THE ICONIC, TIMELESS….. THEN CONTROVERSIAL , FOUL-MOUTHED , DRUG-FUELLED AND YET STILL BRILLIANT TO WATCH …… 1979 CLASSIC CULT FILM
HERE’S SOME MORE GREAT INTERACTIVE FOOTAGE FROM THE FILM QUADROPHENIA . A GREAT BRITISH FILM THAT REMAINS AS ICONIC AS WHEN FIRST RELEASED BACK IN 1979 . A GREAT COLLECTIVE CAST LIST …. MANY OF WHOM REMAIN HOUSEHOLD NAMES TODAY …. THEY INCLUDE … RAY WINSTONE , PHIL DANIELS, STING, PHIL DAVIS, LESLIE ASH, TIMOTHY SPALL…ETC ETC…
DO COME VISIT THE QUADROPHENIA COLLECTION HERE AT LITTLEDEAN JAIL IN THE ROYAL FOREST OF DEAN , GLOUCESTERSHIRE ,UK .
PRINT OF THE ORIGINAL PAINTING BY GLOUCESTERSHIRE ARTIST PAUL BRIDGMAN. THE ORIGINAL PAINTING IS ON DISPLAY AT LITTLEDEAN JAIL
I’M ON MY WAY TO THE QUADROPHENIA EXHIBITION AT LITTLEDEAN JAIL WITH DEAN PARRISH
HERE ON DISPLAY AT THE JAIL WE HAVE THE ORIGINAL “ACE FACE” – GS VESPA SCOOTER AS WAS USED IN THE 1979 ICONIC QUADROPHENIA FILM …. ALONG WITH A 100% REPLICA “JIMMY” … LAMBRETTA SCOOTER BUILT FROM MANY OF THE ORIGINAL PARTS OF THE ORIGINAL SCOOTER AS USED IN THE FILM . CLOTHING , MEMORABILIA AND MUCH MUCH MORE
HERE IS A BRIEF LOOK AT SOME OF THE MANY ORIGINAL SIGNED FILM STILLS FROM SOME OF THE LEADING STARS OF THIS , AT THE TIME … HIGHLY CONTROVERSIAL ICONIC BRITISH FILM . SCROLL DOWN THIS PAGE TO SEE MORE OF THE HUNDREDS OF SIGNED FILM STILLS AND VARIOUS OTHER FILM MEMORABILIA HERE ON DISPLAY AT LITTLEDEAN JAIL’S – QUADROPHENIA COLLECTION .
Don’t worry the original “Ace Face ” GS Vespa Scooter as used in the film and salvaged for posterity is on display here at the jail and is not the one that is seen going over the cliff face and smashed to bits on the rocks below.
Incidently for all Quadrophenia fans out there ….. a total of 5 number “Ace Face” GS Vespa Scooters were built and used in the film….. 3 of which were used for the last scene (going over the cliff) , 1 was written off during filming and destroyed and we have the only surviving scooter that was ridden and used by both the “Ace Face” and “Jimmy” during filming.
WE HAVE ALSO SINCE ADDED “A TASTE OF NORTHERN SOUL DOWN HERE IN THE SOUTH EXHIBITION ” INCLUDING VARIOUS ORIGINAL NORTHERN SOUL MEMORABILIA AND EPHEMERA .
NOT FORGETTING OF COURSE …. OUR “1960’S REVISITED” COLLECTIONS .
A MUST SEE VISITOR ATTRACTION IN IT’S OWN RIGHT FOR ALL QUADROPHENIA FANS, SCOOTER BOYS & GIRLS, MODS, NORTHERN SOUL FANS , TWO-TONE AND SKA FANS, SKINHEADS. REGGAE SKINHEADS AND TAMLA MOTOWN FANS TOO.
