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Van McCoy - "Sing Yeah, Sing" / "Wait Till I Get You In My Arms" - (Soul Direction) SD016
Latest 45 from Soul Direction is coming soon, billed available right now to pre-order with the release date being 22nd April 2023
Release and sleeve notes follow below...
Van McCoy is well known on the soul scene with his name being credited on so many great songs and for most people he has already gained the status of a “Legend”. The "Sing Yeah Sing" acetate was discovered by Kev Roberts in 1977 when he cleaned out April Blackwood publishing's office. As far as we can recall, he went on to sell it to Jim Wensiora, and since changed hands a couple of times since. The Acetate of "Wait Till I Get You In My Arms" came via a UK collector and resides in the collection of Alan Kitchener. This of course being a demo take of the Major Lance track which backs the Iconic "You Don't Want Me No More" and a version by Kenny Carlton on his Blue Rock release "Lost and Found" penned by Van himself.
Soul Direction are proud to bring you two unreleased tracks from the legendary Singer, songwriter and producer Van McCoy.
Van McCoy - "Sing Yeah, Sing" / "Wait Till I Get You In My Arms" - (Soul Direction) SD016
Pre Order Date - 31st March 2023 for delivery on or before 22'° April 2023.
Van's musical venture started when his brother, Norman, Jr. and a few high school buddies formed a street corner singing group called the Starlighters. Van became the lead singer, writer, and music director for the group. They quickly moved from school programs and talent shows to recording their first 45rpm single, The Bird land, named for a popular dance of the late 50s. The group appeared on stage in Washington, D.C. at the Howard Theatre, and in Philadelphia at the Royal plus The Apollo in NY. Vi Burnsides, a musician from the famous Sweethearts of Rhythm all female band, took the Starlighters with her to enhance her performance tours on the east coast corridor. This gave them their first exposure to audiences in theatres and stages in major cities away from home. The Starlighters ended as military draft, marriage and college called them away one by one.Van, who had entered Howard University, left after two years, and moved to Philadelphia, then later to New York, to begin a serious music career. The late Reginald Morrison, a local building contractor and relative of a Starlighter backed his first solo music venture and later Jocko Henderson, a popular Philadelphia Disc Jockey, was the first to play Van's records and later formed Vanda Record label with Van. Van was hired by the late Florence Greenberg as a staff writer at Scepter Records. He worked with Messrs. Lieber and Stoller and with writer/producer, Clyde Otis. David Kapralik, A&R at Columbia Records, hired Van as a songwriter with April Blackwood Music. Van wrote hits for Chad and Jeremy, Ruby and the Romantics, Irma Thomas, Nancy Wilson, Barbara Lewis and others. He also formed the original Peaches and Herb duo. Impressed with the smooth and mellow quality of Van's own voice, Columbia's famed, "Mitch Miller," produced an album of beautiful ballads sung by Van McCoy. Nighttime is Lonely Time, is now a collector's item. Van continued with his real love, writing, and producing music for other artists. He wrote for Aretha Franklin, Gladys Knight and the Pips, Roberta Flack, Vikki Carr, Tom Jones, Nina Simone, Jackie Wilson, Gloria Lynn, Brenda and the Tabulations, Nat Cole, Melba Moore, Stacey Lattisaw, David, The Shirelles, Chris Bartley, Chris Jackson, and the list goes on-and-on.
Van continued with his real love, writing, and producing music for other artists. He wrote for Aretha Franklin, Gladys Knight and the Pips, Roberta Flack, Vikki Carr, Tom Jones, Nina Simone, Jackie Wilson, Gloria Lynn, Brenda and the Tabulations, Nat Cole, Melba Moore, Stacey Lattisaw, David Ruffin, The Shirelles, Chris Bartley, Chris Jackson, and the list goes on and-on. Van formed the Soul City Symphony orchestra, and with singers Faith, Hope and Charity, produced several albums and gave many performances. In 1975 he recorded the Grammy nominated Disco Baby album with the Grammy winning, gold single, The Hustle. The Disco explosion of the mid-70s propelled Van and the Hustle into a worldwide tour. Van McCoy was overwhelmed by the sudden burst of stardom and life in the fast lane. He never got back to the mellow life and fun career he had so dearly cherished. The 39-year-old star was stricken with heart failure in his fashionable home in Englewood Cliffs, New Jersey and died July 6, 1979, at Englewood General Hospital. Van McCoy is well known on the soul scene with his name being credited on so many great songs and for most people he has already gained the status of a "Legend". The "Sing Yeah Sing" acetate was Initially discovered by Kev Roberts around 1977 when he cleaned out April Blackwood publishing's office. He went on to sell it to Jim Wensiora and changed hands a couple of times since. The Acetate of "Wait till I Get You In My Arms" came via a UK collector. There have always been comparisons with Chris Bartley but we are pretty certain that Van McCoy is behind the microphone and that was confirmed by Van McCoy Music Inc. This of course being a demo take of the Major Lance track which backs the Iconic "You Don't Want Me No More" and a version by Kenny Carlton on his Blue Rock release "Lost and Found" penned by Van himself.

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By Mike in News Archives · March 31, 20232 yr

𝗦𝗢𝗨𝗟4𝗥𝗘𝗔𝗟 𝗟𝗔𝗧𝗘𝗦𝗧 𝗥𝗘𝗟𝗘𝗔𝗦𝗘𝗦
------------------------------------
𝗔𝗡𝗡𝗘𝗧𝗧𝗘 𝗦𝗡𝗘𝗟𝗟 (S4R27)
I Think I´m Falling In Love / Tonight I Feel Like Dancing
𝗙𝗥𝗘𝗗𝗘𝗥𝗜𝗖𝗞 𝗞𝗡𝗜𝗚𝗛𝗧 (S4R28)
You´ve Never Really Lived / How, When Or Where

ANNETTE SNELL
The Sandersville, Georgia-born Annette ‘Slim’ Snell arrived at the Muscle Shoals Sound Studio in April 1977 at a time when the studio’s house band, nicknamed ‘The Swampers’, was firing on all cylinders. The thirty-two-year-old Snell was at the cusp of becoming a successful solo artist after more than a decade as a Miami backing vocalist and latterly in Nashville, where she cut for Buddy Killen’s Dial label. The Muscle Shoals session, which was produced by Jimmy Johnson and Roger Hawkins, resulted in four tracks but only two appeared at the time.
Annette Snell never got to hear the finished labours. She was killed when the plane in which she was returning to Atlanta crash-landed and caught fire near New Hope, Georgia. Soul music had lost a rising star.
These two cuts, co-written by pre-eminent songwriters including George Jackson and Philip Mitchell, have been languishing in the vaults for over forty years, a forgotten testament to what might have been.
𝗚𝗿𝗲𝗴 𝗕𝘂𝗿𝗴𝗲𝘀𝘀
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FREDERICK KNIGHT
One of the main figures in Alabama’s music scene, Frederick Knight arrived at Stax in 1972 and hit with the country soul of "I've Been Lonely For So Long", making number 8 on the R&B chart, and the subsequent album was a real milestone in his career.
Prior to this he played a significant part as a producer/writer at Neil Hemphill's Sound of Birmingham Studios where the Stax album was cut. Later that decade Knight would again achieve commercial success with his own record label, Juana, and the recordings of The Controllers and, most notably, Anita Ward.
These early 70s tracks have never surfaced on vinyl before, both of which were also recorded in Birmingham. The plaintive ballad "You've Never Really Lived" with its subtle tempo will have you hooked from the off, while "How, When Or Where" is a mid-tempo opus that will please the dancers out there.
Two utterly fabulous tunes.
𝗕𝗿𝗶𝗮𝗻 𝗚𝗼𝘂𝗰𝗵𝗲𝗿
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Label design by Jordi Duró.
PRE-ORDER NOW FOR 14th MAY
15 euros + postage as it follows:
1 to 5 copies: 6,90 euros UK & Europe
1 to 5 copies: 3 euros Spain
1 to 5 copies: 10,45 euros USA & rest of the world
Payment by PAYPAL as friends & family:
soul4realrecordlabel@gmail.com

By Alexsubinas in News Archives · March 30, 20232 yr

Greg Wilson’s Discotheque Archives - Extended Hardback Version (2023)
A recent release that may be of interest
In January 2023, Discotheque Archives will be made available as an extended hardback. It includes 20 extra sections, with additional DJs, records, venues and labels, which fill in some of the gaps from the original series, and comes complete with a number of new Pete Fowler DJ illustrations, plus a comprehensive index that lists around 750 records referenced in the book’s pages.
Having originally unfurled as a monthly series for DJ Magazine, Discotheque Archives was first issued in book form two years ago, during lockdown, as a limited run paperback. The hope was that it would sell 250 copies, with a best-case scenario target of 500, but the response exceeded all expectations and the final amount swelled to 1600 in a matter of weeks. Putting a cap on things at this point, the intention has since been to extend the book for future publication.
Purchase and more information via a tap of the below link
https://superweirdsubstance.com/product/greg-wilson-discotheque-archive-extended/

TO KNOW THE FUTURE, FIRST YOU MUST KNOW THE PAST

By nature of the scene, dance music is very forward-looking: DJs always pursuing the next record to break, venues pushing the boundaries with sound and lighting techniques, label's seeking out the latest artist to emerge and musicians/producers continually moving the sound forward in new directions. The past is of course constantly referenced and drawn from, but this hasn't been enough to prevent the scene often disconnecting from its roots.
Through a series of concise articles, which first appeared in a monthly DJ Mag column, Discotheque Archives explores the pre-rave era of dance music. Placing focus on classic DJs, venues, records and labels to celebrate the giants of dance culture and illuminate its forgotten characters.
Written from the personal perspective of Greg Wilson, with countless first-hand experiences within the developments of the scene, the story begins, in the 1960s, over a decade before he took to the decks, where the foundations were laid by a series of trailblazers. With the scene set, most of the book focuses on the following decades, as mixing took root with the DJ community, initially in '70s New York, whilst advancing technology plateaued with an explosion of underground electronic experimentation in the '80s, the narrative finishing up just ahead of the much-told story about the rave explosion

greg-wilson.mp4

books

By Mike in News Archives · March 29, 20232 yr

The upcoming release of the Shrine Vinyl Lp from Kent Records stirred Andy Rix aka @Andy Rix to pass on his second set of his Shrine related sleeve notes, the ones written for the 'Shrine - the Rarest Soul Label Vol.2' 2000 Cd release, which dovetails nicely with the set of original uncut sleeve notes from the Shrine Volume One Cd already posted in our Article section (link at bottom)
Shrine - the Rarest Soul Label Vol.2 Sleeve Notes by Andy Rix 2000
The story of Shrine Records, from its creation to demise, was told in Volume One. As promised Volume Two will look at those who contributed to the creation of the Shrine sound and the songs that have captured the attention of 60s Soul fans all over the world.

