roberts (2000). The Northern Soul Top 500. Reg Stickings (2008). Searching For Soul. SAF Publishing. Bill Brewster and Frank Broughton (2000) 1999.
Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press. Dave Haslam (2002) 2001. Adventures on the Wheels of Steel: the rise of the superstar DJs. London: 4th Estate. Paolo Hewitt (2000). The Soul Stylists: Forty Years of Modernism.
Mainstream Publishing. Andy Blackford (1979). Disco Dancing Tonight. Octopus Books Ltd.External links. A paper given at Manchester University in 2006. by, published in Blues & Soul, issue 50, January 1971.
by, published in, Spring 2002. Copy of the lists from Kev Roberts' book 'The Northern Soul Top 500'. book about the Twisted Wheel club.