Well our homage to the late great Wigan Casino All-Nighter event went brilliantly last night, if I do say so myself.
I kicked off the evening playing some tunes from early rock bands who cut their teeth playing at this venue back in the late 70’s – such as Canned Heat, with their awesome track ‘On the Road Again’, through The Stranglers, Budgie, Nazareth, Judas Priest, the Edgar Broughton Band and Motorhead.
I’d never heard of the Edgar Broughton Band. Never saw or heard of them again and then in the 80’s I was stand-in bassist for a while in band from Barnet call Sheriff Jack, went into the studio with them and it was owned by none other than EBB drummer Steve Broughton. I ended up playing in a short lived 18 piece band called Soul Tax that he put together (we played our first gig the day after the Poll Tax Riots in London and didn’t have a name) – small world eh?
The atmosphere was fabulous and I had filled the room with loads of phantom ‘dancers’ in order to give the same feeling of crowded movement as was at the original venue. In fact, anyone who had actually been at the Casino in their youth might even have recognised some of the cut-outs as I had used screen-grabs from the TV documentary which was filmed in the 70’s!
Now, as I wasn’t old enough to be properly into clubbing in those days, and I didn’t live ‘up North’ where the Northern Soul phenomenon was born, I relied on my lovely Lord Andy to be artistic director on this project. My whole reason for creating these themed sets is to make people happy, and if I can accurately recreate a place well enough that it can take someone back to a time to enjoy fond memories, then I feel that I’ve done a good job. I have been reliably informed by his Lordship that I managed to capture the atmosphere to the point where he felt like he had gone back in time and was in his late teens again.
After the first hour of rock, we did as they did back during the days of the Casino and switched over to the Northern Soul set. Andy tells me that there was a distinct divide between the rockers and the ‘soulies’ and never the twain shall meet. All the rock fans would pile out of the club as the soul dudes would be arriving for their ‘all-nighter’. But as Andy and his mates were far more musically open-minded, they would pop into the loos to change out of their rock gear and slip into their wide-legged pants and vest tops and then sneak back into the club to enjoy the second half of the evening.
Our Northern Soul part of the evening was DJ’d by our very own Gerrard ‘G-Winz’ Wistanley, who followed in the footsteps of his RL namesake, the original Wigan Casino DJ, Russ Winstanley.
A little Wiki history on Northern Soul, for those of you not familiar with the term:
Northern soul is a music and dance movement that emerged independently in Northern England, in the late 1960s from the British mod scene. Northern soul mainly consists of a particular style of black American soul 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 had significant mainstream commercial success. The recordings most prized by enthusiasts of the genre are usually by lesser-known artists, released only in limited numbers, often by small regional American labels such as Ric-Tic and Golden World Records (Detroit), Mirwood (Los Angeles) and Shout and Okeh (New York/Chicago).
Northern soul is 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 and nightclubs like the Chateau Impney (Droitwich), 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.
So even though the whole ethos of true Northern Soul was ‘the less well known the music, the more popular’, it didn’t matter to our evening as it still had that wonderful Motown beat that you just can’t help bopping along to. I can easily see how these evenings would have been so popular, as I would most certainly have been a regular had I been around in those days. And of course, although it’s true that the more unknown and obscure the track, the more it was liked, it was inevitable that the movement would adopt some tracks to be their keynote anthems, the original recording of Tainted Love by Gloria Jones being the primary example.
And I wanted to post this bit of video as well as although the sound quality is pretty bad as it’s a live recording from the club, it shows perfectly the very specific dance style that was Northern Soul. Lots of leg-work but keeping within your own space, because of how crowded the venue used to be. It’s really interesting to see just how almost regimented the dancing was.
And finally, a little montage of photos from our own Wigan Casino..
As the venue turned out to be so popular, Lord Andy convinced me to run a couple of other sets at the Casino, in honour of it’s past history. So we also had the Rock Against Racism gig – and the farewell gig from when the Casino was final closed down.