The effort of the craftsmen of the past are still in evidence today. In some places it is rotting, hidden from sight, unloved and forgotten. While in others it is preserved and celebrated as both our history and a reminder of what is possible.
In the late 1970s Aberdeen became the centre of European oil. The wealth that this brought obscured the beauty that lay in the granite that Aberdeen is built on. Hopefully these photos will give you a sense of what lies deep in our city – craft, engineering, imagination, resilience.
NuART
As the money began to leave Aberdeen, the art started to appear.
Sometimes in quite surprising places ___.
Anarchy
Wall of the Grampian Police/ police Scotland HQ
Place Holder
Place holder
As the money began to leave Aberdeen, the art started to appear.
Sometimes in quite surprising places.
Mostly small features of note from around Aberdeen. Little details that are easily missed.
Brooklyn born Evie Sands was born into something of a musical family. Her mother was a singer and Evie seems to have been inspired to learn the keyboard and guitar as well as to sing by both her mother and exposure to the diverse range of performing artists from Billie Holiday to Jackie Wilson and the Beatles.
Prior to release “Take me for a little while” was stolen and given to Chess records who recorded and released a version before Red Bird. This would set the tone for much of Evie’s career and her fantastic vocals would never reach the audience that she deserved.
This song has the rising lift of the Supremes Baby Love, the Northern Soul staple of a driving four to the floor, and the vocals of Evie Sands. And really you don’t need anything else for a great song.
Like Kiki Dee, Evie has a depth and range that feels special. And like Kiki she never really achieved the fame her talents suggested she should have.
| Performers: | Evie Sands |
| Released by/ Catalogue number: | |
| Year: | |
| Composer: | Trade Martin |
| Arranged By: | |
| Producer: | |
| Engineer: | |
| Published/ Record label: | |
| Condition: |
This is one of those songs that doesn’t quite belong in here. This cutesy bit of American doo-wop nostalgia has been covered by countless artists. The Tonettes do a decent job of covering the core elements. In short, I found this in mint condition and as a decent option it would have been wrong not to.
| Performers: | The Tonettes |
| Released by/ Catalogue number: | — |
| Year: | — |
| Composer: | Rose David |
| Arranged By: | — |
| Producer: | — |
| Engineer: | — |
| Published/ Record label: | — |
| Condition: | Mint |
And here’s Fiona Apple’s cover:
Originally recorded by Tami Lynn Kiki Dee elevated this song to something sublime. In true Northern Soul style there is a driving beat and a decent amount of brass.
But it’s Kiki’s sharp, soulful vocals, crisply delivered and with a sense of rhythm that would have pleased James Brown that makes this version my favourite.
Kiki Dee is best known for her duet with Elton John, but she seems to have missed out on wider recognition in her own right.
There is a video on YouTube of a 1966 French TV performance that is stunning
Artist: Kiki Dee
Performers: Kiki Dee
Kiki Dee (Pauline Matthews) was the first female UK singer to sign with Tamla records and so also the first and perhaps only Yorkshire lass to have made it on to the Motown label. This should have signaled the start of a glittering career. Frustratingly Kiki Dee never really made an impact on popular culture until her duet with Elton John in 1976.
Kiki Dee started her musical career as a 16 year old singing in a local dance band in Bradford in the early 1960s. Moving on to providing backing vocals including for the legendary Dusty Springfield until she signed for Motown in 1963. She released 11 singles on Fontana – non of which had much impact on the popular market. However, several of these songs became firm Northern Soul favourites including “Magic Carpet Ride” and Dee’s stomping cover of the Tami Lynn track “Why Don’t I Run Away From You”.