Assembling the team
Eddie Singleton, Raynoma ‘Miss Ray’ Gordy and, her half-brother, Stanley 'Mike' Ossman were the nucleus of the company. It was always their intention to surround themselves with individuals who had the potential, and talent to achieve, if given the opportunity. These gifted souls were to become the backbone of Shrine Records.
Harold E Bass was already an established member of the team moving down to D C with Mike in the spring of 1965. Harry had grown up in New York and met Eddie whilst singing in a group called The Toreadors. Impressed with their vocal talent, Eddie signed the group, to his new enterprise, Keith Records in 1962, where they released two singles as The Matadors. Fellow group member Richard Tenryck was to become one of the most respected arrangers in New York; as Richard Tee, his name was to be associated with many of the greats over the next four decades.
With Eddie to guide him, Harry started to learn about other aspects of the music industry and began writing songs. It was during this period that Miss Ray arrived in New York to open Motown’s publishing arm, the Jobete office. The relationship that subsequently developed between Eddie and Miss Ray saw Eddie take the uncharacteristic step of publishing some of his songs through Jobete, as opposed to using his own company. Harry took full advantage of the Motown connection, becoming friends with George Kerr, Sidney Barnes, Timothy Wilson and the future Mrs Wilson, Alice Ossman. It was with Alice that Harry co-wrote the bitter-sweet 'Right Now' for Sammy Turner, (Motown 1055), released in the February of 1964. This was to be one of only two New York acts that were accepted by Motown and like The Serenaders, they secured just the one release. Harry continued to sing with the Matadors who provided vocal back-up for Jackie Wilson on 'She's All Right', (Brunswick 55273), in August 1964 and for a short spell became a member of Ray Pollard’s group The Wanderers. His role within the company would focus on writing, producing, finding new talent, mentoring the new recruits and helping Mike to run the company when Eddie and Miss Ray were absent.
The first batch of new recruits arrived together, just as the first wave of releases were hitting the streets. They were all local guys who had known each other for a number of years. Sidney Hall had been born in Virginia moving to D C in 1960, where he performed as a solo act in the local clubs and it was here that he first became acquainted with Keni Lewis.
Keni formed his first group, The V-J's, whilst still attending Washington’s Cardozo High School. Modelling themselves on The Spaniels and The Dells, they started entering local talent shows with Keni composing original songs; one of which, 'Bad Detective' (Atco 6300), was eventually recorded by The Coasters in December 1963. A succession of group names and personnel changes followed and as The Lovebeats, whose line-up included Tommy Monteir and Gerald Richardson, they had an uncle drive them to New York's famous Apollo Theatre for amateur night, where they secured second place. In 1962 Keni was once again on the look out for new group members and by chance met up with Sidney, who, at a loose end, agreed to audition at Keni's house. The final member was Carl Lomax Kidd, who was originally from Charleston, West Virginia. He was an old friend of Keni's and had just returned from a tour of duty in Germany with the Services. The new group called themselves The Surgeons and performed with their own band, which included future Shrine session man Charles 'Skip' Pitts. In the early part of 1963 the band split away and another name change saw the group become The Enjoyables. The line up remained fluid with Gerald Richardson, James Johnson and William Britton all spending brief periods with the group; by the fall of 1963 Keni, Maxx and Sidney had become a trio.
Their work in the clubs had brought them into contact with many of the top artists of the day and they became quite friendly with Smokey Robinson. At his suggestion they went to New York in early 1964, to audition for Miss Ray, but her recommendation for Motown to sign the group was rejected. Their next stop was at Capitol Records where they arrived without an appointment, but managed to get Robert Bateman to audition them, only because as Sidney recalled; he thought the group waiting in the lobby "were broads". Nevertheless Bateman signed them on the spot and had them in the recording studio within the week. They cut around half-a-dozen tracks and in April 1964 released their only single for the label, ‘Push a little harder’ / ‘We'll make a way’, (Capitol 5321). Despite the record deal the group didn't appear to be making any significant impression, so they returned to D C where they disbanded, choosing to concentrate on new projects which included writing new material.
By then the arrival of Shrine was already creating interest across Washington, when Miss Ray, remembering the trio from their Motown audition, contacted Maxx and invited them to come down to the Shrine building. They duly arrived to see exactly what was on offer and liking what they saw, all signed contracts; Sidney as a solo artist, Keni and Maxx as songwriters, producers and recording group leaders.
The last of the key players to arrive was the legendary Dale Ossman Warren. Dale was a true family member as his mother, Ines, was Miss Ray's sister. Dale was an accomplished violin player, classically trained and able to write and arrange for strings. He had been recruited by his aunt as an arranger for Motown in 1961 and Miss Ray felt these talents were exactly what Shrine needed to create a sound all of their own. A single phone call was made and Dale arrived three weeks later, ready for the challenge. Eddie felt that the team was now strong enough to start work on the second wave of Shrine product and so the creative juices began to flow
The Back Room Boys
The musicians who played on the Shrine sessions were all local guys, some of them being as young as 16. They formed a fairly stable outfit that was occasionally supplemented by personnel from the local Air Force bands and musicians who would drop in. The regular musicians were Otis McCoy (drummer), Maurice Gaskins (guitarist); Dewey C.. Holloway Jr (tenor & baritone sax), Donald "Duck" Rankin (trombonist); Waymond Harding (tenor sax); Carter R. Jefferson Jr.(tenor sax); Wornell Jones (bass), Fritz.......(bass); Donald Tillery (trumpet), Bobby Allen (trumpet) and Charles 'Skip' Pitts (guitar). After Shrine these guys continued to work in the industry, with many of them still playing to this very day. Additionally Freddie Perrin and Fonce Mizell were employed to write lead sheets for Shrine. This started their careers and they later moved on to Brunswick, Capcity and then to international success as part of the Motown songwriting group known as 'The Corporation', composing million sellers like 'ABC ' and 'I Want You Back' for The Jackson 5.
The 45's
100   LINDA & THE VISTAS - BAD APPLE / SHE WENT AWAY
Linda Tate heralded from Rochelle, New Jersey, was half-Indian and according to Eddie Singleton, had "a voice like a bird". She had met Eddie whilst going out with Billy Brown, a future member of The Moments, who knew Eddie from their home-town of Asbury Park. Her first recording, ‘Believe me’ / ‘It's not my will’ (Assault 1879), was written, produced and arranged by Eddie and credited to Linda & The Pretenders. Eddie believed that Linda had the talent required to make it big, so never wanting to miss a beat, he had taken her into the studio to cut her next single. The top side which was co-written by Harry Bass, was a bouncy girl group item which belonged to another era; sounding totally out of place as a Shrine 45. The flip was the tender, yet mournful, ballad, which provided such a perfect showcase for Linda's unique voice. The song had been inspired by the assassination of John F. Kennedy of whom Eddie was a great admirer. Sitting at his piano he composed the lyric "He went away and left me crying, He went away and left me blue"; the song, when finished, became 'She Went Away'. The plan to release the new recordings as a follow-up to the Assault single were shelved, as the deal fell through, but Eddie, believing the song to be worthy of release, decided to save it for a rainy day. When Shrine opened for business Eddie wanted to get some product out immediately and it seemed only fitting, given the circumstances of the song's inspiration, that it should become the first release on the label. After all, its very name reflected Eddie's admiration for the murdered President: literally a shrine to the memory of JFK. The single was pressed in early 1965 at the Custom Matrix plant on Long Island and it received some airplay, selling a few copies locally, but more importantly it served as an announcement that Shrine had arrived.
101    LEROY TAYLOR & THE FOUR KAYS - TAKIN' MY TIME / I'LL UNDERSTAND
As the Linda & The Vistas 45 was hitting the streets, Eddie was already arranging for the next batch of songs to be recorded. Leroy Taylor was one of the first local acts to arrive and having had records released on H&H and Columbia, had no objection to being taken straight into the studio to put his vocals on top of some tracks that Eddie had already prepared. Leroy, who hailed from Baltimore, had his own band, The Four Kays. These musicians included Richard Spencer, who would go on to have a million seller in 1969 with 'Color Him Father', (Metromedia 117), as a member of The Winstons. Leroy made his final record in August 1967, cutting ‘Oh Linda’ / ‘Nobody can love you’ (Brunswick 55345), before leaving the music industry for good
102   JIMMY ARMSTRONG- I'M ABOUT TO SAY GOODBYE / MYSTERY
Jimmy was a prolific recording artist cutting songs for Stop, Enjoy, Brothers 3 and Jet Set. He was based in New York and had been enticed to D C by Eddie in July 1965 as an already established recording artist. He recorded a number of tracks and bagged the first release on the new, improved, label design. The top side is a mournful ballad which sounds very dated for it’s time, but that didn't stop it being re-recorded as the flip of his later Jet Set 45, interestingly enough sounding much better. As a contrast 'Mystery' is a frantic uptempo dance track, featuring some great whooping girl back-ups, which suited Jimmy's soul-shouting vocal perfectly.
103   RAY POLLARD - NO MORE LIKE ME / THIS TIME (I'm Gonna Be True)
Considered by many to be the jewel in Shrine's crown, this awesome double-sider ranks as one of the finest examples of 60's soul music. Ray was the biggest name on the label, having been lead singer with The Wanderers since the early 1950's. The group recorded for a multitude of labels including Savoy, Orbit, MGM, Cub and United Artists, making the R&B charts on several occasions. Ray decided he wanted to develop a solo career and called Eddie, telling him of his intention. Eddie was a great admirer of Ray's, describing him as "One of the voices of our time", so when the opportunity arose, Eddie wasted no time in getting Ray into the studio. On a three day visit to Washington Ray cut two tracks and helped on a few back-ups. The resulting single has contributed to the elevation of Ray to icon status among soul fans and many who saw him perform in England in 1991 describe it as the best show they've ever witnessed. Whilst Ray could not even remember the songs prior to his visit, having never owned a copy, Eddie cited it as one of his greatest achievements: "It was probably the most exhilarating mix I ever did", he recalls, "I remember being moved to tears with the excitement". The beautiful ballad 'No More Like Me' was one of many songs Eddie wrote as a direct result of his relationship with Miss Ray and they often reflected its turbulent, emotionally charged nature; Eddie recalls writing most of them after various marital disagreements. The Shrine tracks were cut almost exclusively at the Edgewood Studio, but Ray's visit clashed with some essential maintenance work, so the Rodeo Studio, in Georgetown was used for the session. The 45 sold locally but didn't provide Ray with the big push that Eddie had hoped for. Ray continued to record until the early 1970's securing releases on United Artists, Decca and Omnipotent before he shifted his focus towards a career in acting, which he is still pursuing in Las Vegas to this day.
104   THE CAUTIONS - WATCH YOUR STEP / IS IT RIGHT
The passage of time has resulted in everybody concerned forgetting the names of the teenagers who were better known as The Cautions. Given the group’s longevity at Shrine, this state of affairs has always puzzled me, as has the inability to track down one single group member. The best we can manage is; Nick, Joe Clyburn, Clooney and AB. The group were all local singers that Harry Bass had talent spotted and recalled them as being "tall and slender. They were good dancers who were really into the Temptations". Their release, in June 1965, proved to be a hit in Baltimore and Washington, even making it onto the local charts and thus helping to justify Shrine’s policy of using local talent. Dale Warren described them as being "our bread and butter group. They sold a lot of records and helped the money come in"
105   JIMMY ARMSTRONG - I BELIEVE I'LL LOVE ON / IT'S GONNA TAKE LOVE
This 45 was scheduled for release but never issued; with no vinyl copies ever being pressed. However the identity of the missing number is now known. Eddie had pencilled this in for release, with a provisional date of September 1965, but when Jackie Wilson said he wanted ‘I Believe I’ll Love On’ for himself, the release was cancelled and the catalogue number never reassigned. Jimmy may not have been too pleased, but the money that came in from the Brunswick deal certainly helped Shrine to keep moving forward. As a point of interest the proposed flip side was another of Eddie's 'marriage' songs.
106   THE EPSILONS - MAD AT THE WORLD / I'M SO DEVOTED
This recording marked the second wave of Shrine releases, reflecting the changes that had taken place within the company. A new distribution deal / financial investment was in place from the Jet Set connection and the introduction of Keni, Maxx, Harry and Dale as the main players in the recording studio was established. The Epsilons had been spotted by Al Fox of The Wisemen, who had taken them along to the studio to audition. James Duvall, who played guitar on the session, Ronald Williams and Gregory Thomas impressed all present and they were offered a recording contract. Miss Ray then gave the group their name, deriving it from the fifth letter of the Greek alphabet. It was released at the beginning of the summer of 1966 and it became the label’s best seller, even requiring a second pressing to meet the demand generated from airplay in the Tri-state area. Whilst this 'hit' appeared to herald an upturn in the commercial success of Shrine, it was to become their last moment of achievement in the market place.
107   D.C. BLOSSOMS - I KNOW ABOUT HER / HEY BOY
In 1958 a quartet of girls christened themselves The Tropicals and began to perform in the local clubs. Their repertoire consisted of many of the hit tunes of the day and old favourites that would get the audience up on their feet. The group, all hailing from the D.C. area, consisted of sisters Jacqui & Vicki Burton and their long-time friends Jeanette Talley and Roberta Miller. What the girls wanted more than anything was to get a recording deal and become stars, but their first break was a long time coming. In 1962 they were seen by Clyde Otis, who offered them his services as their manager and secured a contract for them with Okeh Records. Before their first visit to a studio, in August 1962 a change of name was required, so the girls became The Blossoms. Vicki recalled that they subsequently cut "enough tracks for an album", but all of their efforts only produced one solitary release the following month; ‘I'm In Love’/’What Makes Love’ (Okeh 7162), which failed to make any impression and the girls were released from their contract. Despite their immense disappointment, they continued to tread the boards and upon hearing about Shrine Jacqui recalled, "We rushed down there to get ourselves a piece of the action". The girls signed as a trio, with Roberta having retired from the group due to ill health which left her unable to perform and immediately went into the studio to start rehearsing. Another change of name was required to distinguish them from Darlene Love's West Coast group, so the girls became the D. C. Blossoms. Their record, the first to be picked up by the UK’s Northern Soul dance scene, became the first casualty of the label’s decline. It is almost certain that it never even got into the shops; as was probably the case with every one of the eleven releases stockpiled in readiness for the anticipated breakthrough that never happened.
108   J.D. BRYANT - I WON'T BE COMING BACK / WALK ON IN
J D was originally from South Carolina, but had been a fixture on the New York music scene for a number of years. He had recorded R&B records for a whole host of labels including Enjoy, Alfa and Josie. Eddie had written ‘I Won't Be Coming Back’ with the intention of giving it to Ben E. King. To present the song Eddie needed a demo and when his A&R man, Matt Parsons, suggested they use his half-brother, who had a vocal style similar to that of Ben E. King, Eddie agreed. The session was set up at Herb Abramson's A1 Sound Studio at 234 W. 56th St NYC, sometime in the middle of 1964. Eddie, wishing for the demo to sound as good as a finished master, made sure some of his usual session players were available, including the drummer Gary Chester. He was so thrilled with the finished track that he decided to keep it and release it himself, while hastily arranged for a 'B' side to be recorded. New York veteran producer Teacho Wiltshire stepped in to arrange ‘Walk On In’ in a style that J.D. was more familiar with. However Eddie's plan to issue the 45 was shelved, as his time became increasingly occupied with planning the move to D C. Whilst Eddie thinks J.D. may have visited Washington at some point and would have been given a copy of his record; the chances are he has no knowledge of the song’s release, let alone of the current popularity that the track enjoys on the international 60s soul scene.
109   SIDNEY HALL - THE WEEKEND / I'M A LOVER
Sidney's only solo 45 proved he had a gift. The top side, which is a snappy uptempo number with vocal back up provided by Harry Bass, captures the feeling of a specific point in time, never to be recaptured. It is about the celebration of a weekend of high living, including drinking, dancing and "driving a Cadillac to match my mohair suit" which portrays Sidney as a man about town. The flip side is an epic beat ballad that allows Sidney to show off his vocal skills. After Shrine closed Sidney joined The Flamingos for a while before leaving the business and moving to Springfield, Mass. His lead vocal can be heard on 'Itty Bitty Baby' (Philips 40413) a song composed by former Enjoyable Keni Lewis.
110   SHIRLEY EDWARDS - IT'S YOUR LOVE / DREAM, MY HEART
Shirley was a Washington native who had originally signed for Shrine as a group member with her cousins Sylvia Hampton and Marietta Anderson. As Shirley became a solo act they secured positions as backing singers. Shirley came from a musically rich background and her relatives included Billy Stewart, Jimmy & David Ruffin, Grace Ruffin of the Four Jewels and Little Richard. Like so many others this proved to be her only solo appearance on record, although she did work for a short time doing back ups for Dale Warren at Stax. Her biggest opportunity for a break came when Dale offered her the chance to try for a film theme he had a ten day option on, but Shirley's husband was opposed to her having to go out of town for the audition. As it transpired another singer got the deal when her company put up the money for the production costs The other singer was Shirley Bassey and the film was Goldfinger
111   THE CAIROS - DON'T FIGHT IT / STOP OVERLOOKING ME
Keni Lewis had started his career as a singer and, in addition to writing and producing, still wanted to continue performing and making records. Calling up some of his old friends he quickly assembled a new group who needed little practice to achieve their tight vocal harmony. Keni was joined by Famon Johnson, who sang lead on 'Stop Overlooking Me', Gerald Richardson, Tommy Monteir, whose distinctive bass propels Keni's lead vocal on 'Don't Fight It' and another of Shirley Edwards’ cousins, Wilford 'Dough Boy' Ruffin.
112   EDDIE DAYE & 4 BARS - GUESS WHO LOVES YOU / WHAT AM I GONNA DO
By the time they signed to Shrine the 4 Bars were already vocal group veterans. Originally formed in 1953, as The Four Bars of Rhythm, the group line-up changed regularly with Eddie Daye and Melvin Butler being the only permanent members. Their recordings for Joz, IPS, Cadillac, Len, Dayco, Time, Flying Hawk, Shelley and Falew have won them a legion of admirers from the world of R&B/Vocal Group collectors, but many consider the Shrine 45 as their finest moment on vinyl. The 1965 group consisted of Eddie Daye, Melvin Butler, Elsworth Grimes and Betty Wilson who all hailed from the D.C. area. The group continued to record in Washington, on Eddie's resurrected Dayco label, until 1975 when they formally disbanded.
113   BILL DENNIS - I'LL NEVER LET YOU GET AWAY / POOR LITTLE FOOL
Little is known about Bill other than he was a Baltimore resident who had always wanted to be a singer and had spent many hours rehearsing trying to improve his vocal before auditioning for Shrine. As Eddie recalled Bill was "just this fellow who walked in one day and I liked what he was about". With Harry feeling the same way, Bill got to realise his ambition. It is believed he went on to become a DJ for WHUR, Howard University Radio and the Voice of America network.

114   LES CHANSONETTES - DEEPER / DON'T LET HIM HURT YOU
Harry Bass took charge of this trio of Baltimore high school girls who he thought were probably sisters. "They had never been in a studio before and were a little nervous. I remember their mother used to drive them in and acted as a sort of chaperone. I spent hours rehearsing them to build their confidence. One of them was called Delores, I don't recall the names of the others". The songs chosen for the girl’s debut had been written a few years previously, in New York and were published by T M Music which was owned by Bobby Darin. Fully titled, Trinity Music, the company had an office located down the hall from Jobete in the Brill Building and Rudy Clark, the only black songwriter at T M, had composed a song called 'Deeper'. He cut a demo of it and then took it to Miss Ray in the hope that she could place it with either The Vandellas or The Marvelettes. Harry, who was friendly with Rudy, then composed a song called 'Don't Let Him Hurt You', which had a similar feel and placed it with T.M. for publishing. When the move to Washington was made Harry took the acetates with him deciding to use both of the tracks for his nervous, but enthusiastic, girls. They managed one more release, on the Mon'ca label before fading into obscurity.
115   THE CAUTIONS - NO OTHER WAY / POOR LOSER
The only group to manage two releases on Shrine returned with a floorshaker of a recording that would test even the most energetic of dancers. The flip featured an early version of a synthesiser called an Ondioline, which featured on a number of Shrine recordings and demonstrated the willingness to innovate and experiment in the studio.
116   THE PROPHETS - HUH BABY / IF I HAD (One Gold Piece)
These were another talented group of local youngsters who were given to Maxx to work with in the studio. The resulting record was a stunning double header, which reflected the growing musical maturity of the company with its sophisticated arrangements and increasing diversity of musical styles. The group consisted of Raymond Davis, Tommy Brooks, Harry Courtney, David Budd, Preston Booze and George Kirksey. This was one of the last Shrine 45s to surface with its existence not being confirmed until 1991. Up to this point it was assumed that the tracks were unissued. David Budd was given the main lead vocal on 'If I Had', which was complimented by Raymond's earthier tones delivered in a call-and-response style. Raymond recalled that the group cut versions of 'Shame' and 'I'll Take You Back' whilst at Shrine; a recollection supported by Tommy and Preston.
117   THE COUNTS - PEACHES BABY / MY ONLY LOVE
Yet more local youngsters, whose average age was 16 meaning they had to have their parents sign the Shrine contract. The group consisted of Richard Collins, Clarence 'Money' Munroe, Jimmy Faison, Lamont Wash and Stanley Minor. This was another record whose existence was not established until 1991; again up to this point we assumed the tracks were unissued. When Eddie and Ady Croasdell first catalogued the surviving master tapes in 1989 'My only love' was there as a finished track but 'Peaches Baby' was simply a backing track woefully missing vocals. The first copy to surface came from Richard Collins who, in addition to his remaining copy, had found another in his aunt’s basement. At this point he trashed the first copy, as it looked a little worn and entrusted his mother with sending the second over to the UK. She completed his request but failed to protect the disc, treating it as if it was simply a letter. The disc duly arrived in six pieces and until another copy surfaced, some seven years later, the only way to hear the vocal version required calling Stanley Minor and asking him to sing it over the phone. Thankfully Lew Stanley, a highly respected USA record dealer, provided us with a dub of the track from a single he turned up years later, thus enabling us to include it on this compilation. The group continued to work with Maxx Kidd recording 'So Frustrated'/'Should've Been Satisfied', released locally on Spooky 10001 before going national on Chess 2116, as Five Miles High and also 'Come on, Fall In Line'/'Problem Child' (Calla 169) as 4 Miles High.

118   THE ENJOYABLES - SHAME / I'LL TAKE YOU BACK
Maxx felt the same way as Keni and formed a new version of the Enjoyables soon after joining the company. The new incarnation reunited former members, with Maxx, on lead, supported by James Johnson, William Britton and Gerald Richardson. The group had recorded their tracks in July 1965, during the first wave of sessions and James recalled that the group disbanded almost immediately after the songs were completed.
119   THE CAVALIERS - DO WHAT I WANT / TIGHTEN UP
The last Shrine record to be found, finally allowing us to complete the discography. The master tapes contained rhythm tracks for both songs in a format that can only be described as being at the rehearsal stage. The two copies, currently known to exist, were both rescued from Maxx Kidd's basement and revealed one of the most bizarre tracks recorded for Shrine, featuring a harmonica as the lead instrument. Maxx recalled they wanted to use a harmonica as "Bob Dylan was very popular at the time and we wanted to try and capture some of that sound". As a point of interest it was the only Shrine track that saw Keni, Harry and Maxx working together as songwriters. Nothing is known about the group other than, once again, they were all local teenagers consisting of Steven Carey, Albert Carmichael, Alfred Duncan, David Duncan and Theotrice Gamble.
HEM 1003   THE EPSILONS - MIND IN A BIND / IT'S ALL RIGHT
Due to the popularity of 'Mad At The World' Eddie decided to cut a follow up and took the group into the studio to personally supervise the session. 'It's All Right' was simply a continuation of the story told in 'Mad At The World', with a very similar, easily recognisable, rhythm track. 'Mind In A Bind' was another one of Eddie's songs about his relationship with Miss Ray, on which he put her name as composer to get it published with Jobete. The tracks were issued in 1967 on a local independent label that had a distribution deal with Atlantic. It has to be assumed that the masters that Eddie had left at the Edgewood studios were simply grabbed by persons unknown, as neither Eddie or James Duvall had any knowledge that this had taken place.

