WELCOME TO Wanted And Needed, a Northern Soul playlist befitting of any discerning DJ and one that would happily slot into any Soul Night, All-Nighter or Weekender today.Some of our discs were first spun as far back as the Twisted Wheel, such as The Precisions’ floorpacker “If This Is Love”. Others were unreleased at the time of recording and have found favour in more recent times, such as The Persianettes “Run Run” (originally covered up as “You Better Get Away” by The Sequins). Also unreleased at the time was Pearl Jones’ infectious “Give Me Another Chance”, a Sidra recording that finally surfaced in 2001 on a company acetate. Jones also appears here on her own composition “Let My Baby Go” as a member of the Embraceables. Another of our featured tracks that eluded the Northern Soul scene at the time is Joey Delorenzo’s feel-good “Wake Up To The Sunshine Girl” issued in 1973 on the tiny Mi-Val label but sounds much earlier and probably is. The unknown Delorenzo was reputedly a local car salesman with a passion to become a recording artist. He finally got his 3 minutes 15 seconds of fame in return for a generous deal down at the lot!Our playlist kicks off with a real heavyweight of the UK Rare Soul scene, our title track, the legendary “Just Say You’re Wanted (And Needed)” by Gwen Owens. A flop in America, it wasn’t until 1976 that this – already rare – 45 finally made it to these shores and shook the Casino walls. The action is relentless with 100% floorpackers courtesy of The Precisions, Tony Galla, The Capreez, Ronnie And Robyn with their vocal to “Sidras Theme”, The Falcons, and Mickey Lee Lane (aka Sounds Of Lane) with his raucous instrumental “Tracks To Your Mind”.Outta Sight
Following on from Studio One Rockers comes Studio One Soul which tracks the link between American Funk and Soul and Jamaican Reggae at the legendary Studio One Records. Curtis Mayfield,Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - All these artists had a huge influence on Jamaican artists and this CD contains versions of songs by all of them. Featuring classic and rare Reggae Funk and Soul cuts from the Reggae giants alongside rarer cuts, Studio One Soul spans over 20 years of classic Reggae from the Rocksteady Funk through to the deep Roots music. Following on from Studio One Rockers, this second journey into the vaults of Studio One tells the story of the important link between American Funk and Soul and Jamaican Reggae. Ranging from music taken from the mid-1960s (and the arrival of Rocksteady) through to the beginning of the 1980s,
Studio One Soul features versions of US Funk and Soul hits (many rarely heard before) from some of the many classic artists who recorded at Studio One. American Soul music has always been an important influence on Jamaican Reggae. The beginning of the Jamaican recording industry at the end of the 1950s started with Clement "Coxsone" Dodd (owner of Studio One) and a group of select in-house musicians (originally The Skatalites) recording their own version of American R'n'B. Playing on the off-beat this music became Ska. As American R'n'B progressed through Funk, Soul and Disco, Jamaican music was going through its own musical changes, from Rocksteady throught to Reggae and Roots music. The house-band at Studio One recorded on a daily basis behind all Studio One vocalists as well as recording instrumentally in its own right. Soul singers such as Curtis Mayfield and The Impressions (Queen Of The Minstrels) had a profound influence on Jamaican artists and many other US artists were constantly re-interpreted and re-worked. Artists such as Aretha Franklin (Respect), Charles Wright (Express Yourself), King Floyd (Groove Me), Otis Redding (How Strong) were all very popular in Jamaica in the 1960s. At the end of the 1960s Black Consciousness became an important part of American Soul music.
At the same time many Jamaican artists were starting to look to their roots. Many artists would shortly become involved in Rastafarianism. The "conscious" lyrics of American Funk and Soul again struck a chord with Jamaican artists. "Message From A Blackman" (originally by The Temptations) and "Is It Because I'm Black" (Syl Johnson) are examples of this. Through the 1970s Soul/Disco artists such as Barry White ("Can't Get Enough" and "Deeper and Deeper") and The Detroit Spinners ("I'll Be Around") became the flavour of the day.
