Ready Steady Soul

Ready Steady Soul Ready Steady Soul! is a 1960's Soul music radio show hosted by Alex Solunac - broadcast from CFUV Radio at www.cfuv.uvic.ca or at 101.9FM in Victoria BC.

Don't Leave Me Baby · Lorraine Chandler
12/12/2024

Don't Leave Me Baby · Lorraine Chandler

Provided to YouTube by The Orchard EnterprisesDon't Leave Me Baby · Lorraine Chandler · Jack AshfordJack Ashford Just Productions, Vol. 2℗ 2018 Just Producti...

12/09/2024

It's all right Help me 2'47Jerkin' the dog 6'44

12/09/2024

The Foundations. Alan Warner (Guitar+backing vocals), Pat Burke (Tenor saxophone), Tony Gomesz (Keyboards+ Backing vocals), Tim Harris (Drums), Eric Allendal...

"Baby, Now That I've Found You" is a song written by Tony Macaulay and John Macleod, and performed by the Foundations. P...
12/09/2024

"Baby, Now That I've Found You" is a song written by Tony Macaulay and John Macleod, and performed by the Foundations. Part of the song was written in the same bar of a Soho tavern where Karl Marx is supposed to have written Das Kapital. The lyrics are a plea that an unnamed subject not break up with the singer.

According to Roy Delo of the group, The Ways and Means who were managed by Ron Fairway, they were offered the chance to record "Baby Now That I've Found You". They already had some success with their single, "Sea of Faces". One day Tony Macaulay came around and got out a guitar. They heard the song and said "yeh, it’s a nice catchy song, but it's not the sort of song for us", and to their later regret, turned it down. So the song was given to The Foundations.

Ron Fairway is the man who is credited with first discovering The Foundations. He became co-manager of the group. Barry Class was the man with the money while Fairway was the man with the connections, whose job was to find gigs for the band.

Issues
Following the success of the single there would be issues involving two men formerly associated with the band, Ron Fairway and Raymond Morrison.

Rock historian Roger Dopson described what took place between Ron Fairway and Barry Class as a behind the scenes struggle. Fairway was allegedly pushed out, leaving Class as the sole manager. Fairway made an attempt to sue the band, alleging that he was wrongfully dismissed as the group's co-manager. The band claimed he had resigned of his own accord. The December 2 issue of New Musical Express wrote that it was likely to be several months before the case would be heard. According to the 8 November issue of Melody Maker, Class stated that it was a friction of personalities which had been going on for about four months.

Raymond Morrison founded The Ramong Sound which evolved into The Foundations. As per the July 27 issue of Melody Maker, Raymond (Ray) Morrison had taken out legal action against The Foundations. During the court hearing that took three hours, Morrison claimed that he had discovered the talent of the group. He was unsuccessful in his bid to put freeze on a portion of the group's earnings. Morrison had served a six month sentence and had been released in July 1967. The case was heard by Judge Stamp who said in reference to the song, "Baby, Now That I've Found You", "I cannot understand how it can be suggested that a song which came into existence after Mr. Morrison had severed his connection with the group can be one in which he can have any share or interest". He also dismissed a similar motion against the Pye label.

Original recording and the Foundations
On 25 August, 1967 the Foundations released the song as their debut single. It was a sleeper, and for ten weeks it wasn't doing anything. Unlike The Ways and Means' single, "Sea of Faces" which was played on and became a hit on pirate radio stations, Radio City and Radio Caroline, "Baby, Now that I've Found You" wasn't played on them. Luckily for The Foundations, their song wasn't being played on the pirate stations at that stage. The newly launched BBC Radio 1 was avoiding those singles that were being played on the pirate stations.

Chart performance and success
After receiving airplay on BBC Radio 1, it met with great success. Having moved up from the previous week's no. 2 spot, "Baby, Now That I've Found You" replaced The Bee Gees' single, "Massachusetts" in the no. 1 spot of the Melody Maker Pop 30 chart. The Foundations now had their picture on the front page of the November 11 issue of Melody Maker. It was still at no. 1 the following week, confirming the two weeks at the top of the UK Singles Chart status. It was also noted in the Melody Maker magazine that week that Ron Fairway was no longer director of Class Management. This left Barry Class in sole charge of things.

The 25 November 1967 issue of Disc and Music Echo wrote that The Foundations had qualified for the Silver Disc award for British sales of the disc reaching 250,000.

The record would become a number 11 hit on the Billboard Hot 100 in the US. [30] The song also reached number 1 on the Canadian RPM magazine charts on 10 February 1968.[citation needed]

The B side "Come On Back to Me" made the Record World, One Stop Top Ten chart in the Consolidated One Stop Detroit, Michigan section. It was no. 5 on the week of February 10, 1968.

The 10 February 1968 issue of Billboard ran a picture of three of the band members and Louis Benjamin, head of Pye Records presenting a gold record to them. This was to mark the million sales of their debut single. Also in the picture was the group's manager Barry Class

12/09/2024

CHORUSBaby, now that I've found youI can't let you goI'll build my world around youI need you soBaby, even though you don't need meYou don't need me.REPEAT C...