LIAM GALLAGHER FORMER FRONTMAN OF OASIS AND NOW BEADY EYE SEEN HERE USING THE ORIGINAL “ACE FACE” GS VESPA AND “HELPLESS DANCER” SCOOTERS FROM THE QUADROPHENIA COLLECTION HERE AT LITTLEDEAN JAIL FOR A PHOTO SHOOT TO LAUNCH HIS PRETTY GREEN CLOTHING RANGE . THE PHOTO SHOOT TOOK PLACE AT BEACHY HEAD , EASTBOURNE AND AT SALTASH LIDO, NEAR BRIGHTON BOTH SCOOTERS USED BEING FROM THE QUADROPHENIA COLLECTION HERE .
ABOVE IS A PICTORIAL SLIDESHOW INSIGHT INTO SOME OF THE GREAT MANY DISPLAY ITEMS RELATING TO THE ICONIC 1979 CULT BRITISH FILM -QUADROPHENIA EXHIBITED IN ONE OF THE OUTBUILDINGS HERE AT LITTLEDEAN JAIL . IT INCLUDES A MASS OF ORIGINAL SIGNED FILM STILLS , FILM POSTERS, CLOTHING, ORIGINAL FILM SCRIPT , CLOTHING AND MUCH MORE……..
NOT FORGETTING OF COURSE THE ICONIC ORIGINAL ACE FACE GS VESPA SCOOTER FEATURED IN THE FILM AND OTHER SCOOTERS ETC.
ASIDE FROM THE QUADROPHENIA COLLECTION AND AS AN ADD-ON WE HAVE SINCE INCLUDED ….. “A TASTE OF NORTHERN SOUL DOWN HERE IN THE SOUTH OF ENGLAND” EXHIBITION AREA AS WELL AS FEATURING A 1960’S REVISITED COLLECTION .THIS INCLUDES A MASS OF ORIGINAL SIGNED PHOTOGRAPHS , VINYL RECORDS AND OTHER MEMORABILIA ITEMS
Here below is a very brief look and insight into our Nazi Holocaust Years Exhibition here at The Crime Through Time Collection , Littledean Jail, UK
Original painting by Gloucestershire artist Paul Bridgman of Adolf Hitler here on display at The Crime Through Time Collection , Littledean Jail , UK .
ABOVE : Original handwritten, inscribed and signed Adolf Hitler photo dated 9 November 1943 here on display at the Jail .
HERE IS A PICTURE OF SOME OF THE EMPTY ZYKLON B CANISTERS USED AT VARIOUS NAZI DEATH CAMP GAS CHAMBERS , AS CAN BE SEEN HERE ON DISPLAY . ( LEST WE FORGET )
POLITE WARNING … THE CRIME THROUGH TIME COLLECTION AT LITTLEDEAN JAIL (WHERE UPON THIS EXHIBITION IS HOUSED ) IS NOT SUITABLE FOR CHILDREN OR THOSE OF YOU WHO ARE EASILY OFFENDED , DISTURBED OR OF A SENSITIVE NATURE
Original painting by Gloucestershire artist Paul Bridgman on display at The Crime Through Time Collection, Littledean Jail ,UK.
THE CONTENT HERE ON DISPLAY BOTH ONLINE AND WITHIN THE JAIL IS IN THE MAIN HARD HITTING , GRAPHIC, EXPLICIT , IN YOUR FACE , TONGUE IN CHEEK , CONTROVERSIAL AND TO MANY … VERY DISTURBING .
WITH THIS IN MIND AND FOR YOUR BENEFIT AND COMFORT … PLEASE DO TAKE A LOOK AT SOME OF OUR FACEBOOK POSTS , READ OUR TOURISM LEAFLETS AND DO TAKE NOTICE OF ALL OUR WARNING SIGNAGE PRIOR TO ENTERING THE JAIL .