The Unissued Songs
TIPPIE & THE WISEMEN - LET ME WALK AWAY / WAIT 'TIL I GET THERE / I WOULDN'T MIND CRYING / BYE BYE
Like The 4 Bars the members of this group were also industry veterans by the time they arrived at Shrine. The Clovers, who hailed from the Washington area, had been recording since 1950; by 1961 the group had split and reformed as two, separate Clovers, one led by Harold Lucas the other by John Bailey. The line-up of the Lucas group was Robert Russel, James 'Toy' Walton, Al Fox and Eddie 'Tippie' Hubbard. On signing with Shrine in 1965 they became known as Tippie & The Wisemen, although they continued to perform as Tippie & The Clovers. Their first recording sessions took place in June 1965 and it is known they cut tracks in addition to those that have survived. Given the quality of the tracks, it is surprising that none of them were released, but as Al Fox explained; "None of our product was ever issued, the reason being that we had released a lot of records over the years and were happy for the younger, newer acts to get their records out first. We were content just to wait". In January 1966 Eddie took his tapes of 'I Wouldn't Mind Crying' and 'Bye Bye' to Brunswick, where he was head of A&R, with the intention of doing a deal, but when he walked out after a heated disagreement with Nat Tarnopol, the tapes were left behind. Whilst researching another project, Kent CD compiler Ady Croasdell noticed the tapes were logged into the vault and eventually managed to extract copies. On hearing the news Eddie was ecstatic as he viewed 'I Wouldn't Mind Crying', yet another of his marriage songs, as the best track he had ever recorded at Shrine.
BOBBY REED - CALDONIA BROWN / BABY DON'T LEAVE ME
Bobby spent a few years as a recording artist cutting tunes for various labels including Brunswick, Clay Town, Bell and Loma. These tracks were recorded in January 1966, produced by Clay Roberts, with the arrangement being done by Freddie Perrin, under Eddie's supervision, while he was still at Shrine.
LITTLE BOBBY PARKER-I WON'T BELIEVE IT 'TIL I SEE IT
Another local lad who did just one track before moving on. The tune is a powerhouse version of the Jimmy Armstrong song released on Jet Set.
TRACI - TAKE IT FROM ME
A mystery girl; who cut just one song and then disappeared. Eddie used the song again for Barbara Long on Jet Set.
THE CAUTIONS - FALL GUY / TAKE A LOOK AT YOUR BABY / I WANT TO HOLD YOUR HAND
Both 'Fall Guy' and 'Take A Look' were found by Ady Croasdell in the Scepter-Wand tape vaults in 1985 and were assumed to be Capcity recordngs. Further research established that they were Shrine tracks that Eddie had taken to Scepter, where he was head of A&R, in November 1966, in a last attempt to try and secure further funds for Shrine. They were probably the last songs recorded before Shrine closed. Yes the final track is the Beatles song being given a Shrine makeover. It's a personal favourite of Eddie's and he remembers thinking he was going to be a millionaire after he cut it. Reality dawned sometime later
JIMMY ARMSTRONG - I BELIEVE I'LL LOVE ON / IT'S GONNA TAKE LOVE
The tracks scheduled for Shrine 105 that got pipped at the post by the Jackie Wilson deal. 'Love On' is an uptempo screamer whilst 'It's Gonna Take Love' is a powerful bluesy ballad.
LEROY TAYLOR & FOUR KAYS - I AIN'T WORRIED ABOUT YOU
A complete change of style for Leroy as he hits a dance groove on this lively uptempo number; The Cautions can be clearly heard providing back-up.
THE FOUR KAYS - FUNKY MONKEY
Leroy's boys jamming to create a wild rhythm track
D. C. BLOSSOMS - THIS IS YOUR LAST CHANCE
The girls deliver another of Keni's love songs on a track that got overlooked during the cataloguing in 1989 and therefore came as a real bonus find when the tapes were reviewed
Andrew Rix 2000

With special thanks to Eddie Singleton, Rob Thomas, Rob Hughes, Derek Pearson, Nick Brown, Bobby Allen and all of the Shrine family who have happily become too numerous to mention.

labels

By Andy Rix in Articles · March 25, 20232 yr

Acid Jazz Presents: Billy Valentine and The Universal Truth
A new album released today 24th March 2023, available via Vinyl Lp, Cd and Digital.
Release notes
'Since last September when we announced our collaboration with Billy Valentine, Bob Thiele Jr and the Flying Dutchman label, with Billy’s peerless cover of Curtis Mayfield’s ‘We The People Who Are Darker Than Blue’, we have been looking forward to the moment when we could share more music with you. Earlier this month we shared Billy’s take on Gil Scott-Heron’s ‘Home Is Where The Hatred Is’ and it followed its predecessor onto Jazz FM’s A list. Today we can share with you the news that the album ‘Billy Valentine & The Universal Truth’ is out on March 24th. It’s one you don’t want to miss.
The album sees Billy and a stellar cast of musicians including Larry Golding, Jeff Parker, Pino Paladino, James Gadson, Linda May Oh, Alex Acuña, Amber Navram from Moonchild and Blue Note recording artist Joel Ross and Immanuel Wilkins re-cast a series of important songs from the African American songbook in a unique and inimitable style, profoundly influenced by the events that were going on around them throughout 2020 to 2022 when the album was recorded at the historic EastWest Studios in LA. The works of Mayfield and Scott-Heron are joined by those of Pharaoh Sanders, Prince, Stevie Wonder, War and Eddie Kendricks. It is a sonically stunning and emotionally moving record.'
Tracks
1   We the People Who Are Darker Than Blue
2   Home Is Where the Hatred Is
3   My People... Hold On
4   You Haven't Done Nothin'
5   The Creator Has a Master Plan
6   Sign of the Times
7   Wade in the Water
8   The World Is a Ghetto
Preview
Billy Valentine and The Universal Truth by Billy Valentine & The Universal Truth
‘Many of the initial releases on Flying Dutchman were by important Black voices, both musical and political…. Cut to the summer months of 2020. America, in the throes of a global pandemic, was experiencing one more come-to-Jesus moment in our violent history: the murder of George Floyd. On the heels of a powerful new movement revolving around the hash-tag #BlackLivesMatter, it seemed the right time to resurrect Flying Dutchman and seed it with this collection of eight recordings by Billy Valentine and The Universal Truth.’
– Bob Thiele Jr. (Producer, Flying Dutchman)
’Since the moment we heard the first two track Ed and I were determined that we would release this album. It’s soul music performed at the very highest level, and we are convinced that it is one of the best records we have ever released.’
– Dean Rudland (Acid Jazz)
The vinyl comes in a beautiful gatefold sleeve that mimics the classic design of Flying Dutchman album releases, right down to the design of the spine and the producer’s box. With an atmospheric cover shot taken by LA based photographer and skate boarder Atiba Jefferson, and inner sleeve shots revealing the workings of the sessions. The soft-pack CD mirrors this look.

By Mike in News Archives · March 24, 20232 yr

SOUL4REAL #28, BILBAO
19-20-21-22 OCTOBER 2023
𝗗𝗔𝗩𝗜𝗗 𝗦𝗘𝗔 and 𝗔𝗡𝗡 𝗦𝗘𝗫𝗧𝗢𝗡 LIVE!

The farewell party. Chapter 2
Yes, we know! Last year we already announced our farewell party…. But this time is 4 Real!
As we informed you a few months ago we are back by popular demand for one more final shot!
We still have the enthusiasm and the strength to throw one last party.... and what a party we have prepared for you.
Directly from Birmingham, Alabama we will be able to enjoy David Sea performing solo after many many years.
Be prepared to enjoy his incredible own repertory, be sure his voice will blow your mind.
What can we say about Ann Sexton, one of our favorite soul queens, what a voice and overwhelming talent.
So excited to have these two soul legends in an exclusive concert in Bilbao, a one and unique opportunity not to be missed!
Passes are still available, but do not sleep on this because they are selling really fast.
We still have some rooms available at the discounted price at the Hotel Silken Indautxu (the venue Hotel), but again they probably will be gone in the next coming weeks …so be quick.
Can´t wait to see you all!
Aitor, Javier, Alex
_______________________________________________________________________
Direct flights to Bilbao:
London (Easyjet, Vueling)
Manchester (Easyjet)
Bristol (Easyjet)
𝗪𝗲𝗲𝗸𝗲𝗻𝗱𝗲𝗿 𝗽𝗮𝘀𝘀𝗲𝘀:
FULL WEEKENDER PASS (all days)
70 euros
FRIDAY + SATURDAY PASS
55 euros
Payments via paypal as friends/family:
soul4realrecordlabel@gmail.com
𝗔𝗰𝗰𝗼𝗺𝗺𝗼𝗱𝗮𝘁𝗶𝗼𝗻:
Here are the hotel details for SOUL4REAL, as usual please contact us by facebook or soul4realrecordlabel@gmail.com for booking your room at this discount/special rate:
Double Room (twin beds): 138 euros including breakfast and taxes
Single Room: 128 euros including breakfast and taxes
HOTEL SILKEN INDAUTXU, 4 stars, walking distance to everywhere, same hotel than last year. It will host Thursday, Friday and Sunday Soul nights. Please remember that once you have reserved your room through us don´t need to do any payment in advance, it´s done at the hotel reception when doin´ the checkout.
More info / contact:
soul4realrecordlabel@gmail.com (Alex Subinas)

By Alexsubinas in Event News · March 22, 20232 yr

Sly Stone has announced that his memoirs titled 'Thank You (Falettinme Be Mice Elf Agin)' will be published later this year via White Rabbit.
"For as long as I can remember folks have been asking me to tell my story," says Stone. "I wasn't ready. I had to be in a new frame of mind to become Sylvester Stewart again to tell the true story of Sly Stone. It's been a wild ride and hopefully my fans enjoy it too."
One of the few indisputable geniuses of pop music, Sly Stone is a trailblazer who created a new kind of music, mixing Black and white, male and female, funk and rock; penned some of the most iconic anthems of the 1960s and 70s, from "Everyday People" to "Family Affair"; and electrified audiences with a persona and stage presence that set a lasting standard for pop culture performance.
Yet he has also been a cautionary tale, known as much for how he dropped out of sight as for what put him in the spotlight in the first place. As much as people know the music, the man remains a mystery. In Thank You, his much-anticipated memoir, he's finally ready to share his story - a story that many thought he'd never have the chance to tell.
Written with Ben Greenman, who has written memoirs with George Clinton and Brian Wilson among others, Thank You will include a foreword by Questlove.
The book was created in collaboration with Sly Stone's manager Arlene Hirschkowitz.
Thank You (Falettinme Be Mice Elf Agin) by Sly Stone 28 Sept 2023
Kindle Edition £9.99 Hardcover £25.00
This title will be released on September 28, 2023.
Publisher ‏ : ‎ White Rabbit (28 Sept. 2023)
Language ‏ : ‎ English
Hardcover ‏ : ‎ 320 pages

books

By Mike in News Archives · March 22, 20232 yr

Thee Sacred Souls Upcoming UK & European Tour Dates
Apr 4 - Birmingham, UK - Hare & Hounds
Apr 6 - Brighton, UK - Concorde 2
Apr 7 - Bristol, UK - Thekla
Apr 8 - Manchester, UK - Band On The Wall
looking like a case of 'wait list' for uk

Apr 10 - Rouen, FR - Le 106
Apr 12 - La Roche-Sur-Yon, FR - Quai M
Apr 13 - Paris, FR - Trabendo
Apr 15 - Cologne, DE - Luxor
Apr 17 - Frankfurt, DE - Zoom Club
Apr 18 - Munich, DE - Ampere
Apr 19 - Berlin, DE - Hole 44
Apr 21 - Amsterdam, NL - Melkweg OZ
Apr 22 - Rotterdam, NL -  Bird
https://www.theesacredsouls.com/

By Mike in Event News · March 21, 20232 yr

Upcoming vinyl lp release from Kent Records, the release notes from Ady Croasdell aka @Ady Croasdell follow below
SHRINE NORTHERN - THE 60s RAREST DANCE LABEL
Ace Records Ltd is proud to announce the purchase of the Shrine label and Eddie Singleton’s independent productions.
To celebrate we have compiled an album of the very best dance recordings the label made in 1965 and 1966, primarily in Washington DC.
The business’s failure made this music incredibly hard to find for record collectors and Shrine is rightly known as the rarest soul label.
It is much more than that though. The music was made by some one of the original founders of Motown, Raynoma Liles Gordy and her Motown-schooled cousin Mike Ossman, New York music business luminaries Eddie Singleton and Harry Bass and the up-and-coming talents of Washington’s Keni St Lewis and Maxx Kidd. The acts included the hugely respected Ray Pollard and fellow New Yorker J.D. Bryant, talented and established Washington and Baltimore acts Eddie Daye & The Four Bars, Bobby Reed and the Enjoyables. Importantly, they discovered and developed the local talent of the area in the shape of the Cautions, Les Chansonettes, the Prophets and Shirley Edwards.
It took decades for UK Northern Soul fans to realise the significance of the label. It finally clicked for Stafford’s Top Of The World all-nighter DJs who searched out the incredibly hard to find later releases and played them to the cult-following of the rare soul scene. The scarcity was caused by Shrine pressing up a batch of fourteen future singles but only getting a handful released before they folded. The vast majority of the later releases were destroyed in a warehouse fire or simply binned as stillborn commercial failures.
Such was the scarcity that when the first Shrine compilations were issued in 1990, the Prophets tracks from Eddie Singleton’s master tapes were assumed to be unreleased - until Shrine sleuth Andy Rix later obtained one from a group member.
The music captures the exuberance of soul music in its peak years. The rhythms are pounding, the vocals soaring and the songs positive and cleverly composed. Undeniably Motown-influenced, they never copy others’ songs but feature the group harmonies of New York City on the Counts, Enjoyables and Prophets singles, while the Ray Pollard and J.D. Bryant tracks have that city’s big ballad soul sound. Les Chansonettes and the D C Blossoms are shimmering femme group sounds at their most tantalising.
The label produced soul in many shades but here we’ve concentrated on its in-house dance specialties. Don’t worry about the price-tags; just listen to that quality.
Ady Croasdell
Side 1
01 Guess Who Loves You - Eddie Daye & The 4 Bars
02 No Other Way - The Cautions
03 Baby Don't Leave Me - Bobby Reed
04 Don' t Let Him Hurt You - Les Chansonettes
05 Hey Boy - The D C Blossoms
06 If I Had (One Gold Piece) - The Prophets
07 Dream My Heart - Shirley Edwards
Side 2

01 Stop Overlooking Me - The Cairos
02 Shame - The Enjoyables
03 I Won't Be Coming Back - J.D. Bryant
04 My Only Love - The Counts
05 I Won' t Believe It Till I See It - Little Bobby Parker
06 Takin' My Time - Leroy Taylor & The Four Kays
07 This Time (I'm Gonna Be True) - Ray Pollard

"Shrine Northern - The 60s Rarest Dance Label" is out 28.04.2023
https://acerecords.co.uk/shrine-northern-the-60s-rarest-dance-label

By Mike in News Archives · March 21, 20232 yr

A release information pass on
Pama International - Hypocrite
Out digitally now
Out on vinyl 1st July 2023
'The next single from Pama International is a southern soul take on an early 1970s reggae classic - The Heptones - Hypocrite.
I’ve loved this song, ever since I recorded a version with one of my old bands - Special Beat. Along with Ranking Roger (The Beat), John Bradbury, Horace Panter and Neville Staple (all of The Specials) we laid down a reggae version back in 1991 at UB40’s studio.
It was an absolute delight to revisit the song and give it a southern soul work over. I’m truly proud of the results and very much hope you enjoy it to!'