This selection finishes with Willie William's interpretation of Ashford and Simpson's classic "Ain't No Stopping Us Now"
Nach Studio One Rockers folgt nun Studio One Soul, das die Verbindung zwischen amerikanischem Funk und Soul und jamaikanischem Reggae bei den legendären Studio One Records nachzeichnet. Curtis Mayfield, Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - all diese Künstler hatten einen großen Einfluss auf jamaikanische Künstler und diese CD enthält Versionen von Songs von ihnen allen. Mit klassischen und seltenen Reggae-Funk- und Soul-Stücken der Reggae-Giganten sowie selteneren Stücken umfasst Studio One Soul mehr als 20 Jahre klassischen Reggae, vom Rocksteady-Funk bis hin zur tiefgründigen Roots-Musik. Nach Studio One Rockers erzählt diese zweite Reise in die Gewölbe von Studio One die Geschichte der wichtigen Verbindung zwischen amerikanischem Funk und Soul und jamaikanischem Reggae. Der Bogen spannt sich von der Mitte der 1960er Jahre (und dem Aufkommen von Rocksteady) bis zum Beginn der 1980er Jahre,Studio One Soul enthält Versionen von US-Funk- und Soul-Hits (viele davon selten zuvor gehört) von einigen der vielen klassischen Künstler, die im Studio One aufgenommen haben. Die amerikanische Soul-Musik war schon immer ein wichtiger Einfluss auf den jamaikanischen Reggae. Die Anfänge der jamaikanischen Musikindustrie begannen Ende der 1950er Jahre mit Clement "Coxsone" Dodd (Besitzer von Studio One) und einer Gruppe ausgewählter Hausmusiker (ursprünglich The Skatalites), die ihre eigene Version des amerikanischen R'n'B aufnahmen. Diese Musik, die auf dem Offbeat spielt, wurde zu Ska. Während sich der amerikanische R'n'B über Funk, Soul und Disco weiterentwickelte, durchlief die jamaikanische Musik ihre eigenen musikalischen Veränderungen, von Rocksteady bis hin zu Reggae und Roots Music. Die Hausband von Studio One nahm täglich hinter allen Sängern von Studio One auf und machte auch eigene Instrumentalaufnahmen. Soulsänger wie Curtis Mayfield und The Impressions (Queen Of The Minstrels) hatten einen großen Einfluss auf jamaikanische Künstler, und viele andere US-Künstler wurden immer wieder neu interpretiert und überarbeitet. Künstler wie Aretha Franklin (Respect), Charles Wright (Express Yourself), King Floyd (Groove Me), Otis Redding (How Strong) waren in den 1960er Jahren in Jamaika sehr beliebt. Ende der 1960er Jahre wurde Black Consciousness ein wichtiger Bestandteil der amerikanischen Soulmusik.Zur gleichen Zeit begannen viele jamaikanische Künstler, sich auf ihre Wurzeln zu besinnen. Viele Künstler engagierten sich bald im Rastafarianismus. Die "bewussten" Texte des amerikanischen Funk und Soul fanden wiederum Anklang bei jamaikanischen Künstlern. "Message From A Blackman" (ursprünglich von den Temptations) und "Is It Because I'm Black" (Syl Johnson) sind Beispiele dafür. In den 1970er Jahren wurden dann Soul/Disco-Künstler wie Barry White ("Can't Get Enough" und "Deeper and Deeper") und The Detroit Spinners ("I'll Be Around") zum Trend der Zeit.Den Abschluss dieser Auswahl bildet Willie Williams Interpretation des Klassikers "Ain't No Stopping Us Now" von Ashford and Simpson.
Glorious Silk Screen version of the Caltone album. Each copy is numbered by hand and is part of a set of 120. We are including a copy of the Mass produced version of the sleeve so that you get both versions with the purchase of the silk screen album..
Studio One Groups is the Soul Jazz/Studio One Records release featuring legendary groups from the foundation label of Reggae. Bob Marley and The Wailers, Toots and the Maytals, The Heptones –just three of Reggae’s greatest groups who all started at Clement Dodd’s Studio One Records, “ The University of Reggae”. Studio One Groups brings together classic artists alongside lesser-known artists and covers Studio One’s musical output from the 1960s and 70s featuring Ska, Roots, Rocksteady, Dub and more. Clement Dodd’s role in launching and nurturing Reggae groups/singers is unsurpassed. Launching Bob Marley and The Wailers career also meant that Dodd both housed Marley in a flat at Studio One, and employed him to check new American 45s that came out for Studio One artists to cover. From vocal training under luminaries such as Horace Andy and Larry Marshall, to musical education (Leroy Sibbles, lead vocalist with the Heptones, became the key in-house bass player after being taught from scratch by Jackie Mittoo), Studio One’s success was due to Clement Dodd’s ability to see talent, surround himself with it and nurture artists. Careers were launched from even minor roles at Studio One such as Lee Perry (from handyman to singer and producer), Prince Buster (from security to singer and producer), and so forth. Studio One Groups are at the heart of the labels success. The sweet three-part harmonies, so close to the heart of Jamaican music, can be heard throughout every stylistic change of Reggae music – Ska, Rocksteady, Roots and beyond, all featured here. The album comes with exellent sleeve-notes by Rob Chapman, author of the acclaimed Studio One discography, Never Grow Old
Studio One Records and it’s in-house band The Skatalites defined Ska music and made Jamaican music famous throughout the world. This compilation features classic vocal and instrumental tracks from The Skatalites, Bob Marley and The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more. Independence came to Jamaica in 1962. The musical soundtrack to this era was the upbeat, energised Ska, the first truly Jamaican music. Ska music and Studio One are synonomous with each other. Whilst Ska was only one style of Reggae that Coxsone Dodd and Studio One Records would release in it’s forty year history- with Rocksteady, Roots, Dancehall, Dub and much more still to come- Ska was the first and defined Jamaican music as having it’s own identity throughout the world. The inspiration for the rhythm of Ska came from the Southern US Rhythm and Blues records of the 1950s. Coxsone Dodd had initially encountered this music while working as a migrant farm worker in Florida. It was here that he first decided to start a Soundsystem on returning to Jamaica and began importing R’n’B records that would soon become the staple musical sound of any Kingston dance.