Above : Original painting by Gloucestershire Artist Paul Bridgman on display here at Littledean Jail, of the sadistic Irma Grese …. deemed to be “The Angel of Death ” , who was subsequently arrested and later hanged by British Hangman Albert Pierrepoint
Irma Ida Ilse Grese (7 October 1923 – 13 December 1945) was a female SS guard at the Nazi concentration camps of Ravensbrück and Auschwitz, and served as warden of the women’s section of Bergen-Belsen.
Grese was convicted for crimes against humanity committed at Auschwitz and Bergen-Belsen, and sentenced to death at the Belsen trial. Executed at 22 years of age, Grese was the youngest woman to die judicially under British law in the 20th century. She was nicknamed by the camps’ inmates “the Hyena of Auschwitz Above : Original painting by Gloucestershire Artist Paul Bridgman on display here at Littledean Jail, of the sadistic Irma Grese ….
Josef Kramer (10 November 1906 – 13 December 1945) was the Commandant of the Bergen-Belsen concentration camp. Dubbed The Beast of Belsen by camp inmates, he was a notorious German Nazi war criminal, directly responsible for the deaths of thousands of people. He was detained by the British army after the Second World War, convicted of war crimes and hanged on the gallows in Hamelin prison by British executioner Albert Pierrepoint.
Above : Original oil painting by Gloucestershire Artist Paul Bridgman of Josef Kramer , The Beast of Belsen , on display here at Littledean Jail,
Below: Original painting by Gloucestershire Artist Paul Bridgman on display here at Littledean Jail, of the evil and sadistic Josef Kramer …. better known as “The Beast of Belsen “
Used original Zyklon B 100gram sized canisters from one of the first Nazi gas chambers situated at Grafeneck Euthanasia Center, housed in Grafeneck Castle, Germany . It had officially opened in January 1940 and was closed on the orders of Nazi warlord Himmler in December 1940 . This facility was mainly used to exterminate mentally Handicapped and retarded victims as part of the Nazi euthanasia program. These canisters are exceptionally rare find from what was one of the earliest gas chambers and crematorium facilities . There is evidence that exists to the effect that a minimum 10, 654 were gassed there, though inevitably many more victims were murdered there before its closure . these canisters are now on public display at the Crime Through Time Collection, Littledean Jail
Here is some more interactive, historical and hopefully educational background footage and insight into the horrors of the Nazi Holocaust years. The photo gallery below the first video also provides a brief pictorial glimpse into our own disturbing Nazi Holocaust exhibition here at the jail .
We also feature a great many interactive pieces in relation to UK World War 2 Special Forces, including the SOE (Special Operations Executive) and the SAS (Special Air Service) …. whom were both actively involved in a great many operations against the Nazi’s during this period .
Original painting by Gloucestershire artist Paul Bridgman on display at The Crime Through Time Collection, Littledean Jail , UK
BELOW IS A BRIEF PICTORIAL GLIMPSE INTO SOME OF THE EXHIBIT ITEMS HERE ON DISPLAY AT LITTLEDEAN JAILS NAZI HOLOCAUST EXHIBITION .
Srbosjek (literally “Serb cutter” in Croatian and Serbian, often referred to as “cutthroat”) is the colloquial serbo-Croatian term for a type of knife used for killing …
Witness drawing of the sboskek wrist knife used to quickly dispatch prisoners at Jasenovac
Srbosjek (literally “Serb cutter” in Croatian and Serbian, often referred to as “cutthroat”) is the colloquial serbo-Croatian term for a type of knife used for killing …
The Holocaust was the systematic, bureaucratic, state-sponsored persecution and murder of approximately six million Jews by the Nazi regime and its collaborators. “Holocaust” is a word of Greek origin meaning “sacrifice by fire.” The Nazis, who came to power in Germany in January 1933, believed that Germans were “racially superior” and that the Jews, deemed “inferior,” were an alien threat to the so-called German racial community.
During the era of the Holocaust, German authorities also targeted other groups because of their perceived “racial inferiority”: Roma (Gypsies), the disabled, and some of the Slavic peoples (Poles, Russians, and others). Other groups were persecuted on political, ideological, and behavioral grounds, among them Communists, Socialists, Jehovah’s Witnesses, and homosexuals.