By Mike in News Archives · March 19, 20232 yr

Another quality addition to this ongoing series by Steve Krakow on the Chicago Reader Website
This time the focus is on Bobby Jonz (Jones)
THE SECRET HISTORY OF CHICAGO MUSIC

It’s never too late to give soul-blues master Bobby Jonz his flowers
When he died from COVID in July 2020, the country could barely spare a moment to revisit the gritty, funky, passionate music he’d spent decades making.
by Steve Krakow March 16, 2023

The full article can be had via via
https://chicagoreader.com/music/the-secret-history-of-chicago-music/its-never-too-late-to-give-soul-blues-master-bobby-jonz-his-flowers/

By Mike in News Archives · March 17, 20232 yr

Latest issue is now out and about details follow below

SOUL UP NORTH - issue 115

OPENING PAGE : CONTENTS – EDITORIAL & INFO
GOOD TUNES & GREAT GROOVES
Dave Halsall

ISSUE CD TRACK LISTING – A COMPENDIUM OF SOUL
A Sue Daneem

FUNK IN YO’ FACE – “METER READING”
Howard Priestly

VEL LEWIS’S MUSICAL JOURNEY
John Smith

THE LADIES CHOICE – COLLECTING RARE SOUL
Julie Molloy

PICTURE ME GONE (BUT NOT FORGOTTEN) PT.3
Martin Scragg

CHUCK JACKSON DEATH
HFE

HOT OFF THE VINYL PRESS
Ady Croasdell / Howard E
FEET TO THE BEAT
Mark Hanson / Andy Bellwood / Geoff Green

SOUL IN PRINT – MAGAZINES & FANZINES (Part 18)
Iain McCartney

SOULFUL SEVENTIES SPINS aka ‘PLUMB’S PEACHES’
Steve Plumb
SOUL SPOTLIGHT – SAM WILLIAMS REVISITED
Steve Guarnori
DO I LOVE YOU – THE WHOLE TRUTH
Tim Brown

THE RARE SOUL SEARCHER
Mark ‘Hitman’ Hanson

CLASSICAL SOUL
Richard Edwards

SOUL IN A DIGITAL AGE
John Farrar

LITTLE SILVER DISCS
HFE

208 FABULOUS RECORDS (BOOK REVIEW)
HFE

HOT OFF THE VINYL PRESS – ‘SPECIAL’
Ady Croasdell / Howard E

COMPILATIONS BRAZIL
David Sheldon

COLLECTING BRITISH
Lord Snooty

VIEW FROM THE APE HOUSE
Tim Brown
AND FINALLY – DEEP SOUL CORNER
Mike Finbow
Photo Vel Lewis

Availability
Available now from all the usual stockists including our very own Source Store
Tap here to purchase Soul Up North 115 via Source Store

Cover

By Mike in News Archives · March 13, 20232 yr

30 Years Of Northern Soul In Todmorden.
A commemorative booklet issued at the Charity Anniversary Evening 20th April 2001. Walsden Cricket Club
Site note the first 2 pages of this booklet are reproduced in text format below, the other pages are via scanned images only.
Todmorden is known around the world as an important centre for soul music due to the Goldmine record label. Accolades fall thick and fast on the label and its leading light. Tim Brown. There are in life very few true originators however, and the above label is merely the manifestation and visible pinnacle of a whole youth culture introduced to the Pennine Hill town of Todmorden in the late sixties.
In 1971 a fiery-headed youth and his affable friend took hold of this culture and gave it a local home. Their names were Raymond 'Ginger" Taylor and Eddie Antemes and the home was the Ukrainian Hall. Thirty years on it can, quite correctly, be stated that Todmorden is the little town with the big soul reputation, without doubt or argument the most important place of its size within Northern Soul realms.
It is, perhaps, worth taking some time at this juncture to examine the whole Northern Soul phenomenon and it's origins. Certainly these origins were born in far bigger places that 'Tod" (as it is known). If a place in time could be pinpointed to the birth of Northern Soul then that time could well be 11th September 1965 when the first Twisted Wheel Club in Brazenose St, Manchester closed. All-nighters had run at the club for some two years but were primarily based on genuine R&B such as Bo Diddley, John Lee Hooker and Ray Charles. When the Wheel re-opened at Whitworth Street, it opened its doors to the newly emergent 'soul' music via the mod culture. In truth this only mirrored whıch had already happened ın London's West End at clubs like 'The Scene', and "La Discotheque. Other clubs all over the country were to copy this upsurge, 'The Place' in Stoke, 'The Esquire' and 'Mojo' in Sheffield, 'Club a Go Go' in Newcastle and many more. Gradually as ıhe scene developed as a soul scene those on the cutting edge started to move away from the mod culture of the Small Faces, The Who etc. and nurtured their own idiosyncrasies.
Not yet even known as 'Northern Soul' the future was to be blueprinted in the summer of 1967. This was the time when many clubs (especially in the south) turned their backs on soul and went 'psychedelic'. It is recorded that Peter Stringfellow, then owner at the Mojo Club in Sheffield, donned kaftan, flares and beads ovenight declaring that 'the soul craze is over'. In the North, and primarily at the 'Twisted Wheel, they were not about to change a vibrant, secret world for anyone!
1968 brought about a change which was beyond the confines of these sceptered islands. This was within the music itself over in the land of soul, the USA. The psychedelic influence had, to a certain extent, permeated the making of soul iself, best illustrated in the Temptations' record 'Cloud Nine'. This change was not really appreciated by those at 'The Wheel' and other clubs. They hankered after the 'golden era' sounds of '64-'67. Thankfully for them, Black America had tried and often failed, with more soul music than they could ever imagine. The shift towards import-only discs (rather than UK labels) had begun. By 1969 a soul only shop called Soul City existed in London owned by journalist Dave Godin. He noticed that youths from the North tended to ask for uptempo soul from 3 or 4 years previous. Finally it was he who coined the term 'Northern Soul'
All through this time the Twisted Wheel had gone from strength to strength cemented by a massive article in Blues And Soul magazine entitled 'Land Of A Thousand Dances'. A plethora of establishments followed in the wake of the Twisted Wheel. Locally these would have been places such as Burnley Mecca. Top 20 in Oldham, Harrison's Hoist or the Birdtrap. As is always the case however, nothing lasts forever and, for a variety of reasons, by 1971 the Twisted Wheel was closed. The actual last night at the Wheel was an evening session on Saturday February 6th 1971 (ironically the thirteenth anniversary of the Munich Air Disaster), Unknown to all of us a much smaller pebble was about to be cast into the soul pond some twenty miles to the north
Easter 1971. Having seriously collected soul records for a few years and performed a certain amount of sporadic deejaying. one Raymond Ginger' Taylor and friend Eddie Antemes started a rare soul night at the Ukrainian Club in its first home at the Sobriety Hall, Todmorden
lt was not the first time that the Pennine mill town had been exposed to the music but it was the start of a whole sequence of events that was to see the town become synonymous with Northern Soul.
As is often the case, the origins of the night were both humble and practical with the two aspiring deejays having seen an advertisement in the local paper offering disco equipment for hire. Eddie's traditional family roots were responsible for the choice of venue. Local interest was immediate and forthcoming with scarcely a person over 20 years of age in attendance. Despite the fact that the place was named the 'Sobriety Hall', alcohol was served via a small hatch in the absence of a bar proper. Popular records from this time would have included Bobby Hebb 'Love. Love, Love', Joy Lovejoy 'In Orbit', Poets 'She Blew A Good thing', Ramsey Lewis 'Wade In The Water", Hoagy Lands 'Next In Line', Lenis Guess 'Just Ask Me', JJ Barnes 'Real Humdinger', Billy Butler 'Right Track', Chuck Jackson 'Chains Of Love', Archie Bell ' Here I Go Again", lots of Tamla Motown and, infamously, the 'fast' versions of 'I've Got Something Good' and 'You Just Don't Know'
Summer 1973 saw the Ukrainian community move to a much improved venue on Burnley Road, Todmorden. Formerly an office building for Mons Mill next door, this new building was named (surprise, surprise) the Ukrainian Hall with Ginger and Eddie's Friday Northern Soul night also making the move to the new venue. The night remained a popular one with the local crowd and as it was the only regular disco event in town a generation almost grew up with it. Nonetheless it was more or less a local affair with an admission price of 25 pence and beer at around the same price for a pint. One particular night was to establish the venue and project the deejay partnership beyond local boundaries however, this was the Christmas special of 1973. For the first time it was noticable that 'out-of-towners' were attending in significant numbers and such was the good time had by all that the word soon spread around the soul fraternity.
1974 was the heyday of the Ukrainian Hall (known locally as 'the Uky do') as people from Halifax, Rochdale, Burnley and further afield swelled the numbers in attendance to breaking point, far in excess of fire regulations in fact. By this time Ginger and Eddie had also taken a Thursday night residency at the Rose Room
Site note - the article now continues in scanned form below...

Forum topic https://www.soul-source.co.uk/forums/topic/435216-tomorden-soul-booklet/

history

By Keithg in Articles · March 9, 20232 yr

After the success of their previous “Get Mine/I’m Gone” 7” vinyl 45 release LRK Records is proud to announce the follow up record.
A side: What Will You Leave Behind
B side: Bang Bang Bang

Bella Brown & The Jealous Lovers are a Los Angeles based, transplanted from Chicago, unit that specializes in 60s/70s soul and funk. The band is fronted by the dynamically charismatic Bella Brown. A fiery female lead singer that is a mixture of Tina Turner and Sharon Jones, with a persona that is reminiscent of the empowered female leads of 70s Blaxploitation films. Backed by the musicianship of The Jealous Lovers they form a unit that expertly expresses a uniquely modern interpretation of the traditional soul and funk genres. Their new single “What Will You Leave Behind” exemplifies this ideal. The track is a heartfelt call to action in these times of failed humanity and injustice.

A Motown influenced message of hope that features sympathetic vocals, supportive horns, and a funky twist that asks us to create a better future by considering the effects of our present!
credits
Only 300 copies press on 7" vinyl
Be quick there are only 62 copies left!
Pre-order here:
https://lrkrecords.bandcamp.com/album/what-will-you-leave-behind

What Will You Leave Behind by Bella Brown & The Jealous Lovers

Releases May 26, 2023

Bella Brown: Vocals
Linda Taylor: Guitar
David Delhomme: Keyboards, Guitar
Daniel Pearson: Bass
Curt Bisquera: Drums
Taku Hirano: Percussion
The Regiment Horns
Sean Erick: Trumpet
Leon Silva: Tenor Sax
Kevin Williams: Trombone
Composed by Carol Hatchett, Daniel Pearson
Publishing: Avenue J Music(BMI), Velvet Sundae(ASCAP)
Produced by Daniel Pearson
Recording Engineer: The Jealous Lovers
Mix Engineer: Daniel Pearson
Mastering Engineer: J J Golden
Horns arranged by Daniel Pearson
Executive Producer: Avenue J Music, Liam Kenney(LRK Records)
Logo Artwork: Nori Shirasu
Special thanks to: Shelia Escovedo, Sean Slade, Enrique Gonzalez Muller, Prince
Charles Alexander, Bernard Fowler, Darryl Jones, Richard Mendelson, John Storyk,
Susan Rodgers, Daniel Thompson, John Whynot, David Bendeth

By LRK in News Archives · March 8, 20232 yr

We are thrilled to announce that BMR 1013 Jimmy Radcliffe/Barbara Jean English - Taste Sour Don't It is due for release Friday March 10th earlier than anticipated, one fabulous song, two sublime versions, Barbara Jean English sang back up vocals on Jimmy's version and vice versa, Jimmy wrote the song in 1965 and it was picked up by Keith Powell & Billie Davis released as a 'b' side in 1966 on Uk Picadilly, their version doesn't even come close to Jimmy's and Barbara’s powerhouse versions, this release comes is a custom card picture sleeve, a6 collectors card, insert card lyric sheet in a poly sleeve.
I have been lucky enough to track Barbara down and she is thrilled about the release, lovely lady and still has a pair of pipes, still active well just a nice person, she loved Jimmy and worked with him a lot in New York, cutting a few duet demos with him one of which is this new release.
Under licence from Black Patch productions to Big Man Records.
All pre orders and wholesale will be processed and shipped early next week around 14th/15th March, for details pm Mark Bicknell @Mark Bicknell email bicknellmark@aol.com or bigmanrecords1@gmail.com
We will be announcing news of future new releases BMR 1014 & BMR 1015 which are currently in production.
Video Flyers
Jimmy Radcliffe - Taste Sour Don't It

Video Flyer
Barbara Jean English - Taste Sour Don't It

By Mark Bicknell in News Archives · March 6, 20232 yr

We are back
After our little break we are back in our original town of Peebles just south of Edinburgh, this cracking textile town is a wonderful destination in its own right but with an added soul weekender it makes it an even better place to visit, sitting on the mighty river Tweed you won't be disappointed.
With one of the strongest dj line ups this year its going to be extremely interesting what these djs play for us, for sure top class tunes all weekend from early Friday evening onwards
On the Saturday from midday Cliff Steel and Jock O'Connor taken us on a 6 hour musical journey while we all enjoy the barbecue listening to their choices in top soul music from deep soul all way to soulful house. these Saturday sessions are now legendary.
Playing over the Weekend, Soul Sam, Andy Tats Taylor, Cliff Steel Alex Johnston, Steve Green, Taizo Taniguchi, John Buckley, Andy Dennison, Colin Law
Hope you can come and join us at the Park Hotel, Peebles, Scotland 1st and 2nd of September

By Lawman in Event News · March 1, 20232 yr

A busy release weekend for Ace Records, along with the vinyl releases, their latest cdtop cd catches the ear...
William Bell - The Man In The Street - The Complete 'Yellow' Stax Singles CDTOP 515
'Ace is delighted to follow up with the second volume of Bell’s solo singles for the label.'
As the tag says this is the follow up release to the May 2022 release 'William Bell - Never Like This Before' which featured the 'blue' singles (link at bottom of this article)

Release Notes
A clip of the release notes by Tony Rounce follows below
Its predecessor featured the A and B sides of every one of Bell’s 45s as originally issued on the blue Stax label between 1960 and early 1968. “The Man In The Street” does the same for every solo 45 that this well respected southern soul man released between late 1968 and early 1974, after the company had changed its label colour to yellow and rebuilt its catalogue from scratch.
Bell stayed with Stax almost until the label’s final demise in 1975. In the period covered by this collection he released some of his best known and best loved recordings, including his biggest Stax hit ‘I Forgot To Be Your Lover’ and long-time fan favourites ‘My Whole World Is Falling Down’, ‘Happy’ and his own version of his classic composition ‘Born Under A Bad Sign’.

All of those are featured here, along with 20 more tracks of comparable calibre.
Tony Rounce
Full release notes and more can be had via
https://acerecords.co.uk/the-man-in-the-street-the-complete-yellow-stax-singles
Track Listing
Side 1
01 I Forgot To Be Your Lover
02 Bring The Curtain Down
03 My Whole World Is Falling Down
04 All God's Children Got Soul
05 Happy
06 My Kind Of Girl
07 Born Under A Bad Sign
08 A Smile Can't Hide (A Broken Heart)
09 Lonely Soldier
10 Let Me Ride
11 A Penny For Your Thoughts
12 Till My Back Ain't Got No Bone
13 All For The Love Of A Woman
14 I'll Be Home
15 Save Us
16 If You Really Love Him
17 Lovin' On Borrowed Time
18 The Man In The Street
19 I've Got To Go On Without You
20 You've Got The Kind Of Love I Need
21 Gettin' What You Got (Losin' What You Had)
22 All I Need Is Your Love
23 Get It While It's Hot
24 Nobody Walks Away From Love Unhurt

Booklet Scans
As always the cd comes with an informative booklet, this time 16 pages deep, the scans below demo teh quality.

Availbility
Available right now via all the usual on and off-line stockists including our/your very own Source Store - tap here to visit

By Mike in News Archives · February 25, 20232 yr

Anyone who grew up listening to pop or R&B radio in Philadelphia (as I did) in the late 1960’s is familiar with The Show Stoppers’ raucous hit, “Ain’t Nothin’ But a House Party”. Frequenters of the Soul Source website may be familiar with the song from its release on Beacon in 1968 (more on that below).
In 2017, the song was featured as the lead cut on Kent Soul’s excellent compilation, Nothing But a House Party – The Birth of the Philly Sound 1967-1971, a Compilation of the Year pick by London-based Soul Brother Records.

As Tony Rounce of Kent Soul explains in his excellent liner note to the release, “In the same way the Motown Sound really came together after the company started recording almost exclusively in its own premises, the Philly Sound quickly took shape once Joe Tarsia, the former chief engineer at Cameo-Parkway Studios, opened Sigma Sound in 1968.”
“House Party” is a perfect pick for leading off the compilation, as it was recorded shortly before the opening of Sigma Sound, but with the involvement of many of the key players who created the Philly Sound.
Being a Philadelphia native of that era, and an R&B devotee, I had the 45 releases of the song on the Showtime and Heritage labels in my collection but never knew the full story of the song’s origin and history – until an unexpected meeting with the producer of the song on, of all places, a golf course, led me on a journey into the history of this soul classic.
McCall Field Golf Club is a private club outside Philadelphia, but it is anything but a posh enclave for the upper classes. It was built in the 1920s by the local electric utility as a place for its employees to play the newly popular game. Nowadays, it retains its blue collar feel, and accepts members who don’t work at the utility, which is how I ended up there
One day a couple of years ago, I joined up with a group of fellows I did not know half way through my round. One of the guys was talking animatedly about a recent show by The Temptations.
I idly wondered who of the original group was still touring under the name.
The guy responded, “Oh, it’s still Otis Williams’ group. I know him, man, he’s a friend of mine, I know all those guys.”
The name hit me. “You mean, Otis Williams, as in Otis Williams and the Charms?”
He stopped and looked at me. I had been outed as an R&B nut.
“Yeah! You know Otis Williams and the Charms? Hey, I was in the record business,” he said, “I produced a song. You know ‘Ain’t Nothin’ But a House Party?’ That’s my song!”
I was impressed. During a few subsequent rounds, I got more of the story from the guy, Bruce Weinroth. Then one winter day, we sat down in the club’s deserted grille room and talked – he talked, I listened - about how it all happened. (Bruce also brought his scrapbook, the source of several of the pictures here).
Bruce got his start in the music business as an undergraduate at Temple University in Philadelphia in the mid-1960’s.
“When I was in college, I used to book bands for my fraternity house at Temple, PI Lambda,” Bruce explains. “We used to book bands like Kenny Gamble and The Romeos. Then sometimes the schools used to ask me to do a show.”
When Bruce graduated, he worked managing a clothing store, while continuing his booking work.
Bruce recalls: “My father owned a chain of clothing stores. I ran one store for him called Richie Allen’s Dugout [named for the famous Phillies slugger] in Germantown. I was still booking the bands on the side.”
One day in 1967, a group of young men were in the store, and while checking out the new fashions, became intrigued with Bruce’s phone conversations.