James Timothy Shaw (August 9, 1939 – January 30, 2014), known as The Mighty Hannibal, was an American R&B, soul, and fun...
11/25/2024

James Timothy Shaw (August 9, 1939 – January 30, 2014), known as The Mighty Hannibal, was an American R&B, soul, and funk singer, songwriter, and record producer. Known for his showmanship, and outlandish costumes often incorporating a pink turban, several of his songs carried social or political themes. His biggest hit was "Hymn No. 5", a commentary on the effects of the Vietnam War on servicemen, which was banned from being played on the radio.

James Timothy Shaw was born in Atlanta, Georgia, to Corrie Belle and James Henry Shaw. He was raised in the Vine City neighborhood of Atlanta. He started singing doo-wop as a teenager, and in 1954 he joined his first group, The Overalls. The outfit contained Shaw and Robert Butts plus Edward Patten and Merald "Bubba" Knight. The latter two later tasted success as part of Gladys Knight's backing group, The Pips. From that time, Shaw credited Grover Mitchell as his singing voice mentor. In 1958 Shaw moved to Los Angeles where, under the name of Jimmy Shaw, he recorded his debut solo single, "Big Chief Hug-Um An' Kiss-Um", a novelty song issued on the Concept label. This was followed by further releases including "The Biggest Cry", and "I Need a Woman ('Cause I'm a Man)". He was also known for his mid-1960s songs, "Jerkin' the Dog" and "Fishin' Pole"

Subsequently working as a singer with Johnny Otis, Shaw went on to sing in another group featuring H. B. Barnum and Jimmy Norman. At this time he befriended both Johnny "Guitar" Watson and Larry Williams, before in 1959, and at the suggestion of Aki Aleong, adopting the name 'Hannibal'. He then released a small number of singles on the Pan World label. In 1962 he joined King Records, who released four further singles, the biggest seller being "Baby, Please Change Your Mind". Between 1962 and 1965 Hannibal also worked as a pimp in Los Angeles, a lifestyle that saw him dropped by King.

He returned to Atlanta, and was recruited as the frontman by Dennis St. John and the Cardinals, who supported Tommy Roe at one gig. They ultimately backed Hannibal on most of his subsequent recordings with the Shurfine label, and played live engagements with Hannibal around Atlanta. Hannibal's first release with Shurfine was "Jerkin' the Dog", (1965) a modest success for a basic teen dance record.[citation needed] The similarly framed "Fishin' Pole" followed in 1966. The same year Hannibal adopted a more socially conscious stance. He stated "Me and my wife were watching the news and Walter Cronkite was talking about how all the soldiers were coming back from Vietnam addicted to o***m." The couple penned "Hymn No. 5" in a short time space, and it duly became his best known recording, reaching No. 21 on the Billboard R&B chart.

The success of "Hymn No. 5" brought however fueled a growing he**in addiction, and Hannibal spent eighteen months in prison for failing to pay a tax bill. Released from jail and free of drugs, he restarted his recording career in the early 1970s now billed as King Hannibal. He issued a number of singles and an album, Truth, (1973) on the Aware label. His singles included "I'm Coming Home", another social comment on the ongoing Vietnam situation, and the anti-drug song, "The Truth Shall Make You Free (St. John 8:32)", a No. 37 R&B hit in 1973.

Finding a new direction with gospel based recordings, his songwriting nevertheless suffered in the late 1970s. Hannibal was employed as a cameo role actor, and on the staff as a record producer at Venture Records, before working on the Atlanta Voice newspaper. Hannibal recalled his odd blend of country, gospel and disco finding some success in the Netherlands with "Hoedown Disco" in the mid 1970s, but worse fortunes followed as Hannibal remained in relative obscurity until 1998. A CD album release, titled Who Told You That, gave his career some momentum, and in 2001 Norton Records released Hannibalism, a compilation album of songs written between 1958 and 1973. The cult film, Velvet Goldmine, also included fragments of his work.

11/25/2024

The !!!! Beat is an American television program that aired in syndication for 26 episodes in 1966. It was hosted by the Nashville, Tennessee based disc jocke...

11/12/2024

Supremes - Where Did Our Love Go, ein Hit 1964. Audio-CD-Sound zu altem Video-Material. HQ-Video.

"Where Did Our Love Go" is a 1964 song recorded by American music group the Supremes for the Motown label.Written and pr...
11/12/2024

"Where Did Our Love Go" is a 1964 song recorded by American music group the Supremes for the Motown label.

Written and produced by Motown's main production team Holland–Dozier–Holland, "Where Did Our Love Go" was the first single by the Supremes to go to the number one position on the Billboard Hot 100 pop singles chart in the United States, a spot it held for two weeks, from August 16 to August 29, 1964. It was also the first of five Supremes songs in a row to reach number one (the others being "Baby Love", "Come See About Me", "Stop! In the Name of Love", and "Back in My Arms Again"). It also reached No. 1 on the Cash Box R&B singles chart.