WHAT WAS THE HOLOCAUST?
In 1933, the Jewish population of Europestood at over nine million. Most European Jews lived in countries that Nazi Germany would occupy or influence during World War II. By 1945, the Germans and theircollaborators killed nearly two out of every three European Jews as part of the “Final Solution,” the Nazi policy to murder the Jews of Europe. Although Jews, whom the Nazis deemed a priority danger to Germany, were the primary victims of Nazi racism, other victims included some 200,000 Roma (Gypsies). At least 200,000 mentally or physically disabled patients, mainly Germans, living in institutional settings, were murdered in the so-called Euthanasia Program.
As Nazi tyranny spread across Europe, the Germans and their collaborators persecuted and murdered millions of other people. Between two and three million Soviet prisoners of warwere murdered or died of starvation, disease, neglect, or maltreatment. The Germans targeted the non-Jewish Polish intelligentsia for killing, and deported millions of Polish and Soviet civilians for forced labor in Germany or in occupiedPoland, where these individuals worked and often died under deplorable conditions. From the earliest years of the Nazi regime, German authorities persecuted homosexuals and others whose behavior did not match prescribed social norms. German police officials targeted thousands of political opponents (including Communists, Socialists, and trade unionists) and religious dissidents (such as Jehovah’s Witnesses). Many of these individuals died as a result of incarceration and maltreatment.
ADMINISTRATION OF THE “FINAL SOLUTION”
In the early years of the Nazi regime, the National Socialist government established concentration camps to detain real and imagined political and ideological opponents. Increasingly in the years before the outbreak of war, SS and police officials incarcerated Jews, Roma, and other victims of ethnic and racial hatred in these camps. To concentrate and monitor the Jewish population as well as to facilitate later deportation of the Jews, the Germans and their collaborators created ghettos, transit camps, and forced-labor camps for Jews during the war years. The German authorities also established numerous forced-labor camps, both in the so-called Greater German Reich and in German-occupied territory, for non-Jews whose labor the Germans sought to exploit.
Following the invasion of the Soviet Union in June 1941,Einsatzgruppen (mobile killing units) and, later, militarized battalions of Order Police officials, moved behind German lines to carry out mass-murder operations against Jews, Roma, and Soviet state and Communist Party officials. German SS and police units, supported by units of the Wehrmacht and the Waffen SS, murdered more than a million Jewish men, women, and children, and hundreds of thousands of others. Between 1941 and 1944, Nazi German authorities deported millions of Jews from Germany, from occupied territories, and from the countries of many of its Axis allies to ghettos and to killing centers, often called extermination camps, where they were murdered in specially developed gassing facilities.
THE END OF THE HOLOCAUST
In the final months of the war, SS guards moved camp inmates by train or on forced marches, often called “death marches,” in an attempt to prevent the Allied liberation of large numbers of prisoners. As Allied forces moved across Europe in a series of offensives against Germany, they began to encounter andliberate concentration camp prisoners, as well as prisoners en route by forced march from one camp to another. The marches continued until May 7, 1945, the day the German armed forces surrendered unconditionally to the Allies. For the western Allies, World War II officially ended in Europe on the next day, May 8 (V-E Day), while Soviet forces announced their “Victory Day” on May 9, 1945.
In the aftermath of the Holocaust, many of the survivors found shelter in displaced persons (DP) camps administered by the Allied powers. Between 1948 and 1951, almost 700,000 Jews emigrated to Israel, including 136,000 Jewish displaced persons from Europe. Other Jewish DPs emigrated to the United States and other nations. The last DP camp closed in 1957. The crimes committed during the Holocaust devastated most European Jewish communities and eliminated hundreds of Jewish communities in occupied eastern Europe entirely
ABOVE: Original painting by Gloucestershire artist Paul Bridgman of John Wayne Gacy on display at Littledean Jail .