Bruce remembers: “These guys walk in the store and they hear me on the phone, talking about a booking. They say, ‘Hey, you in the music business? We all in a group.’ Of course I said ‘Yeah!’”
The group, The Show Stoppers, two sets of brothers from Germantown High in Philadelphia, had strong bloodlines, as one set, Alex and Laddie Burke, were younger siblings of Solomon Burke, who had emerged as a star with Atlantic Records, one of the singers credited with creating the “Soul” sound.
“I put them on a show with The Vibrations, Jackie Wilson and The Magnificent Men, at Philadelphia Textile College,” says Bruce.
The Vibrations were a dynamic live act and had been at the root of a music sensation in 1964 with their recording of “My Girl Sloopy”, produced by the great Bert Berns. The song was renamed “Hang On, Sloopy” when The McCoy’s version hit #1 in 1965, and was recorded by over twenty artists within the next year.
Carl Fisher was the lead singer for The Vibrations, and after watching The Show Stoppers, he pulled Weinroth aside.
Bruce explains: “Carl Fisher says to me, is that your group? I say, yeah. He says, come here a minute, let’s talk. He says, I write, I got songs. So, the three of us, Carl Fisher, Joe Thomas [The Vibrations guitar player] and I, sat around and came up with the song.”

The inspiration for the title and refrain came from a catch-phrase used by legendary Philadelphia DJ Sonny Hopson (The Mighty Burner, as he was known).
Bruce chuckles. “Sonny Hopson used to always say on the radio, ‘Ain’t nothin but a house party’. So we played with that idea.”
The result was a funky, upbeat number, “Ain’t Nothin’ But a House Party”, credited to Del Sharh and Joe Thomas. (Fisher used the pseudonym Del Sharh on the composition credits).
Weinroth had no experience at record production. As he recalls, “I didn’t know a thing about producing records. I went to my father [Melvin Weinroth], he was a business man. I said, ‘Dad, I need some money, I want to do a record.’ He said, ‘You’re doing a record? What do you know about doing a record?’”
But Bruce knew enough to get all the right people involved. Weinroth took the group to Cameo-Parkway’s studio and produced the session (under the name Bruce Charles) and enlisted stellar session men, including Carl Chambers on drums, who went on to play with Gladys Knight and the Pips; Mike Terry on baritone sax, already a Motown stalwart; well-known Philly player Mike Pedicin on tenor sax; and Joe Thomas, who went on to perform with Curtis Mayfield and The Impressions. The horns were arranged by Thom Bell, who was on the verge of his work creating the “Philly Sound” with The Delfonics, Jerry Butler and many others for the Philly Groove label and Kenny Gamble and Leon Huff’s Philly International label (and a host of other labels, large and small).

But this recording had none of the sweet, string-laden orchestration of Bell’s later work. This was a hard-driving dance number that echoed the energy of other soul/funk songs on the charts then, like “Funky Broadway” by Dyke and the Blazers and “Boogaloo Down Broadway” by the Fantastic Johnny C, with a bit of The Miracles “Goin to a Go Go” mixed in. It has a live, it-really-is-a-party sound, the background jive—“What’s happenin’ baby?”, “Goin’ to a Party!”—presaging the party chatter of songs like Marvin Gaye’s “What’s Going On”.
With baritone sax punctuating the verses, a chorus of overlapping call-and-response vocals repeating the lines “Ain’t nothin but a party/Ain’t nothin but a house party”, and a punchy horn riff leading back to the verse, the beat is irresistible.
Bruce got to put his own personal stamp on the recording. “I’m on the record; at the beginning, when they say ‘Hey baby, it ain’t nothing but a house party’, that’s me. That was my idea.”
Much of the group was, as Bruce says, “All those guys from MFSB, before they became MFSB”, referring to the name given to the cadre of studio musicians who would become to Gamble & Huff’s “Philly Sound”, what The Funk Brothers were to Motown. (MFSB stood for “Mother, Father, Sister Brother”, according to the “clean” version of the name’s origin, invoking the closeness of the musicians; alternatively, it meant “mother-fucking son-of-a-bitch”, in tribute to the prowess of the group’s members.)
The engineer was Joe Tarsia who would go on to found Sigma Sound, the home base for Gamble & Huff’s Philadelphia International records, and the source for over 200 gold and platinum awards with an extensive client list that begins with Aretha Franklin and ends with ZZ Top (including David Bowie’s Young Americans).
The single, released on Showtime Records, the label created by Bruce and Irvine Weinroth (Bruce's brother), was a strong regional hit, breaking the top ten on pop and soul stations in Philadelphia, and reaching #2 at WRAW in Reading, Pennsylvania.

Bruce recalls: “My father knew Georgie Woods real well. [Woods was a key DJ at WHAT, one of the two big soul stations in Philadelphia, at that time; he may be better known to Philadelphians for his many years at WDAS]. And Ernie Fields at WDAS, he loved it, he was the first to play it.
“He got into it, my father. To the point that Thom Bell said to him, ‘Why don’t you pay me a salary, and I’ll do records.’ My father said, ‘I don’t think so.’’”
Bruce worked a distribution deal with Harold Lipsius at Jamie/Guyden and the song hit the top 40 in Harrisburg, Columbus and Cleveland. The song did not break out nationally, hitting only #118 on the Billboard charts in May 1967, but it was early days.
(Note: Jamie/Guyden created records on its own two labels and was also a distributor for a wide range of local and national record labels. For an interesting tale of how Frank Lipsius (Harold’s son) helped the producers of the hit movie The Green Book feature authentic R&B/Soul songs of the era without breaking the bank, by plumbing the depths of the Jamie catalog, check out this article by Jonathan Takiff from the Philadelphia Inquirer ("How a small Philadelphia record company gave an Oscar contender its sound").
In January 1968, Milton Samuel, an Antiguan-born businessman who had started Beacon Records in London, was visiting the US and heard the song. Weinroth leased the master to Samuel and “House Party” became the first (and only) hit for his label. Released in February 1968, the song reached #11 in the UK Singles Charts and became a favorite of the Northern Soul crowd at such clubs as the Twisted Wheel and the Blue Note. The Show Stoppers travelled to the UK and made three appearances on Top of the Pops.

Bruce recalls the trips to England with the band: “In England, they were like the Temptations were here.”

The song’s popularity led to faithful cover versions by several British artists around this time, including The Tremeloes, The Paper Dolls and Cliff Richard.
In April 1968, the song had another life in the US when Jerry Ross, a music industry hustler from Philadelphia, who had been the booth announcer on Dick Clarke’s American Bandstand before moving on to songwriting (co-authoring “I’m Gonna Make You Love Me” with a young Kenny Gamble) and production work (including “Sunny” by Bobby Hebb), bought the “House Party” master for his new Heritage label. The song fared better nationally, reaching #87 on the Billboard Charts.

The final big chapter in the song’s life came in 1976, when the J. Geils Band recorded the tune for their live album Blow Your Face Out, which reached the Billboard Top 40. The song received a lot of airplay and the single release reached #20 in Boston, the home stomping grounds of the band, and became the title song for the band’s recurring “House Party” tours.
Being recorded by the J. Geils Band was a stamp of authenticity, as the group, with ex-DJ Peter Wolf as lead singer, had made a practice of resurrecting obscure (to white audiences) R&B hits for a college-party crowd, including “So Sharp” by Dyke and the Blazers, “Looking for a Love” by The Valentinos, “First I Look at the Purse” by The Contours and “The Usual Place” by Don Covay.
Other artists who recorded the song in later years included Phil Fearon, whose house music version produced by Stock Aitken Waterman in 1986 reached #60 in the UK charts, and a more rocking cover in 1988 by British "supergroup" The Corporation.
“House Party”’s story has a “Twenty Feet from Stardom” vibe: The Show Stoppers family ties to a soul music legend; Carl Fisher’s link to the “Sloopy” sensation of 1965; a studio crew that became the foundation of the Philly Sound; and resurrection by a band second only to the Rolling Stones for bringing obscure R&B to a broader audience.
Bruce Weinroth retired from the music business not long after his time with The Show Stoppers. He works in the insurance industry and plays golf regularly at McCall Field. Although he regrets selling the master to Jerry Ross, Bruce kept the publishing rights to the song through his company, Clairelyn Publishing (shared with Jamie/Guyden’s Dandelion Music).
Relaxing in the empty grille room, he smiles. “Claire is my mom, Lynn is my wife—so Clairelyn. I still get royalties; and they’re not ten dollars, they’re thousands, every quarter. Sony Pictures used it in their movie Grown-ups II—they used the J. Geils version. And Toyota used it in a couple of commercials.”
“House Party” is still played regularly on oldies stations around Philadelphia and will forever be a key part of the heritage of the Philly Soul Sound. But it never would have happened if The Show Stoppers hadn’t been looking for some cool threads at Richie Allen’s Dugout one day in 1967.
Postscript:
In prepping this article for posting on the Soul Source site, I came across this thread on the various releases of the House Party 45 on the site, with more knowledgeable back and forth on master plates and matrix numbers than I can muster. I had come across the Party Time release in my research, but had never been able to determine how Party Time and Showtime related, other than they both were set up by the Weinroths. If I can nail Bruce down for another conversation, perhaps he can shed some light on that.

I was impressed by some of the releases pictured in the comments, especially the Frankford/Wayne acetate. I also enjoyed seeing the Collectables reissue on red vinyl. The Collectables label was created by Jerry Greene, who also founded the Lost Night and Crimson labels. Collectables used to have an office about a mile from my house in suburban Philadelphia.
I would also like to thank Max Ochester of Brewerytown Beats for his encouragement in reviewing early versions of this article. He runs a great record shop in Philadelphia and has been instrumental in promoting and reissuing Philly music. Max can be found here on the Soul Source site.
For other posts on music (and books and film), you can visit my website at joeleturner.wordpress.com, and use the “word-cloud” on the right side of the page to find posts about Soul, Jazz, Vinyl, etc.

artists

By Joel E Turner in Articles · February 24, 20232 yr

A busy weekend release schedule for Kent Records with the following 6 x 45s now available for purchase.
One new 45 out on Kents Town/Soul imprint
The San Francisco TKOs - Make Up Your Mind / Ooh Baby Baby - Kent Soul 176
San-Francisco-TKOs-Make-Up-Your-Mind.mp3
TOWN_176-2-1.mp3

2 new quality additions to the Repro imprint
Ty Karim - Lighten Up Baby / All At Once - Kent REPRO 11
REPRO_11-1-1.mp3
REPRO_11-2-1.mp3
Hytones - You Don't Even Know My Name / Good News - Kent REPRO 10
The-Hy-tones-You-Dont-Even-Know-My-Name.mp3
The-Hy-tones-Good-News.mp3

3 new adds to the Kent City/Select range
Warren Raye & The Infernal Blues Machine - It's The Feeling I Get - Kent Select 086
Warren-Ray-Infernal-Blues-Machine-Its-The-Feeling.mp3
The Classic Example - Right On - Kent Select 083
The-Classic-Example-Right-on.mp3
Jackie Dee / Dave Hamilton - Who/ Who (Instrumental) - Kent Select 085
CITY_085-2-1.mp3

All avaiable now from all the usual online suspects including our very own Source Store - Tap here for Source Store
Full release notes via Ace Records Website - Tap Here to visit

By Mike in News Archives · February 23, 20232 yr

FINALLY - AFTER MUCH PRESSING PLANT DELAY - IT’S THAT TIME AGAIN – 2 NEW 45’s OUT NOW.
We are masters of the 'undersell' - but 2 really good and top value 45s here. 6 great tracks - popular with UK fans and our growing Low Rider base in the US.
£15.00 each + £3.00 UK postage (good for 1-3 records) , US postage £6.00 per order. Paypal – hitandrunsoul45@gmail.com
HR 1546 BELITA WOODS -
A1 : That's When I'll Stop Loving You - https://youtu.be/ALkLKwlMew0
A2 : You Do Your Thing And I'll Do Mine
B1 : Magic Corner - https://youtu.be/uHGPP8OtqH8

HR 1547 THE MASQUERADERS -
A1 : How - www.youtube.com/watch?v=HuQosni0tZI
B1 : One More Chance -https://www.youtube.com/watch?v=FsAFtl3cR6U

B2 : Be Happy For Me - https://www.youtube.com/watch?v=9XebXyD5QpY

All releases prior to 1540 remain at the old price of £12.00.
Paypal – hitandrunsoul45@gmail.com
Interested in a promo ? please EMAIL for up to date availability - hitandrunsoul45@gmail.com

By Dewsburyborn in News Archives · February 18, 20232 yr

Gripped by the Flu over Christmas and new year I needed something to keep the brain engaged and fill the endless hours, and it seemed the right time to delve into something that had been at the back of my mind for a while. So, it was time to scratch the itch, venture into the abyss of the internet and get going. With Paracetamol and Cold and Flu remedy at my side the journey began.
Throughout the years there have always been strange situations and circumstances surrounding the music business. Artists have recorded under pseudonyms; bands have moonlighted as backing for other artists, and writers and producers have been credited with recordings where they were not involved. All very strange in the world of independent music in the sixties. So, it’s against this background that something struck me recently whilst browsing through some of the record boxes.
I pulled out a copy of The Cool Sounds 'Who can I turn to' on Warner Bros and a question occurred to me. How does an obscure sixties San Antonio band recording pop up on a nationally distributed label in the seventies recorded by a different artist? It’s the kind of triviality that captivates a collector but having said that I really should get out more. Research led me from Texas to Ohio via LA and back, and the story below is as best as I can figure out at this time. It’s by no means comprehensive and there are gaps – and probable inaccuracies - so additions and corrections are always welcome.
The starting point was The Primes as this was, I believe, the first recording from around '68. The label 'Lota Soul' gives little information except a producer and writer. The writer was one Benny Cherry, so the search started for Benny. To confuse matters immediately there were several groups around at the time called The Primes, which included the early incarnation of the Temptations from Detroit and more interestingly for me The Primes from Ohio. However, the Ohio band turned out to be a short-lived act for around one year and of no significance to the story. At the same time, I was playing the Cool Sounds version on YouTube there was a comment stating the Cool Sounds were in fact the Imperial Wonders from Ohio, the same band who recorded the classic 'Just a dream' on Daywood and others familiar to us. They were named, according to a weblog, after well-known recording artists of the time, Little Anthony & Imperials and Stevie Wonder.

The Primes 45
The Cool Sounds release is from around '72 and gives writing credit to both Bobby Sanders and Benny Cherry along with Soultown Productions and was issued as 'Who CAN I turn to (where can I go)' as opposed to the Primes ' Who DO I turn to'. Bobby Sanders is well known on the soul scene and was a prolific writer, producer and a share owner in the Mattel financed ‘Soul Town Records’ from L.A. which issued many a fine tune. He was also one of the original Younghearts band members who formed whilst at Dorsey high School in LA around '61 as 'The Extreems'. A decade later circa 1970 Sanders had taken up more of a management role of the band and had been replaced by Harvey Ganic in the lineup. For a brief period around that time, the Imperial Wonders had gone southwest to LA to try and make a breakthrough there. Sanders had asked them to relocate and become the New Younghearts, supposedly to replace the defunct Younghearts, only to find out that the Younghearts were still around and performing. The 'Imperial Wonders' were renowned for their Temptations like sound and harmonies, which they had cultivated to become more popular, but unfortunately indecision and disagreements between band members about writers and producers meant there was little if any success in LA, so they headed back to Ohio.
So, were the Cool Sounds the Imperial Wonders? Not exactly, as only one member of the Imperial Wonders was tempted to join the Sanders 'Cool Sounds' project in LA and that was Leo Green. Green, originally a street corner singer, had joined the Imperial Wonders at the request of Kennedy Holman who was effectively in charge of the group in the late sixties and Green took the lead on several songs in their set. Their line up changed regularly over the years with members leaving and others being recruited, so the loss of Green was not too disruptive. Indeed, Holman himself was to leave the group without notice by enlisting for the army just before a gig. Green left assuming the Cool Sounds would become successful before the Imperial Wonders and was lead singer on the Cools Sounds outing 'Boy Wonder'. He now sings with one of the two groups calling themselves 'Sly, Slick and Wicked', this one being led by John Wilson. The other Sly, Slick and Wicked group is owned through trademark and run by Sonny Daye. Other Cools Sounds members included Gene Shaw aka Gene Hudson and Bobby Warren who left to join The Drifters. Sadly, Warren was later killed in a robbery in Florida.

The Cool Sounds – Boy Wonder
Back to Cherry and where he fits in. Cherry seems to be around San Antonio at a time where the local music scene was dominated by Abe Epstein. A local real estate agent turned music entrepreneur and noted as the producer of the 'West side sound', Epstein owned at least nine labels, which operated and recorded out of his General McMullen Drive studios. His roster spread across all sections of the community including white, hispanic, and black groups recording on labels such as JOX, Cobra and most importantly to our soul scene Dynamic.

