tag:blogger.com,1999:blog-17016961.post116593734159620748..comments2023-10-09T09:59:50.026+01:00Comments on In Dangerous Rhythm: BoogalooKeeping Soul Alivehttp://www.blogger.com/profile/09869799472384434104noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-17016961.post-22590569033935350292008-03-16T04:27:00.000+00:002008-03-16T04:27:00.000+00:00the boogaloo man was Jerry-o,I saw him on a local ...the boogaloo man was Jerry-o,I saw him on a local dance show here in detroit,Robin seymour's Swingin Time,wow was he a heck of a dancer.I wish someone would tell Robin to DvD those shows and sell them.I found a cd"The boogaloo years"by Jery-o on amazon.com.Peace TonyAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-17016961.post-1166724264931283402006-12-21T18:04:00.000+00:002006-12-21T18:04:00.000+00:00Hi DaveI consistently find in interviews that arti...Hi Dave<BR/><BR/>I consistently find in interviews that artists did not perform tracks they recorded as part of their stage shows.<BR/><BR/>Most hoped to gain radio play then juke box play which probably meant far bigger sales than say discos which were probably more associated with larger cities particular in 60's and only spread in 70's and led to the demise of the small club circuit. <BR/><BR/>The small club circuit was the major source of work for most soul performers who were making a living through music or extra monies on top of the day job/college. The patrons of these clubs would demand to hear the hits of the day so many artists wouldn't or couldn't play their own recordings. Some would also sell 45s of their current releases at these clubs as well because some times artists only received vinyl in lieu of payments by record label owners.<BR/><BR/>I would say that the records you mentioned were primarily aimed at radio play because this was the dominant means for potential buyers to hear product. The soul market was predominately a 45 market. The size of the regional/city markets meant you could have a good seller with sufficient exposure in a few large/medium size markets. <BR/><BR/>It would be simplistic to say that you could take all 60's soul records and break them down into categories but you could say record makers went for a Motown/James Brown/Stax feel because they were successful.<BR/><BR/>However, it would be interesting to explore whether there was a "soul disco" scene in the 60's were DJ's played records to dance to - I will ask some freinds about this. <BR/><BR/>You may also get a response on raising the issue on say Soulful Detroit.<BR/><BR/>Cheers<BR/><BR/>ColinKeeping Soul Alivehttps://www.blogger.com/profile/09869799472384434104noreply@blogger.comtag:blogger.com,1999:blog-17016961.post-1166412813213473122006-12-18T03:33:00.000+00:002006-12-18T03:33:00.000+00:00What I would really like to read about is American...What I would really like to read about is American Black clubs in the 1960's. Having listened to many uptempo 'Northern Soul' records over the years, I have often been puzzled as to what audience these records were originally aimed at? Was someone, somewhere in the '60s dancing to Larry Williams & Johnny Watson's "Too Late" (OKEH), or Jackie Lee's "Oh My Darlin" on MIRWOOD etc.?<BR/>Where were these discotheques, if they existed? I understand that live acts were the primary source of entertainment, but such records were not made for radio play alone, surely? Anyone out there know?Anonymousnoreply@blogger.com