All of Gacy’s known murders were committed inside his Norwood Park, Illinois home. His victims would typically be lured to this address by force or deception, and all but one victim were murdered by either asphyxiation or strangulation with a tourniquet (his first victim was stabbed to death). Gacy buried 26 of his victims in the crawl space of his home. Three further victims were buried elsewhere on his property, while the bodies of his last four known victims were discarded in the Des Plaines River.
Gacy became known as the “Killer Clown” due to his charitable services at fundraising events, parades, and children’s parties where he would dress as “Pogo the Clown”, a character he devised himself.
BELOW : Various exhibit items to include one of Gacy’s “Pogo The Clown ” suits , handwritten and signed correspondence , a hand painting and various other memorabilia, all of which is on display here at The Crime Through Time Collection , Littledean Jail , Forest of Dean , Gloucestershire, UK .
ABOVE AND BELOW : One of John Wayne Gacy’s original worn clown suits. There are two other known Gacy clown suits on display at The National Museum of Crime , Washington DC , USA .
BELOW: picture of 2 other Gacy clown suits, on display at The National Museum of Crime, Washington DC ….. Previously owned ( not sure if he still owns them ) by Jonathan Davis, lead singer of American Heavy Metal Band “Korn .”
ABOVE: John Wayne Gacy pictured in jail, so say, shortly before his execution by lethal injection
Set in Lancashire in 1974, the film follows Matt and John as they leave behind a humdrum life of youth clubs and factory lines to chase a dream of travelling to the US, unearthing unknown soul 45s and establishing themselves as top DJ’s on the Northern soul music scene. Their dance and amphetamine fuelled quest brings them into contact with some of the darker elements of the scene and tests their friendship to its limits
A BRIEF INSIGHT INTO SOME OF THE GREAT MANY EXHIBIT ITEMS ON THE NORTHERN SOUL FRONTS ON DISPLAY AT THE “TASTE OF NORTHERN SOUL DOWN HERE IN THE SOUTH EXHIBITION “….INCLUDES ORIGINAL WIGAN CASINO, TWISTED WHEEL AND OTHER NORTHERN SOUL MEMBERSHIP CARDS, FLYERS, ORIGINAL AND VINTAGE WOVEN CLUB PATCHES , VINTAGE PATCHED SPORTS HOLDALLS,VINYL AND OTHER ASSOCIATED MEMORABILIA .
Because of the scarcity of the original single and the high quality of the music (it was one of the most popular records in the Northern Soul movement), it has been championed as one of the rarest and most valuable records in history (along with other “impossible to find” records by such acts as Bessie Smith, Louis Armstrong, and the Five Sharps).
HERE BELOW IS A VERY , VERY BRIEF INSIGHT GALLERY INTO A FEW OF THE ORIGINAL NORTHERN SOUL MEMORABILIA ITEMS HERE ON DISPLAY . DO COME VISIT TO SEE WHAT IS UNDOUBTEDLY ONE OF THE LARGEST PRIVATE COLLECTIONS OF SUCH SOUGHT AFTER MATERIAL .
DO SEE MORE PICTORIAL CONTENT IN SOME OF OUR PREVIOUS POSTS ON OUR FACEBOOK PAGE AS TO FURTHER EXHIBIT ITEMS HERE ON DISPLAY IN OUR “A TASTE OF NORTHERN SOUL DOWN HERE IN THE SOUTH OF ENGLAND EXHIBITION”
Open The Door To Your Heart by Darrell Banks: ‘Holy grail’ Northern Soul single sells for £14,543
A single dubbed the rarest record in the world sold for £14,543 at auction tonight.
Derek Smiley, a Northern Soul DJ in Cambridge, was among the bidders for Darrell Banks’ club classic Open the Door to Your Heart, but gave up when the price went “out of his league”.