Abe Epstein
In '66 Epstein was attending a city talent contest at the Central Library Auditorium when a local band by the name of The Justifiers took to the stage and sang 'No time for you'. The group was formed in 1962 at St. Phillips College and made up of Archie Satterfield, Melvin Porter, Roger Blackwell and one Bennie Cherry (sic) who was also the songwriter. Although the Justifiers didn't win, Epstein loved their song and decided he wanted it for his own band The Commands.
The Commands were Epstein’s real talent on the Dynamic label, the jewel in the crown as it were. The group originally formed when they all were US Airmen based at Randolph AFB near San Antonio. Co-founders Sam Peoples of Billings Montana and Emanuel Grace of Philadelphia both had a strong background in the church singing with their choirs and commercially with local groups. At Randolph AFB they joined an outfit called The Originals which included Robert Ben and Autry Raybon. Whilst rehearsing they were overheard by Hispanic New Yorker Isaac ‘Jack’ Martinez who noticed Raybon was totally off-key, and Martinez would subsequently replace Raybon.
The quartet’s aim was to be a high-quality vocal group and gain entrance to the Air Force’s performance ensemble called ‘Top’s in Blue’. This would spare them active service in the jungles of Vietnam and the horror’s that entailed. Calling themselves The Commands as a nod to their military credentials, they entered talent contests for inclusion in Tops in Blue. On the same circuit was an oddball duo called The Newton Singers with their gospel influenced folk sound. Dan Henderson from Pittsburgh was the alto lead in the duet, having previously sung with The Stereos before enrolling in Chicago’s Roosevelt University in ’61. After the tour ended for both groups Henderson asked for a transfer to Randolph AFB and after sitting in on rehearsals for six months eventually replaced Robert Ben in the bands line up.
The Commands had no exposure in the civilian world as their gigs revolved around air force bases. Somehow Epstein gained access one evening to Randolph’s ‘Hunt and Saddle’ club on the base where he saw the Commands live on stage. Conversations were had and an agreement made to put the band in the studio. In their first session the backing came from a local Hispanic band The Dell-Tones who were already on Epstein’s JOX label. From this came the flawless rendition of Cherry’s ‘No time for you’.
The Dynamic 45 (#104) was issued with the Dan Henderson written 'Hey its love' on the flip and Henderson and fellow Commands member Sam Peoples were credited with 'No time for you' leaving Cherry seemingly out in the cold with not even a nod to his writing. I’m not sure why this happened, it could be that a deal was struck between Epstein and Cherry and for some reason Cherry was not credited. Maybe it was the age-old practice of the artists or their management taking credit for the writing, the “change a word get a third” model to get a greater share of the royalties, but the actual events are long gone and lost in time. The single was a hit locally with 'No time' getting the airplay and topping the charts at various local radio stations. The record eventually spread throughout Texas and even as far north as Chicago and west to San Francisco.
Epstein, eager to capitalize, tried to strike deals for the rights with various major labels pushing it across the US and it was eventually picked up by Cleveland’s O'Jays who cut it for Imperial. It wasn’t a commercial success for them, but then Don Robey of Back Beat made Epstein an offer to reissue the Commands 45 (BB # 570) and it was playlisted by radio stations in Miami and LA where it received a great audience response. Apparently, Robey shipped 5000 copies in one week and tens of thousands over its period of success. Just when The Commands thought all was going well, disputes between Epstein and Robey, initially over a missed opportunity to support Buddy Ace, turned into a full-blown legal dispute over unpaid royalties and everything faded from there. However, even on Imperial and Back Beat the writing credits went to Henderson and Peoples and once again Cherry missed out. His own band 'The Justifiers' did release one single to my knowledge which was 'My love has gone / Lonely Boy' on KIM 101 another local San Antonio label, again with Cherry as the writer. This 45 is very rare and in demand amongst the soul harmony group collectors.

The Justifiers on KIM
Having received no credit for the Commands release, it was strange that Cherry would have further involvement with Epstein and the Dynamic label set up, which leads me again to believe there must have been some deal struck between the two. However, he appears again, but this time credited, on Dynamic issue #123 with 'Too late to cry' by The Commands again. The record was used twice with 'I got love for my baby/ A way to love me' and 'Too late to cry /A way to love me'. Here we start to see some potential connections forming with 'I got love for my baby' written by Sanders and his Younghearts, and both recordings released in '68 according to Discogs information.

Commands on Dynamic
After the Cools Sounds the trail goes a little cold, but Cherry next surfaces, as far as I can see anyway, along with his Justifiers band member Archie Satterfield when they join the Hall of Fame Doo wop group 'The Flamingos' in 1984. My initial thought was that perhaps Satterfield may be Artus Satterfield who recorded ‘Don’t Lie’ for Big Ben and London House, who also recorded as Art Taurus for Exuma and Bobby Black for Axis. However, this performer seems to be based firmly in New Jersey, so it’s perhaps unlikely to be the same Satterfield associated with Cherry in San Antonio, but who knows, stranger things have happened, and other artists have popped up all over the US given the opportunity to record.
Since its inception in the early fifties the Flamingos line up had changed numerous times with members leaving to form other bands and even rejoining after several years. One of the early members being UK resident Tommy Hunt who was there in the beginning and often returned from the UK, where he had lived from 1970 to perform with the band. Cherry stayed with the band until 1988, when it looks like he decided to return to his own project called 'A Touch of Silk'. Formed in 1980 in San Antonio it was presumably disbanded when Cherry left to join The Flamingos, but I may be wrong on that as I suppose both could have run in parallel with Cherry splitting his time. They were a seven-piece band who were an accomplished outfit performing covers and many of their own pieces. Cherry was one of the three vocalists along with Deborah Luv from San Antonio and Lawrence Jones from Cleveland. A Touch of Silk continued to perform until 2010 predominantly around Las Vegas and Nevada where the trail goes cold again. Despite several attempts to contact them no replies were received.

A Touch of Silk
Back to the original question about the song 'Who can I turn to'. It seems that Bobby Sanders is the key in all this. As a label owner, writer, performer, manager, and producer he would no doubt be on the look-out for talented artists and we can see that despite being LA based he had contacts as far north as Ohio. So, it’s only a small leap of faith to assume he had similar contacts across the south, indeed I can find Sanders involved in recordings in and around Texas and other southern based labels. Similarly, Epstein would be looking for talent and deals that expanded his empire. We know that 'I got love' was recorded by The Commands for Dynamic and The Younghearts for Minit, who were Sander's group and wrote the track. This suggests some further connection between the San Antonio music scene and Sanders.
My theory - and it is only a theory - is that Cherry and Sanders probably crossed paths during this time with Abe Epstein and his recording empire being the catalyst bringing them together. Like Sanders, I’m sure Epstein would have been searching for talented music people to help develop and expand his myriad of artists and labels, and perhaps there was some active collaboration with Sanders in this endeavor. The fact that Sanders was given a writing credit on the Cool Sounds WB release suggests something closer than just a mere 'connection' between him and Cherry, there may have been legal agreements and relationships in place, or maybe Sanders just wanted more of the royalties and put himself on the writing credits. Remember the slight title change and ‘change a word get a third’? Sanders died in 2007, and with no response from Cherry it’s all merely conjecture and supposition. But I'd like to think that via Epstein, Cherry and Sanders met with Cherry pushing 'Who Can I turn to' to Sanders. A few years later Sanders forms the Cool Sounds and remembers the great track from Cherry and a licensing deal is agreed and it subsequently surfaces on Warner Brothers. As with many great tracks it got no recognition and disappeared, only to emerge again decades later as the avid soul fans of the UK and beyond dig ever deeper.
The two versions are obviously different in terms of the mix but there is no mistaking the song on either. The slow mournful introduction leads everyone astray and the dancers out there are lulled into leaving the dancefloor, only for the backing track to burst into thunderous life. The vocals on both are superb, but the Primes version edges it for me with its raw power, emotion, and naivety as the track storms along like the Thames-Clyde Express, with the lead vocalist interchanging seamlessly with the backing harmonies. The Cool Sounds outing is basically the same, but is a much more polished production affair, as you would expect for a later recording on a major label. They certainly pulled out the all the stops with Bobby Sanders and Art Freeman at the controls. Either way, both would be welcome additions to any collection in my humble opinion, but I’ll let you decide which is for you.
https://www.youtube.com/watch?v=tXEVbk_Ddno
https://www.youtube.com/watch?v=T4ZzCQZlYI8
This was put together from various sources on the internet, record label publicity material and a special mention to Al Boyd of the Imperial Wonders who filled in some blanks to the best of his recollection. Corrections and additions always welcome to my rambling nonsense.
Andy MacIntyre
Jan 22

By Billy Jo Jim Bob in Articles · February 17, 20232 yr

Stumbled on this the other day and thought may be of interest
Basically it a website 'about us' page from the Izipho Records website, but rather than a generic sort of site description, it goes way beyond that and gives an insight on the thinking, the origins, the practices and such behind this intriguing record label
Clip below
IZIPHO SOUL RECORDS
Firstly, please let me explain the strange label name origins! As a lover of legendary jazz saxophonist, Pharoah Sanders, his 1973 Strata East album entitled IZIPHO ZAM, translates from the Zulu language IZIPHO, meaning ‘gifts’, therefore IZIPHO SOUL translates to 'Soul Gifts' / 'Gifts of Soul', which is what our music is!
This ‘bucket list’ idea of putting out a record all started after I became great friends with Kansas City based singer Bryan Austin. We hit on the idea of getting Bryan back on vinyl. Bryan is a dear friend of legendary Motown songwriter Janie Bradford, she had given him one of her songs ‘What Would Marvin Say?’. The three of us worked together and released the first record in May 2016.
Full article here
https://www.iziphosoul.com/about-us-1-w.asp
----------------------------------------------------------------------
Three new releases planned for 01 March 2023
RONFO & KINDRED SPIRITS ORCHESTRA Feat. SANDI EVERETT - DON'T LET HIM GET THE BEST OF YOU. Out 1 Mar
£12.00

NORMAN HUTCHINS - REALLY LOVE YOU. Out 1 March
£12.00

THE REGIME - BE A LOVER. Out 1 March
£12.00

Full info and purchase options via the website
https://www.iziphosoul.com

By Mike in News Archives · February 17, 20232 yr

Two new releases upcoming from Soul 4 Real, 27th February 2023 the release date, pre-order now available.
𝗣𝗔𝗨𝗟 𝗞𝗘𝗟𝗟𝗬 - 𝗬𝗢𝗨 𝗠𝗔𝗞𝗘 𝗠𝗘 𝗧𝗥𝗘𝗠𝗕𝗟𝗘 / 𝗖𝗢𝗠𝗘 𝗪𝗜𝗧𝗛 𝗠𝗘 (𝙎4𝙍25)
𝗟𝗢𝗥𝗥𝗔𝗜𝗡𝗘 𝗘𝗟𝗟𝗜𝗦𝗢𝗡 - 𝗛𝗔𝗩𝗘𝗡´𝗧 𝗜 𝗕𝗘𝗘N 𝗚𝗢𝗢𝗗 𝗧𝗢 𝗬𝗢𝗨 / 𝗜´𝗠 𝗚𝗢𝗡𝗡𝗔 𝗖𝗥𝗬 𝗧𝗜𝗟𝗟 𝗠𝗬 𝗧𝗘𝗔𝗥𝗦 𝗥𝗨𝗡 𝗗𝗥𝗬 (𝙎4𝙍26)

𝗣𝗔𝗨𝗟 𝗞𝗘𝗟𝗟𝗬 - 𝗬𝗢𝗨 𝗠𝗔𝗞𝗘 𝗠𝗘 𝗧𝗥𝗘𝗠𝗕𝗟𝗘 / 𝗖𝗢𝗠𝗘 𝗪𝗜𝗧𝗛 𝗠𝗘 (𝙎4𝙍25)
Paul Kelly, who died in South Carolina in 2012, only ever had one genuine 'hit', ”Stealing In The Name Of The Lord” in 1970, despite a recording career that lasted the best part of three decades. He also had the misfortune in later years to be confused with an Australian singer of the same name.
He was, however, a singer and writer of unusual and undeniable talent, and in the first half of the seventies -a time when his songs were in considerable demand- cut two of the greatest of all soul LPs down in Nashville, “Don't Burn Me” and “Hooked, Hogtied & Collared” with long-time mentor and producer Buddy Killen, on which the two self-penned tracks on this single initially appeared.
It is the first time either of them have been featured on a 45. “Tremble” is a lovely relaxed dance side, bathed in shimmering strings, while “Come With Me” flows effortlessly underneath Paul's sublime aching singing. Enjoy!
𝗝𝗼𝗵𝗻 𝗟𝗶𝗮𝘀

𝗟𝗢𝗥𝗥𝗔𝗜𝗡𝗘 𝗘𝗟𝗟𝗜𝗦𝗢𝗡 - 𝗛𝗔𝗩𝗘𝗡´𝗧 𝗜 𝗕𝗘𝗘N 𝗚𝗢𝗢𝗗 𝗧𝗢 𝗬𝗢𝗨 / 𝗜´𝗠 𝗚𝗢𝗡𝗡𝗔 𝗖𝗥𝗬 𝗧𝗜𝗟𝗟 𝗠𝗬 𝗧𝗘𝗔𝗥𝗦 𝗥𝗨𝗡 𝗗𝗥𝗬 (𝙎4𝙍26)
It's safe to say that "Stay With Me" defined Lorraine Ellison's career. Her controversial debut and most successful release on Warner Brothers has divided opinion among deep soul fans since its release back in 1966. Sadly, Lorraine could not repeat its success, eventually retiring from the music business in the early 70s, leaving a relatively modest catalogue of recordings.
Soul4Real has selected two Jerry Ragovoy-produced gems from Warner Brothers´ vaults to showcase her undoubted talent. Recorded in March 1967, "Haven't I Been Good To You" appears for the first time on vinyl (it was included on a CD retrospective in 2006). It's a fine, restrained, soulful performance which is equal to many of her released tracks.
The B side is a great version of Irma Thomas' 1964 release "I'm Gonna Cry Till My Tears Run Dry", arranged by Bert DeCoteaux and taken from her 1969 'Stay With Me' album.
'Philadelphia's Queen Of Soul' - a worthy addition to Soul4Real's 'Hall Of Fame'.
𝗠𝗶𝗸𝗲 𝗟𝗼𝗳𝘁𝗵𝗼𝘂𝘀𝗲

------------------------------------------------------------------
Label design by Jordi Duró.
𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 27th FEBRUARY
15 𝗲𝘂𝗿𝗼𝘀 + postage as it follows:
1 to 5 copies: 6,90 euros UK & Europe
1 to 5 copies: 3 euros Spain
1 to 5 copies: 10,55 euros USA & rest of the world
𝗣𝗮𝘆𝗺𝗲𝗻𝘁 𝗯𝘆 𝗣𝗔𝗬𝗣𝗔𝗟 𝗮𝘀 𝗳𝗿𝗶𝗲𝗻𝗱𝘀 & 𝗳𝗮𝗺𝗶𝗹𝘆:
soul4realrecordlabel@gmail.com
Check previous releases: www.soul4real.es

By Alexsubinas in News Archives · February 13, 20232 yr

Last Bastion Records have been in touch giving us some advance warning of their next release. Due out in April
Dojo Cuts - Ain’t got no reason / Uptight - Last Bastion Records LB04
'Pre release orders can be placed exclusively with Detour Records at an special introductory price of £13. When in stock it will then retail at £14.99 . Release date is scheduled for April 2023 '
more info via
https://shop.detourrecords.co.uk/epages/es785745.mobile/en_GB/?ObjectPath=/Shops/es785745/Products/LB04

Both sides...

By Mike in News Archives · February 12, 20232 yr

Kent Records have just released three new 45s.
One on the Kent Select/City series, one on the Kent Soul/Town series and one on the Kent Deep Soul sereis
Details and such of these three brand new releases follow below
All available via the usual online suspects including our own Source Store

Houston Outlaws - Ain't No Telling / It's No Fun Being Alone - Kent Soul 175
The Houston Outlaws ‘Ain’t No Telling’ is re-released due to the constant demand for this atmospheric dance track. It has been coupled with their in-demand harmony ballad ‘It’s No Fun Being Alone’
TOWN_175-1-1.mp3
TOWN_175-2-1.mp3

Connie Austin / Charles Spurling Ball Of Fire / You've Got Love On Top Of Love - Kent Select 084

‘Ball Of Fire’ is an exceptional song, first recorded by Connie Austin as a smouldering mid-tempo number on which she pours her heart out. It would be updated a year later by Marva Whitney who took it at a faster funkier pace. Charles Spurling remembers Connie as a good looking, fast-living girl who was murdered in Los Angeles soon after.
Spurling was a good singer himself and had five King releases between 1967 and 1969. The excellent ‘You’ve Got Love On Top Of Love’ failed to make it to wax until now. Kent found the tape in the King vaults and issued it on CD in 2001; now it is on a righteous single
CITY_084-1-1.mp3
CITY_084-2-1.mp3

Alpaca Phase III / Sam Dees - Paper Man / False Alarms - Kent Deep Soul 16
‘Paper Man’ is a major discovery for lovers of Sam Dees music and the Atlanta/Birmingham soul sound of the 70s. Written and recorded in that productive period, it has only just been found in the vault of Moonsong / Clintone recordings. Sam Dees worked with Alpaca Phase III for the Atlantic release ‘I Like To Party’ in 1974 and a Clintone release the following year. He co-wrote this ballad with Wes Lewis and Ken Walker from the group (he also composed ‘Someone To Run To with Wes Lewis and group member Berry Collins).
Dees is the vocalist on ‘False Alarms’, one of several brilliant Dees’ compositions first released on his “Second To None” Kent CD in 1995. With “so tied up” being such an important lyric in this song, it is conceivable that it is a forerunner of ‘So Tied Up’ which featured on his Atlantic LP at this time.
DEEP_SOUL_16-1-1.mp3
DEEP_SOUL_16-2-1.mp3

Coming soon
A pressing delay means that the much awaited Warren Raye & The Infernal Blues Machine 45 the next Kent Select release, has been put back to the end of this month (Febuary 2023)

By Mike in News Archives · February 6, 20232 yr

EPS019
RENALDO DOMINO & THE ORIENTATIONS
A: I Love My Girl (2:36)
B: I'm Hip To Your Game (2:33)
Chicago IL 1967
Buy it now:
https://www.epsilonrecord.com
Renaldo Domino Chicago Soul Legend
Born March 27th 1950) from “The Valley” around 49th & Forestville
Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.
Domino's Renaldo first record: I Love My Girl & I'm Hip To Your Game, came out in 1967 on the impossible to find Arnell records.
I'm Hip To Your Game was later released on Smash in 1969
Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country.
In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records.
Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.
For booking and other inquiries, contact booking@renaldodomino.com

By Yann V in News Archives · February 3, 20232 yr

Grayson Perry’s The Full English
Channel 4 Thursday 9th February 9-10pm
Quirky artist and TV presenter Grayson Perry concludes his three part examination of what it means to be English’ these days .
This sees him journey North where he supposedly chats to a pair of Northern Soul enthusiasts in Wigan before visiting an All Niter in Blackpool. (There is also an interview with Paul Heaton :Ex Beautiful South )
He’s not everyones taste but he doesn’t take himself too seriously - He Plans to wear a dress to receive his Knighthood from the King !
In the first episode he was prepared to shatter some myths and stereotypes about England football fans .
Here’s hoping he’ll show similar respect for our scene . The production team Swan Films did an excellent job looking at masculinity a few years ago.