The Supremes' version is ranked number 472 on Rolling Stone's 500 Greatest Songs of All Time in 2004 and number 475 in 2010 and was selected for preservation in the National Recording Registry in 2016 due to its "cultural, historic, or artistic significance." Billboard named the song number 4 on its list of 100 Greatest Girl Group Songs of All Time. The BBC ranked "Where Did Our Love Go" at number 59 on The Top 100 Digital Motown Chart, which ranks Motown releases by their all time UK downloads and stream.

According to Brian Holland, "Where Did Our Love Go" was written with the Supremes in mind. Though Supremes member Mary Wilson later wrote that the song had been originally given to the Marvelettes, Holland denied that claim, as did the Marvelettes themselves. Marvelettes member Katherine Anderson-Schnaffer later said that the song did not fit her group's repertoire because it was produced with a slower beat, whereas their music was more uptempo. When the Supremes were eventually given the song, the group members were not pleased with the song. Supremes member Florence Ballard later stated that they had wanted a stronger single, similar to the Marvelettes' "Please Mr. Postman". Another objection from the group was that it sounded too "kiddie-ish." Although the group felt the song did not have the hook needed to make it successful, they decided that they had no choice and prepared to record it.

Initially, the producers argued over who should sing the song, because it had been cut in the same key as Mary Wilson's voice. The lead vocal was ultimately assigned to Diana Ross because, according to Allmusic's Ed Hogan, "she had a unique, sensuous sound." She sang it in her usual high register in the recording studio on April 8. As a result, Ross was told to sing the song in a lower register and begrudgingly complied with Holland/Dozier/Holland's "to the letter" formula. Mary Wilson and Florence Ballard's vocal contribution was significant in bringing a fresh yet smooth tone to the overall sound of the song, while remaining true to the backup arrangements that Lamont Dozier had set down.

After hearing the song's playback, an excited Ross rushed to Gordy's office and told him to come to the studio to listen. At the end of the playback, a satisfied Gordy nodded, telling the producers and the group that the song had the potential to be a top ten hit.

"Where Did Our Love Go" was released as a single on June 17, 1964, and entered the Hot 100 at number 77. Six weeks later, while the Supremes were on tour as part of Dick Clark's "American Bandstand Caravan of Stars", the song made it to number one for two weeks, spending a total of nine weeks in the Billboard Top Ten. The girls began the tour at the bottom of the bill; by the conclusion of the tour, they were at the top. They performed the song on the NBC variety program, Hullabaloo! on Tuesday, January 26, 1965.

The song became the focal point and title track of the group's second album, Where Did Our Love Go, released later that year. A German language version of it titled "Baby, Baby, wo ist unsere Liebe" was recorded by the Supremes for German-speaking markets overseas and released as the b-side to their German recording of "Moonlight and Kisses" in April 1965.

The song struck a chord in the United States, with a group which would become the most successful chart-topping American popular music group of the 1960s. Billboard described the song as having an "unbeatable beat" and a "true rockin'-blues groove." Cash Box described it as "an infectious handclapping stomp'er...that the femmes and their instrumental support put over with telling teen effect."

The first of their American chart toppers, the song peaked just weeks after the passage of the Civil Rights Act of 1964, critically remarked as capturing the spirit of an America reeling from the assassination of John F. Kennedy, racial tension, and a harbinger of the end of the early optimism of the 1960s.

The song was transmitted to astronauts orbiting Earth in August 1965 during the Gemini 5 mission.

10/18/2024
10/10/2024

Northern soul, Soul, Tamla Motown , Music

Mel Williams 1950s-1970s soul vocalist and songwriter from Los Angeles, California.Often worked with George Motola. Mel ...
10/10/2024

Mel Williams 1950s-1970s soul vocalist and songwriter from Los Angeles, California.

Often worked with George Motola. Mel Williams a local and International entertainer has performed all over the world. From a tour in the most popular destinations in Spain, The Canary Islands to Shows in Nashville, Philly, and of course locally including all of the Elegant and happening spots in So. Fla. His career started at a bingo hall where his dad worked . Young Mel sang impromptu for the attendants there that night and walked away with a pocket full of nickels, dimes, and quarters. Since then , however the rewards have grown considerably, But, the same spirit endures within. From opening acts with the likes of Gospel Greats Shirley Ceasar, and the Mighty Clouds of Joy, To Blues legends Bo Diddley, or Little Peggy Marsh, or Do W*p legends The Mystics and the list goes on even thru opening for Sid Justin Of the Miracles fame , and Opening act for Clarence Carter remember ….' Strokin'
Mel Williams is affiliated with numerous acts which includes Jessi Campo , DeeDee Wilde , Blues Man Bobby Stringer and is a member of The SenSations A Motown tribute act also a member of a Tribute to The Platters

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CFUV 101. 9 FM PO Box 3035
Victoria, BC
V8W3P3

Opening Hours

7pm - 8pm

Telephone

+12507218700

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