John Manship, who hosted the online auction at raresoulman.co.uk, said the website crashed as “thousands upon thousands” of people visited the page as the auction came to a close at 6pm.
He said: “I’ve never seen anything like it before. The winner came in a few seconds before the end which is just a ridiculous thing to do, but he’s won it fair and square.”
He said all the bidders were previously known to him, apart from the winner, who he said lived in Britain. —————————————————————————————————————
Northern soul is a music and dance movement that emerged from the British mod scene, initially in northern England in the late 1960s. Northern soul mainly consists of a particular style of black Americansoul 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 met with significant mainstream success. The recordings most prized by enthusiasts of the genre are usually by lesser-known artists, and were initially released only in limited numbers, often by small regional United States labels such as Ric-Tic and Golden World (Detroit), Mirwood (Los Angeles) and Shout and Okeh (New York/Chicago).
Northern soul is also 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 andnightclubs like the 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.
During the Northern soul scene’s initial years in the late 1960s and early 1970s, popular Northern Soul records were usually not recent releases, and 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.
Photograph of a sew-on patch featuring the clenched fist symbol adopted by the northern soul movement
The phrase northern soul emanated from the record shop Soul City in Covent Garden, London, which was run by journalist Dave Godin. It was first publicly used in Godin’s weekly column in Blues and Soul magazine in June 1970. 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, to differentiate the tastes of the die-hard soul-lovers of the north, whose musical preferences seemed to have stalled somewhere in that classic mid-’60s era of Motown-sounding black American dance, Godin referred to their 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’.
The venue most commonly associated with the early development of the northern soul scene was the Twisted Wheel in Manchester and the Room at The Top in Wigan. The club began in the early 1950s as a beatnik 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 andDisc 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.
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.Soul fans were traveling from all over the United Kingdom to attend the Saturday all-nighters, with resident ‘All Niter’ DJ Bob Dee compiling & supervising  the playlist and utilising the newly developed slip-cueing technique to spin the vinyl between 1968 and 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 been able to fill 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 and Va Va’s in Bolton.
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 Golden Torch in Tunstall, Stoke (1971 to 1972), Blackpool Mecca (1971 to 1979) and Wigan Casino (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 the Golden Torch, where regular Friday night soul “all-nighters” began in late 1970. Chris Burton, the owner, stated that in 1972, the club had a membership of 12,500, and 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 in late 1971.
Commemorative sew-on patch similar to those designed by Russ Winstanley 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 2am until 8am. There was a regular roster of DJs, including the promoter Russ Winstanley. By 1976, the club boasted a membership of 100,000 people, and in 1978, was voted the world’s number one discotheque by the American magazine Billboard. This was during the heyday of the Studio 54 nightclub in New York City. 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. 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. 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 whom the soul purists did not approve of.
Blackpool Mecca was popular throughout the 1970s, although the venue never hosted all-nighters. The regular Saturday night events began at 8pm and finished at 2am, 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 Ian Levine and Colin Curtis including newly released US soul in their sets. Whilst the tempo was similar to the earlier Motown Records-style recordings, this shift in emphasis heralded a slightly different style of northern soul dancing and dress styles at Blackpool Mecca and created a schism in the northern soul movement between Wigan Casino’s traditionalists and Blackpool Mecca’s wider approach, which accepted the more contemporary sounds of Philly soul, early disco and funk.
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. As the 1970s progressed, the northern soul scene expanded even further nationally. There was a notable scene in the east of England with 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. Other towns with notable northern soul venues at this time included Kettering, Coventry, Bournemouth, Southampton and Bristol.