Keep the Faith . Cool Notes.

added by site, video of the Northern Soul Segment

By Coolnotes in Soul News · February 2, 20232 yr

Recently posted about one of two upcoming releases from Soul Direction Records, here's the details of the second
SD015 - The Intruders - You're My One & Only Baby/ I've Got Love For You - Soul Direction
Licensed courtesy of Frank Bendinelli and released on Vinyl for the first time.

During the winter of 1964 and early 1965, the Intruders recorded these songs for a possible single on Mercury: "I've Got Love For You" , "Ain't I Good Enough For You" and "You're My One & Only Baby" (written by B&L staff pianist/ songwriter Leon
Huff).

The Intruders - You're My One & Only Baby

The Intruders - I've Got Love For You

By Mike in News Archives · January 31, 20232 yr

Britsh Culture Archive is running a feature on Wigan Casino Photos that were taken by Red Saunders for a Sunday Times Feature
Wigan Casino | Photographs by Red Saunders (britishculturearchive.co.uk)
"Early morning, the sun is rising outside and the amphetamine has taken its toll. There is no alcohol, only empty soft drink bottles and cans that the pills get mixed in."
The full article can be read via
https://britishculturearchive.co.uk/photos-of-wigan-casino-1970s-red-saunders/

The photos were also featured in a later mag as mentioned/shown here in this past forum topic

By Mike in News Archives · January 27, 20232 yr

Loma Northern Soul - Classic & Revelations 1964-1968 Cd
A big release Friday from Kent Records, not only 45s but also 2 Loma related quality products released...
First off details of the new Loma Northern Soul 25 tracks cd
Loma Northern Soul - Classic & Revelations 1964-1968 CD
Release Notes Preview
The compilation is a mix of the loved and cherished sides as played on the Northern Soul scene from the early 70s onwards, to brand new master tape finds that will give this ageing cultural movement a timely shot in the arm for the ‘20s and beyond.
The Marvellos open with ‘It’s Your Love That I Need’ a 1966 Willie Hutch song that has only just been unearthed and is setting dancefloors alight with its mid-60s soul perfection. Their classic ‘Something’s Burning’ is here along with a recent gem ‘I Need You’ that is digitally presented for the first time too.
The equally accomplished and respected Invincibles have a solid three dance tracks – none of which were issued at the time. ‘Heartstrings’ is the catchy dancer destined to go big, while ‘Please Be True’ is for connoisseurs of the Impressions’ vocalising style. ‘Got A Thing Goin’’ however is a manic stomper for super-fit dancers and acrobats only – reminiscent of Little Joe Cook’s ‘I’m Falling In Love With You Baby’
Full release notes can be read via
https://acerecords.co.uk/loma-northern-soul
Track listings
01 It's Your Love That I Need - The Marvellos
02 Go For Yourself - Larry Laster
03 Heartstrings - The Invincibles
04 You Can't Outsmart A Woman - Kell Osborne
05 Lies - Bobby Freeman
06 That's All You Gotta Do - Ben Aiken
07 I Need You - The Marvellos
08 Mean It Baby - Carl Hall
09 I'm Getting Weaker - The Soul Shakers
10 Just A Little Longer - The Enchanters
11 Please Be True - The Invincibles
12 If You Should See Her - Ben Aiken
13 My Heart Needs A Break - Linda Jones
14 See The Silver Moon - The Apollas
15 Bright Lights - Delilah Kennebruew
16 Something's Burnin' - The Marvellos
17 Satisfied - Ben Aiken
18 Runnin Around - Tony Amaro & The Chariots
19 Got A Thing Goin' - The Invincibles
20 The Man With The Golden Touch - Charles Thomas
21 Baby Don't Look Down - Billy Storm
22 I Finally Got A Break - The Olympics
23 The Big Jerk, Part 1 - Clyde & The Blue Jays
24 I'll Find A Way - Bobby Reed
25 Better Think Of What You're Losing - Tommy Starr
Availability
In the shops now, including our own Source Store

By Mike in News Archives · January 27, 20232 yr

TORONTO’S CLAIRE DAVIS SHARES HER SMASHING DEBUT LP “GET IT RIGHT”
PRE-ORDER HERE: https://lrkrecords.bandcamp.com/album/get-it-right

Toronto-based retro-soul artist Claire Davis shares her journey of self-worth and love on her debut album “Get it Right", out April 21st 2023, via LRK Records.
This lively 10-track analog soul LP was recorded to an 8-track tape machine by engineer Braden Sauder in a converted garage- studio in Toronto, owned by the renowned instrumental jazz/hip-hop group, BADBADNOTGOOD. Featuring some of the city’s top-flight musicians in the R&B/Soul scene, the album was laid down live-off-the-floor in one week during the winter of 2022.
Davis shares, “My heart really lies in live performance so I wanted to recreate that experience as much as possible for this record by having the musicians all record together to tape. I feel like I personally thrive under the limitations that tape gives you; it offers the opportunity to capture a vibe of a performance more so than chasing perfection. Knowing that my favourite soul records were recorded this way gives me an even deeper appreciation for the skill and talent involved in this process.”
“Get it Right” is a record born out of the faith that there’s better things on the other side of fear. Whether that’s breaking toxic cycles or being truly honest about what is and isn’t working in life. The first song written for the record was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. “The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work. I’d like to think that it’s a love song with a strong sense of maturity and understanding to it. And the whole record was really shaped around that idea of my relationships and experiences stemming from my own sense of self-love and my desire to live and create from an authentic place.”
The songs on the album feature co-writes from Scott McCannell, Kyla Charter, and Toronto production house Safe Spaceship Music, in addition to horn and background vocal arrangements by composer La-Nai Gabriel. Musicians include Heather Crawford on guitar, Scott McCannell on bass, Adrian Hogan on keys, Chino de Villa on drums, Juan Carlos Medrano on percussion, Aphrose, Tegan Michelle Gordon and Chynna Lewis on background vocals, and horn section The Northern Soul Horns.
"Get it Right" follows up Davis' most recent 7” vinyl release of “Long Gone”/ "Times Have Changed" and most recent single release “Intuition” on LRK Records.
RELEASE DATE: APRIL 21ST, 2023
GENRE: SOUL/R&B
HOMETOWN: TORONTO ON
Video

PRE-ORDER NOW:
https://lrkrecords.bandcamp.com/album/get-it-right

CREDITS:
Lead Vocals: Claire Davis
Bass: Scott McCannell
Guitar: Heather Crawford
Drums: Chino de Villa
Keys: Adrian Hogan
Percussion: Juan Carlos Medrano Magallanes
Background Vocalists: Joanna Mohammed (Aphrose), Tegan Michelle Gordon, Chynna Lewis
Tenor Saxophone: Dennis Passley
Bari Saxophone: Yvonne Moir
Trumpet: Tom Moffett
Background Vocal and Horn section arrangements: La-Nai Gabriel

Produced by: Scott McCannell
Engineer: Braden Sauder
Recorded at: Studio 69 in Toronto
Mixed by: Scott McCannell
Mastered by Montano Mastering
Photography by Stephanie Montani
Album Artwork Design by Jaffa the Unknown

By LRK in News Archives · January 27, 20232 yr

Details of one of two new 45s from Soul Direction on its way - preorder available end of January, release during Febuary
SD014 - The 4 Masters - "Pretty One / Hearsay" - Soul Direction
Licensed courtesy of Frank Bendinelli and released on Vinyl for the first time.
Both "Pretty one" & "Hearsay" were recorded Recorded on February 27th, 1965 at Sound
Plus Studios in Philly.

Release date Mid/Late February 2023

By Mike in News Archives · January 21, 20232 yr

A much awaited vinyl release from Big AC Records, Two great sides from Carmy Love, release notes and audio follows below...
Carmy Love - In The Morning / Together Again - Big AC Records
CATALOG: BIGAC021
RELEASE DATE: 20 January 2023
A side - In The Morning
B side - Together Again
After the 7” of her previous singles “Rebel/Thinkin’ About You” sold out prior to release, soul fans have been eagerly anticipating new music from singer Carmy Love, keen to get their hands on another double-sided gem – and here it is!
The A side,'In The Morning', is a Southern Soul-inspired stomper with a rich sound and relentless groove carried along by driving bass and honking baritone sax. Carmy's delivery is bold and energetic throughout, belying the song's subject matter and focusing on good intent despite the drawback of procrastination: "I change the TV station, there goes my motivation/before the evening comes I'll say I'll try again in the morning…"
And on the flip,'Together Again', has a groove Bobby Womack would have been proud of and with its themes of unity, friendship and positivity, the song is feel-good through and through. Backed by heavy brass, a lush string arrangement and featuring some iconic whispered backing vocals, ‘Together Again’ is a statement that Carmy Love means business!
For fans of Sharon Jones & The Dap Kings, Ann Peebles, Michelle David & The True Tone’s, Yola and Jill Scott.
Limited edition 7" vinyl with full colour picture sleeve now available to order.
Availability
Order via the Big AC Records website
via https://www.bigacrecords.com/product/carmy-love-in-the-morning-together-again
or can purchase via the many records shops now, including our very own in-house Source Store
Tap to purchase 'Carmy Love - In The Morning / Together Again - Big AC Records' 45 via Source Store

Video

By Mike in News Archives · January 17, 20232 yr

A four part series from BBC and PBS starts on the 21st January 2023
Details below
The BBC has announced that it will air a brand new four-part music documentary boxset featuring and executive produced by Hip Hop legend, Chuck D, called Fight The Power: How Hip Hop Changed The World. Developed by Chuck D and his producing partner, Lorrie Boula, the series will air on BBC Two and drop as a box-set on BBC iPlayer on January 21st. It has been co-produced by BBC Studios and PBS.
Fight The Power: How Hip Hop Changed The World will tell the story of the relationship between politics and the Hip Hop movement, recounting the origins of the revolutionary artform through first-hand accounts and charting the journey of how Hip Hop became a cultural phenomenon, against a backdrop of social and political American history.
The Foundation
Fight the Power: How Hip Hop Changed the WorldSeries 1
Episode 1 of 4
Public Enemy’s Chuck D leads a cast of hip-hop icons as they chart the factors that led to the birth of this revolutionary artform in 1970s New York and the seminal hit The Message.
more info via
https://www.bbc.co.uk/programmes/p0dj70yd

By Mike in Soul News · January 17, 20232 yr

Press Release: Energy MC2 “You And Only You/Love To Make Love To You” SJ 549
Release Date: Monday 6th February 2023

‘Energy MC2 began as an energetic bunch of 10 and 11 year old neighbourhood kids, who initially formed a band under the name of ‘Congressional Funk’ while still attending elementary school. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr), brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Within months of the group’s formation, they began entering and winning local talent shows in between performances at local churches and backyard parties. A little over a year later, they initially became the backing band for local recording artists Mad Dog & The Pups going on to feature on their earliest Magic City releases “Hep Squeeze” (MC-007) (which they provided the horn section on) and the follow up release “Funky Monkey” (MC-009). A change of name to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012). The age of band members now ranged from 11 to13 year old, and featured the four founding members with the addition of Leslie Bass, (Fred Gordon by then having left the group). Between recording sessions they continued playing their own stage shows mainly covering hit songs of the day. During one particular performance, Barrett Strong and Norman Whitfield made an approach to Mad Dog & The Pups and The Soulful Hounds with an invitation to join Motown. Unfortunately, the kids were already under contract to Magic City and label owners Ernest and Barbara Burt was not about to let one of their acts go to a rival label (see Magic City concert flyer below, featuring the group incorrectly advertised as the “Soulfur Hounds”).

After leaving Magic City, the band went through a several changes in both name and personnel and became one of the biggest bands on the local Detroit music scene. At this point the band hired a bass player Ben "Rat Bass" Adkins, who brought with him the name of his former band, ‘Energy’. Then by borrowing Albert Einstein’s formula for special relativity (E=MC2, pronounced as MC squared) which they added to their inherited name ‘Energy’ in doing so they were able distinguish themselves from Adkins former band. Energy MC2 also from time to time featured three female members Marlene Rice, Gwen Laster and Patricia King who played violin, viola, xylophone and bells. These girls would often provide background vocals when required. They were primarily recruited to add a string section to the band and became affectionately known as the MC3 Orchestra.

Ben Adkins later left the band, going on to play with Creative Source, Lonnie Smith and The Jackson’s (he, being Jermaine Jackson's replacement). Energy MC2 soon after began to seriously record original material which included the previously unissued 70’s dance track “If You Break It” which gained a belated 45 release on Soul Junction Records in 2016 to great acclaim. The group line up on “If You Break It” included Vincent Bonham, Ufuoma Akil-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. While an earlier session had yielded two further unissued tracks firstly “Other Side Of The Mirror” featuring the same line up of musicians as “If You Break It” but with the addition of a second female vocalist Gwen Laster, this too also gained a belated release as the flipside of the SJ536 45 release. While the second song “Juliane” a beautiful mellifluous soulful ballad which featured Arnell Carmichael, Vincent Bonham, Ufuomo Akill- Wallace, Eric Wallace Gordon and Marvin Carlton on it’s recording. (“Juliane” was to also gain a belated release on the now long deleted Soul Junction compilation album “We Got A Sweet Thing Going On” Volume 2 SJCD 5011).
Following a later move to Atlanta GA, Energy MC2 signed on with The Greer Agency who also represented, The Commodores, Brass Construction, Mother's Finest, New Birth, Brick and Little Richard etc. This association led the band to perform it's own brand of Pop, R&B, Funk and Jazz throughout the Southern states, from Arkansas to the Carolinas. Sometime during 1974 several members of Energy MC2 boarded a Greyhound bus and took a road trip to Los Angeles. During their week-long stay in L.A. Vincent Bonham, Ufuoma Akil-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Eric Wallace, Gordon and Marvin Carlton joined lead guitarist Ray Parker Jr in a recording session that produced amongst others the following two songs the mellifluous “You And Only You” and “Love To Make Love To You” which featured Arnell Carmichael on lead vocals.
A session that was to remain unissued in the can, that was until a chance meeting many years later between UK Record Dealer /DJ Dave Thorley. Ufuoma Wallace allowed Dave to hear this unissued session and it was Dave who brought this session to the UK Soul Junction label’s attention. Later on Vince Bonham and Arnell Carmichael parted company with their fellow Energy MC2 members to join Ray Parker Jr and Jerry Knight in forming the band ‘Raydio’, later joined by Arnell’s brother Darren London Carmichael. A teenage Ray Parker had learnt his trade as a member of Hamilton Bohannon’s House Band at Detroit’s famous 20 Grand Theatre during the late 60’s.
Into the 1970’s he featured as a session guitarist on many of Holland, Dozier and Holland’s Invictus and Hotwax sessions with his noticeable “Choppy” guitar style being very prominent on Honey Cone’s number one single “Wants Ad’s”. Ray’s work also featured on Lamont Dozier’s first two ABC albums. Further session work with Stevie Wonder was to follow, an association that was to prompt Ray to permanently relocate to L.A. Once there he also became a part of Barry White’s Love Unlimited Orchestra. In addition to the previously mentioned artists Ray’s work and writing credits can be found on a plethora of other recording artists sessions, for example The Temptations, Michael Henderson, Herbie Hancock, Gladys Knight & The Pips, and Rufus & Chaka Khan. Ray’s first bona fide song writing hit came in 1974 with a song he co-wrote with Chaka Khan “You Got The Love”. Raydio scored a #8 billboard hit with “Jack & Jill” from the Arista album of the same name during 1978 while a second single from the album “Is This A Love Thing” reached # 20 in the same year. Their 1979 Album ‘Rock On’ spawned the hit single “You Can’t Change That” reaching #9 on billboard. By 1980 Jerry Knight had left to persue a solo career and the group became Ray Parker Jr & Raydio. Three more top 40 hits followed, “Two Places At The Same Time” again from the album of the same name #8 on Billboard (1980) and from the groups final studio album two singles “The old Song” reaching #21 on billboard and their biggest hit and title track from the album “A Woman Needs Love (Just Like I Do)” reaching #4 on Billboard both in 1981 at which point the group broke up with Ray Parker wanting to go solo.
Ray Parkers solo career would see him score six top 40 hits including “The Other Woman” reaching #4 in the pop charts and the song that he will be forever associated with “Ghostbusters” the title track of the box office hit film of the same name a#1 Billboard hit for 3 weeks in 1984. Given only 2 days to write the title song Ray duly obliged but he never actually sings the word “Ghostbusters” following his question “Who you Gonna Call” it’s the crowd on the set that reply “Ghostbusters”! Ray also became involved in small screen and video acting roles.
In 2014 original members Arnell Carmichael and Vincent Bonham joined by James Carmichael and a up and coming young singer Giovanni Rogers revived “Raydio” featuring as a support act on several major tours. As for the other members of Energy MC2, Ufouma Wallace went on to play with artists such as The Four Tops, The Temptations and Michael Henderson. Eric Wallace and Ernestro Andre' Wilson both played with Michael Henderson's touring band. Eric Wallace played and recorded with Stevie Wonder. Ernestro Wilson also played with the Franklyn Sisters Areatha and Carolyn, as well as Cheryl Lynn and Bettye LaVette amongst others. Other group members, Gordon Carlton, twin brothers Jimmy and Jerome Ali, cousin Kenny Colton and Ernestro Wilson (again) became the band for ‘Parlet’ (part of the P-Funk family) that helped George Clinton land the Mothership!

