Here is my playlist since so many of you asked.........

Jewel Akens-I've arrived-ERA
Little Rose Little-You got the love-Roulette(demo)
Herb Fame-You're messin up my mind-Date(demo)
Artistics-Hope we have-Brunswick
Parliaments-Don't be sore at me-Revilot
Betty Everett-Too hot to hold-VJ
Ted Taylor-Somebody's always trying-okeh(demo)
Luther Ingram-Oh Baby don't you weep-kent
Ruby Lee-I'm gonna put a watch on you-poptone
Buddy Lamp-My Tears-double L
Freddie Gorman-Just for you-miracle
Charmaines-I idolise you-Kent
Impressions-Can't satisy-abc
Cassietta George-Don't give up-Audio Gospel
Stagemasters-Baby i'm here just to love you-Slide
Donald Height-Talk of the grapevine-shout
Edwin Starr-Time-Tamla motown(request)
Outsiders-Time wont let me-capitol
Michael & Raymond-Man without a woman-RCA
DeVons-Someone to treat me-King
Spinners-I'll always love you-Motown
Ramsey Lewis-Wade in the water-Chess
Alfredo Brockington-Split milk-previously unissued
Timi Yuro-Ain't gonna cry no more-Liberty
Chuck Jackson-Hand it over-Wand

A great night for Aberdeen, long may it continue!

Northern Soul is the term used in the UK for a type of mid-tempo and uptempo heavy-beat soul music (of mainly African American origin) that was popularized in northern England in the mid 1960s. The term also refers to the associated dance styles and fashions that emanated from the Twisted Wheel club in Manchester and spread to other dancehalls and nightclubs; such as the Golden Torch (in Stoke-upon-Trent), the Blackpool Mecca, and (in 1973) the Wigan Casino. Northern soul dancing was usually athletic, resembling the later dance styles of disco and break dancing. Featuring spins, flips, and backdrops, the northern soul dancing style was inspired by the stage performances of visiting American soul acts such as Little Anthony & The Imperials and Jackie Wilson.



The music that has been described as northern soul originally consisted of obscure American soul recordings, including lesser known songs from Motown Records, Stax Records, Okeh Records and many more obscure record labels. The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine. In a 2002 interview with Chris Hunt of Mojo, he explained that he had first come up with the term in 1968 as a sales reference for use in his record shop in Covent Garden, to help staff differentiate the more modern funkier sounds from the smoother, Motown-influenced soul of a few years earlier:

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 US black chart, just play them what they like - ‘Northern Soul’.

A large proportion of northern soul's original audience came from the mod movement. Some mods started to embrace the freakbeat and psychedelic rock of the late 1960s, but other mods - especially those in northern England - stuck to the original mod soundtrack of soul and blue beat. Some mods transformed into what would eventually be the skinheads, and others formed the basis of the northern soul scene. Early northern soul fashion included bowling shirts, button-down Ben Sherman shirts, blazers with centre vents and unusual numbers of buttons, Trickers brogue shoes, baggy trousers or shrink-to-fit Levi's jeans. Many dancers wore badges representing membership to clubs organised by dance halls.

The first nightclub that effectively defined the northern soul sound was Manchester's Twisted Wheel Club. Other early clubs were the The Mojo in Sheffield, The Catacombs in Wolverhampton, Golden Torch in Stoke, Room at the Top in Wigan, the Wigan Casino, the Blackpool Mecca and Va Va's in Bolton. The music reached its peak of popularity in the mid to late 1970s, when Wigan Casino was voted the world's number one discotheque. Thousands of people visited every week, but the exclusive and underground appeal of the music was lost and many of the hardcore soul fans drifted away. When Wigan Casino shut down in 1981, many believed the northern soul scene was about to end. However, the 1970s mod revival and the later scooterboy subculture produced a new wave of fans.

The 1980s — often dismissed as a low period for the northern soul scene by those who had left 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. Previously, most of the songs played at northern soul clubs had been fast stompers by American blacks, but 1980s northern soul DJs began to add mid-tempo tunes, slower ballads and songs by non-African-American acts such as Gale Garnett.

UK-issued northern soul records are among the

The mod subculture began with a few cliques of teenage boys with family connections to the garment trade in London in 1958. These early mods were generally middle class, and were obsessed with new fashions and music styles, such as slim-cut Italian suits, modern jazz and rhythm and blues. Their all-night urban social life was fueled, in part, by amphetamines. It is a popular belief that the mods and their rivals, the rockers, both branched off from the Teddy boys, a 1950s subculture in England. The Teddy boys were influenced by American rock n' roll, wore Edwardian-style clothing, and had pompadour or quiff hairstyles.

Originally the term mod was used to describe fans of modern jazz music (as opposed to trad, for fans of traditional jazz). Eventually the definition of mod expanded beyond jazz to include other fashion and lifestyle elements, such as continental clothes, scooters and to a lesser degree a taste for pop art, French New Wave films and existentialist philosophy. The 1959 novel Absolute Beginners by Colin MacInnes has often been cited as an inside look at the late 1950s teenage London culture that spawned the 1960s mod scene.
Mods gathered at all-night clubs such as The Scene and The Flamingo in London, and Twisted Wheel Club in Manchester, to show off their clothes and dance moves. They typically used scooters for transportation, usually either Vespa or Lambretta. One reason for this is that public transit stopped relatively early, and scooters were cheaper than cars. After a law was passed requiring at least one mirror be attached to every motorbike, many mods added 4, 10, or even as many as 30 mirrors to their scooters as a mockery of the new law. This can be seen in the cover for The Who's album, Quadrophenia, which depicts the main character, Jimmy, on his scooter looking into his four rear-view mirrors.

As the lifestyle developed and was adopted by British teenagers of all economic strata, mods expanded their musical tastes beyond jazz and R&B — to also embrace soul (particularly records on the Atlantic, Stax, and Tamla Motown labels), Jamaican ska and bluebeat. They also developed a distinct brand of British beat music and R&B, exemplified by artists such as Georgie Fame, The Animals, The Small Faces, The Who, The Yardbirds, The Kinks, and The Spencer Davis Group. Lesser-known British artists associated with the 1960s mod scene include: The Action, Zoot Money and The Creation. Cathy McGowan, who hosted the television pop music show Ready Steady Go!, became known as the "Queen of the Mods" (a title sometimes also applied to singer Dusty Springfield and model Twiggy).
Members of the rockers subculture (associated with motorcycles and leather biker jackets) sometimes clashed with the mods, leading to battles in seaside resorts such as Brighton, Margate, and Hastings in 1964. The mods and rockers conflict led to a moral panic about modern youth in the United Kingdom.

The mods were the products of a culture of constant change, and by the time Bobby Moore held the World Cup aloft in the summer of 1966, the mod scene was in sharp decline. As psychedelic rock music and the hippie culture rose, many people drifted away from the mod lifestyle. Bands such as The Who and The Small Faces had changed their musical styles and no longer represented themselves as mods. The Bohemian style of the hippie culture featured a passive outlook on life that differed from the frenetic energy of the mod ethos.
At the other end of the youth culture spectrum, both in philosophy and appearance, were the hard mods (also known as gang mods). The hard mods were rougher, had less emphasis on cutting-edge fashion trends, and got their hair cropped short. The hard mods soon transformed into the first skinheads. They retained basic elements of mod fashion—three-button suits, Fred Perry and Ben Sherman shirts, Sta-Prest trousers and Levi's jeans—but mixed them with working class-oriented accessories such as braces and Dr. Martens