When Wigan Casino closed in 1981, many believed that the northern soul scene was on the verge of disintegrating. However, the 1970s mod revival, the thriving scooterboy subculture and the acid jazzmovement produced a new wave of fans. The popularity of the music was further bolstered in the 1980s by a wave of reissues and compilation albums from small British independent record labels. 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 as diverse 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 Bisley Pavilion in Surrey and the Prestatyn Weekender in North Wales. In an August 2008 article in The Times, broadcaster Terry Christian argued that northern soul was undergoing a distinct revival in the late 2000s. Christian cited the popularity of regular revivals of Twisted Wheel soul all-nighters at the original venue (in Whitworth Street, Manchester) plus the Beat Boutique northern soul all-nighters at the Ruby Lounge and MMUnion in Manchester. Many of those who ceased their involvement in the late 1970s have now returned to the scene and regularly participate in such events. As of 2009, Paul O’Grady has included a Northern Soul Triple in his weekly BBC Radio 2 show. He plays three northern soul hits, often at the request of his listeners.
The northern soul soul movement has inspired the movie Soulboy (2010), directed by Shimmy Marcus, and at least one novel: Do I Love You? (2008) by Paul McDonald In June 2010, theatre director Fiona Laird wrote and directed Keeping the Faith, a musical based on the Wigan Casino scene and featuring northern soul music. It was staged at the Central School of Speech and Drama’s Webber Douglas Studio, with a revival at the same venue in September 2010.
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.”
The music style most associated with northern soul is the heavy, syncopated beat and fast tempo of mid-1960s Motown Records, 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 Ian Levine at Blackpool Mecca) and Gloria Jones’ “Tainted Love” (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 “I Can’t Help Myself (Sugar Pie Honey Bunch)” by The Four Tops, 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 Tobi Legend, “Long After Tonight Is Over” by Jimmy Radcliffe, and “I’m On My Way” by Dean Parrish.Commercial pop songs that matched the up-tempo beat of the stompers were also played at some venues, including The Ron Grainer Orchestra’s instrumental “Theme From Joe 90” at Wigan Casino and The Just Brothers’ 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 disco and Philly Soul became accepted at certain venues following its adoption at Blackpool Mecca. This style is typified musically by the O’Jays‘ “I Love Music” (UK #13, January 1976), which gained popularity prior to its commercial release at Blackpool Mecca in late 1975. The record that initially popularised this change is usually cited as The Carstair’s “It Really Hurts Me Girl” (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 modern soul movement in the early 1980s.
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. Some records were so rare that only a handful of copies were known to exist, so northern soul DJs and clubs became associated with particular records that were almost exclusively on their own playlists. Many of the original artists and musicians remained unaware of their new-found popularity for many years.
As the scene increased in popularity, a network of UK record dealers emerged who were able to 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 were able to capitalise on the booming popularity of northern soul and negotiate licenses for certain popular records from the copyright holders and reissue them as new 45s or compilation LPs. Amongst 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.Frank Wilson‘s “Do I Love You (Indeed I Do)” has been rated the rarest and most valuable northern soul single.
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 in the 1970s. These include The Tams‘ 1964 recording “Hey Girl Don’t Bother Me” (UK #1, July 1971) – which was popularized by Midlands DJ Carl Dene –The Fascinations‘ 1966 single “Girls Are Out To Get You” (UK #32, 1971), The Newbeats‘ 1965 American hit “Run Baby Run” (UK #10, Oct 1971), Bobby Hebb‘s “Love Love Love” which was originally the B-side of his 1966 U.S. #1 “Sunny” (UK #32 August 1972), Robert Knight‘s “Love On A Mountain Top” of 1968 (UK #10, November 1973), and R. Dean Taylor’s “There’s A Ghost In My House” from 1967 (UK #3, May 1974).
The northern soul scene also spawned many lesser chart hits, including Al Wilson‘s 1967 cut “The Snake” (UK #41 in 1975), Dobie Gray‘s “Out On The Floor” (UK #42, September 1975) and Little Anthony & The Imperials‘ “Better Use Your Head” (UK #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: The Exciters’ “Reaching For The Best” (UK #31, October 1975), L.J Johnson’s “Your Magic Put A Spell On Me” (UK #27, February 1976),Tommy Hunt’s “Loving On The Losing Side” (UK #28, August 1976) and “Footsee” by Wigan’s Chosen Few (UK #9, January 1975).
“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 amongst the dancers at the venue. Disco Demand then released the song as a 45 RPM single, reaching UK #26 in November 1974. To promote the single on BBC’s Top Of The Pops, the performer was accompanied by two Wigan Casino dancers.
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: “Do I Love You (Indeed I Do)” by Frank Wilson, “Out on the Floor” by Dobie Gray, “You Didn’t Say a Word” by Yvonne Baker, “The Snake” by Al Wilson, “Long After Tonight is Over” by Jimmy Radcliffe, “Seven Day Lover” by James Fountain, “You Don’t Love Me” by Epitome of Sound, “Looking for You” by Garnet Mimms, “If That’s What You Wanted” by Frankie Beverly & the Butlers, and “Seven Days Too Long” by Chuck Wood.
African American athletes Tommie Smith and John Carlos performed their Black Powersalute at the 1968 Summer Olympics in Mexico City
A large proportion of northern soul’s original audience came from within the 1960s modsubculture. In the late 1960s, when some mods started to embrace freakbeat andpsychedelic rock, other mods – especially those in northern England – stuck to the original mod 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 Ben Sherman shirts, blazers with centre vents and unusual numbers of buttons, Trickers and brogue shoes and shrink-to-fit Levi’s jeans. Some non-mod items, such as bowling 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 Oxford trousers and sports vests. These were often covered with sew-on badges representing soul club memberships.
The clenched fist symbol that has become associated with the northern soul movement (frequently depicted on sew-on patches) emanates from the Black Powercivil rights movement of the 1960s in the United States. The symbol is related to the salute given by African-American athletes at the 1968 Olympic games in Mexico City.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!”
In 2007, Andrew Wilson (lecturer in criminology at the University of Sheffield) 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 Amphetamines (otherwise known asspeed) by many involved. Wilson argues that, whilst a significant proportion did not use drugs, drug usage was heavily ingrained in the fast-paced culture of the northern soul scene and contributed to participants’ ability to stay up all-night dancing. Many clubs and events were closed down or refused licences due to concerns of local authorities that soul nights attracted drug dealers and users. Roger Eagle, DJ at the Twisted Wheel club in Manchester, cited Amphetamine usage amongst 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.”
The northern soul movement is cited by many as being a significant step towards the creation of contemporary club culture and of the superstar DJ culture of the 2000s. Two of the most notable DJs from the original northern soul era are Russ Winstanley and Ian Levine. 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 white label 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. Many of the 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. 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.
Northern soul has influenced several notable musicians. Terry Christian — in his 2008 article about northern soul for The Times — wrote, “There’s an instant credibility for any artist or brand associated with a scene that has always been wild, free and grassroots.”Soft Cell had chart success with covers of two popular northern soul songs, “Tainted Love” (originally recorded by Gloria Jones) and “What?” (originally recorded by Judy Street). Soft Cell member Dave Ball used to occasionally attend soul nights at Blackpool Mecca and Wigan Casino.Moloko‘s video for “Familiar Feeling” is set against a northern soul backdrop and was directed by Elaine Constantine, a longstanding northern soul enthusiast. The video was choreographed by DJ Keb Darge, who rose to prominence at the Stafford Top Of The World all-nighters in the 1980s.
ABOVE: “FACE-OFF” AT THE JAIL BETWEEN ANDY JONES AND JOHN BLUNDELL
“BACK BEHIND BARS” – ICONIC BRITISH ACTOR – JOHN BLUNDELL WHO STARRED AS THE ORIGINAL “DADDY” – PONGO BANKS IN THE ICONIC 1978 SCUM” 1979 FILM…“QUADROPHENIA” , WHERE HE PLAYED ONE OF THE MAIN ROCKERS , VISITS THE JAIL