Energy MC2 first 45 “If You Break It/Other Side Of The Mirror” (SJ536) first saw the light of day during 2016 and a follow up 45 of two further songs was never far from my thoughts but I was always told that those were Ray Parker Jr’s arrangements and that I would need to deal with him. Over the ensuing years of involvement in securing licensing deals I finally got a contact number for Ray, and duly called him up (and yes he does have the Ghostbusters theme tune as his ringtone!). The Energy MC2 lost session was just a vague and distant memory to Ray but after sending him a copy of the tape transfer to listen to the memories soon came flooding back. Ray was only too pleased to agree to my proposal exclaiming let’s do it Dave it sounds like fun! and so the Energy MC2 stories circle is now complete.
To buy go to https://www.souljunctionrecords.co.uk/SJ549.html
or visit your soul 45 stockist.
Words by: David Welding & Vincent Bonham.
Photograph courtesy of: Ufuoma Akil-Walace
Acknowledgements to: Ray Parker Jr, Vincent Bonham, Ufuoma Akil-Wallace, Arnell Carmichael, Dwayne “Loc” Lomax.

By Chalky in News Archives · January 16, 20232 yr

Cannonball Records are excited to announce their 8th Anniversary Special.
Totally, completely, wholehartedly dedicated to LOVE.
“Share with me what I can see in your eyes. I love you and I’ll see my whole world turning”
CBLL040 Split Evolution
“Bedroom Eyes” b/w “Let Me Do”
7“/45 rpm LIMITED EDITION of 250 + 20 TPs
Out March '23
Preorder: https://cannonballsoul.com/cannonballrecords/
Written not to be a ballad neither to be a dancer “Bedroom Eyes” inevitably ended up being both, turning out to be what I consider the love song par excellence. It simply melts my heart. Soft basslines working brilliantly along a catchy drumming that anyone would likely mistake for an Enchantment groove. Man and Woman dueting like if they are actually laying in bed after a consuming day out and finding relief in each other’s presence. On the verses the man, desperate for love, makes questions to which the woman answers in the choruses with the hidden prayer to stay together forever. All with mutual background voices and brass crescendos and strings pizzicatos counterpointing each others to make it a beautiful yet rough arrangement. PURE SOUL LOVE HEAVEN. Here you go with the release notes from the very own roadtrip chronicles of the man who discovered this beauty, my brother Dave Thorley.

Heralding out of Chicago, Split Evolution Band were a successful group around the Metro area for approximately six years until their break up in the early 1980’s. During this time they released two 45’s, one as Split Evolution and a later 45 as Three Phases Of Evolution, both being released on Jump Street records. These two releases book ended the time the group were together. The earlier release is a raw driving funk track, the second coming close to the end of their time together, more sophisticated and a ballad. A third and final release was planned, recorded and mastered. This then went to the pressing plant and a number of ‘test pressings’ done.

But sadly before the full run was undertaken the project was cancelled and with time most were lost.
So the story of ‘Bedroom eyes’ began. On a record hunting trip in the early 2000’s Dave Thorley visited the ex-manager of the group and secured the remaining test pressing he had and brought it back to Europe, where over a number of years he played it on radio and at events around the continent. In time it became a firm dance floor favourite.
Even more recently Alberto Zanini, who was after this song since the very first time Dave played it to him many many moons ago, whilst on a visit to Berlin the two met at Dave’s home and secured a deal to release it for the 8th Anniversary of the glorious label Cannonball Records so the track could be exposed to an even wider audience.

By Chalky in News Archives · January 15, 20232 yr

Geoff Waddington has been in touch with Source with info (and a preview) of a forthcoming track due for release on 14 Jan 2023 and will then be available at online stores.
Preview:
BIG CITY LIGHTS - GEOFF WADDINGTON ft TAMEKA JACKSON

By Mike in News Archives · January 14, 20232 yr

Press release from Daptone tells us all about a upcoming 'flurry' of 45s due out this February 2023, expanded details and audio below...
Penrose Records' Flurry of 45s

Out February 24th. Pre-order Now.

Heading into the lovers' season Penrose Records' crack team of meteorologists are predicting a flurry of 45s, with a high chance of soulfulness, blowing into an independent record shop near you. On Friday February 24th look out for five brand new singles from Penrose artists: Thee Sacred Souls, Vicky Tafoya, The Altons, Los Yesterdays, and making his Penrose debut, Jonny Benavidez.

All five will be available in advance at our Valentine's Day Record Release Showcase at The Observatory in Santa Ana on February 14th, featuring live performances by The Altons, Los Yesterdays, Vicky Tafoya, and a special guest appearance by Jonny Benavidez. One show only. Get your tickets now!
Links to listen (2) and pre-order/save (all)

Thee Sacred Souls
"Future Lover" / "For Now" by Thee Sacred Souls
Someone's at the door.... Who is it? It's Thee Sacred Souls and they've come bearing a pair of massive tunes off their debut album, this time on the convenient 7" 45rpm format. "Future Lover", a fan favorite of their live set, is beat-ballad perfection, punctuated by silky strings and a pleading call and response hook that serves as the perfect compliment to Josh's passionate lead. "For Now" is a sparse, brooding track whose protagonist pulls at the listeners heartstrings as he struggles to make sense of love that's fading away.
https://daptone.ffm.to/prs1018.GTQ

Vicky Tafoya
Anyone who has had the pleasure of seeing Vicky sing live knows she's one of the most talented singers in the game. Her presence and command on stage has the unique ability to make you feel like she's singing each and every note directly to you. Just being in her orbit for 30 min will have you walking away feeling like you've experienced something special. On this single Vicky flexes her range and writing chops with two deep, deep bluesy ballads of the highest caliber. "Love Don't Treat You Fair" is a tale of despair that creeps along like a long lost Little Willie John session for King. With "The Moment" Vicky delivers an incredibly soulful vocal (ala Etta James) that is so natural and classic its hard to imagine it wasn't recorded 50 years ago. If bluesy soul is what you're after...look no further!
https://daptone.ffm.to/prs1019.GTQ

The Altons
The Altons turn up the heat with another platter produced by the Inland Empire's own, Bosco Mann. A soulful duet at its core, "Float" finds the group exploring new realms of pop excellence. The sophisticated arrangement and instrumentation gives the tune a cinematic feel that builds to a crescendo of psychedelic, swirling strings - immersing the listener in a wash of Morricone-tinged euphoria. A track that wouldn't be out of place in the next Double-O-Seven blockbuster. On the flip is "Cry for Me", a latin-tinged mover featuring Adriana Flores on lead vocal. Her pleading, soulful delivery gives the bouncy, hook-laden tune a seriousness that's simultaneously uplifting and heartbreaking.

Float
Altons_Float_Clip.wav
Cry For Me
Altons_Cry_For_Me_Clip.wav
https://daptone.ffm.to/prs1016.GTQ

Los Yesterdays
On the heels of their smash hit "Nobody's Clown," Los Yesterdays’ return with "Who Made You You?" - whose dark feel coupled with singer Victor Benavides' bell-like timbre makes for a dichotomy of vibes that makes for a sinister groover that's sure to get heads bobbing at discerning Dj nights around the globe. Imagine Eddie Holman cutting a side for Fania and you're getting warm. On the other side of this future-classic you'll find quite possibly the best version of Richard Berry's classic "Louie Louie '' since the Kingsmen! Giving it the low and slow treatment, Los Yesterdays alters its DNA, creating a bonafide ballad banger poised to turn-on a whole new generation of folks to this R&B party fave.
"Who Made You You?"
LY_Who_Made_Clip.wav
"Louie Louie ''
LY_louie_louie_Clip.wav
https://daptone.ffm.to/prs1015.GTQ

and making his Penrose debut...
Jonny Benavidez.
In collaboration with our good pals at Timmion Records we are pleased to present two slamming sides from Mr. “Tell Me That You Love Me” himself, Jonny Benavidez. Hailing from San Diego and currently residing in NYC, Jonny is a vocal group aficionado of the highest order who has sung and studied with the best of ’em. This is evident as soon as his sweet vocals drop in “Somebody Cares” – a mid-tempo mover sure to make waves on the WC scene. On the flip is “Slow Down Girl” , a refreshingly uptempo tune that’s sure to get your heart rate up. Stay tuned for more to come in 2023.
“Somebody Cares”
JBVD_Somebody_Cares_Clip.wav
https://daptone.ffm.to/prs1017.GTQ

By Mike in News Archives · January 13, 20232 yr

Northern Soul Connections #31 - Welcome to the latest in this now very long running series of soul connected connections from Ken B aka @Kenb
Northern Soul Connections #31
Colstar label, FIRE, VIP's, Magicians
A San Francisco Pop Festival that never happened, an associated album of that festival that didn't have the artists perform who were credited on it, and a Kiwi mod behind it.
Upfront. I'm genuinely fond of the people and company's written about in this piece. Non of what is written is intended to demean or embarrass any of them. It's just an interesting set of connections.
For me, It all started when i came across an Oct 1967 photo of the VIP's and then a February 1967 Californian newspaper article noting their release on Colstar of 'Freedom /I'm Good ForYou'.
Umm ...I've seen this waxed pairing before. Where?
Yes.
I'd seen it on a Discogs album titled 'San Francisco International Pop Festival (Volume 1)' and also followed the thread started in 2015 at 45cat.com, as catalogue 45-1006, artist FIRE, The Sound Of San Francisco.

Northern Soul Connections #31 - Colstar label, FIRE, VIP's, Magicians

Kenb
Jan 2023
Site info
You can check out Kens other quality 30 Northern Connections, all online and available via his 'activity' profile page, the link follows below...
https://www.soul-source.co.uk/profile/37754-kenb/content/?type=cms_records5&change_section=1

connections

By Kenb in Articles · January 12, 20232 yr

𝗡𝗘𝗪 𝗝𝗔𝗜 𝗔𝗟𝗔𝗜 𝗥𝗘𝗟𝗘𝗔𝗦𝗘
𝗗𝗔𝗩𝗜𝗗 𝗦𝗘𝗔 - 𝗕𝗔𝗖𝗞 𝗜𝗡 𝗧𝗛𝗘 𝗗𝗔𝗬 / 𝗕𝗔𝗖𝗞 𝗜𝗡 𝗟𝗢𝗩𝗘 𝗔𝗚𝗔𝗜𝗡 (𝗝𝗔𝗥08)

𝘋𝘢𝘷𝘪𝘥 𝘚𝘦𝘢 𝘪𝘴 𝘢𝘯 𝘦𝘹𝘵𝘳𝘢𝘰𝘳𝘥𝘪𝘯𝘢𝘳𝘺 𝘵𝘢𝘭𝘦𝘯𝘵. 𝘏𝘦 𝘸𝘢𝘴 𝘣𝘰𝘳𝘯 1948 𝘪𝘯 𝘚𝘶𝘮𝘵𝘦𝘳 𝘊𝘰𝘶𝘯𝘵𝘺, 𝘈𝘭𝘢𝘣𝘢𝘮𝘢, (𝘢𝘴 𝘋𝘢𝘷𝘪𝘥 𝘊. 𝘑𝘰𝘩𝘯𝘴𝘰𝘯) 𝘢𝘯𝘥 𝘳𝘢𝘪𝘴𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘮𝘢𝘭𝘭 𝘤𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘺 𝘰𝘧 𝘏𝘶𝘦𝘺𝘵𝘰𝘸𝘯, 𝘸𝘩𝘪𝘤𝘩 𝘩𝘢𝘴 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘥 𝘮𝘰𝘳𝘦 𝘵𝘩𝘢𝘯 𝘪𝘵𝘴 𝘧𝘢𝘪𝘳 𝘴𝘩𝘢𝘳𝘦 𝘰𝘧 𝘵𝘢𝘭𝘦𝘯𝘵 𝘪𝘯𝘤𝘭𝘶𝘥𝘪𝘯𝘨 𝘌𝘥𝘥𝘪𝘦 𝘓𝘦𝘷𝘦𝘳𝘵, 𝘋𝘦𝘯𝘯𝘪𝘴 𝘌𝘥𝘸𝘢𝘳𝘥𝘴 𝘢𝘯𝘥 𝘌𝘥𝘥𝘪𝘦 𝘒𝘦𝘯𝘥𝘳𝘪𝘤𝘬𝘴.
𝘍𝘳𝘰𝘮 𝘵𝘩𝘦 𝘢𝘨𝘦 𝘰𝘧 5 𝘩𝘪𝘴 𝘮𝘰𝘵𝘩𝘦𝘳 𝘮𝘢𝘥𝘦 𝘩𝘪𝘮 𝘴𝘪𝘯𝘨 𝘨𝘰𝘴𝘱𝘦𝘭, 𝘢 𝘥𝘦𝘦𝘱 𝘭𝘰𝘷𝘦 𝘧𝘰𝘳 𝘸𝘩𝘪𝘤𝘩 𝘦𝘯𝘴𝘶𝘦𝘥, 𝘢𝘯𝘥 𝘩𝘦 𝘫𝘰𝘪𝘯𝘦𝘥 𝘵𝘩𝘦 𝘧𝘢𝘮𝘪𝘭𝘺 𝘨𝘳𝘰𝘶𝘱 𝘛𝘩𝘦 𝘚𝘱𝘪𝘳𝘪𝘵𝘶𝘢𝘭 𝘕𝘪𝘨𝘩𝘵𝘪𝘯𝘨𝘢𝘭𝘦𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦𝘯 𝘭𝘢𝘵𝘦𝘳, 𝘋𝘢𝘷𝘪𝘥 𝘚𝘦𝘢 & 𝘛𝘩𝘦 𝘘𝘶𝘦𝘴𝘵𝘪𝘰𝘯 𝘔𝘢𝘳𝘬𝘴 𝘸𝘩𝘰, 𝘪𝘯 𝘵𝘶𝘳𝘯, 𝘣𝘦𝘤𝘢𝘮𝘦 𝘋𝘢𝘷𝘪𝘥 𝘚𝘦𝘢 & 𝘛𝘩𝘦 𝘜𝘱𝘵𝘰𝘸𝘯 𝘔𝘰𝘷𝘦𝘮𝘦𝘯𝘵.
𝘏𝘪𝘴 𝘦𝘢𝘳𝘭𝘪𝘦𝘴𝘵 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨𝘴 𝘢𝘴 𝘢 𝘴𝘰𝘭𝘰 𝘢𝘳𝘵𝘪𝘴𝘵 𝘸𝘦𝘳𝘦 𝘤𝘶𝘵 𝘧𝘰𝘳 𝘑𝘦𝘳𝘳𝘺 𝘞𝘦𝘢𝘷𝘦𝘳 𝘢𝘳𝘰𝘶𝘯𝘥 1971 𝘢𝘯𝘥 𝘤𝘢𝘯 𝘣𝘦 𝘧𝘰𝘶𝘯𝘥 𝘰𝘯 ‘𝘛𝘩𝘦 𝘉𝘪𝘳𝘮𝘪𝘯𝘨𝘩𝘢𝘮 𝘚𝘰𝘶𝘯𝘥: 𝘛𝘩𝘦 𝘚𝘰𝘶𝘭 𝘖𝘧 𝘕𝘦𝘢𝘭 𝘏𝘦𝘮𝘱𝘩𝘪𝘭𝘭 (𝘝𝘰𝘭𝘴. 1 & 2)’ 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘵𝘸𝘰, ‘𝘓𝘦𝘵’𝘴 𝘎𝘦𝘵 𝘛𝘰𝘨𝘦𝘵𝘩𝘦𝘳’ 𝘢𝘯𝘥 ‘𝘉𝘦𝘭𝘪𝘦𝘷𝘦 𝘐𝘯 𝘔𝘦’, 𝘸𝘦𝘳𝘦 𝘳𝘦𝘭𝘦𝘢𝘴𝘦𝘥 𝘰𝘯 𝘢 7” 𝘪𝘯 2007 𝘰𝘯 𝘗𝘢𝘶𝘭 𝘔𝘰𝘰𝘯𝘦𝘺’𝘴 𝘚𝘩𝘰𝘵𝘨𝘶𝘯 𝘭𝘢𝘣𝘦𝘭 𝘢𝘯𝘥 𝘢𝘳𝘦 𝘱𝘢𝘳𝘵𝘪𝘤𝘶𝘭𝘢𝘳𝘭𝘺 𝘸𝘰𝘳𝘵𝘩 𝘵𝘳𝘢𝘤𝘬𝘪𝘯𝘨 𝘥𝘰𝘸𝘯.
𝘉𝘶𝘵 𝘴𝘰𝘶𝘭 𝘤𝘰𝘯𝘯𝘰𝘪𝘴𝘴𝘦𝘶𝘳𝘴 𝘪𝘯 𝘌𝘶𝘳𝘰𝘱𝘦, 𝘱𝘢𝘳𝘵𝘪𝘤𝘶𝘭𝘢𝘳𝘭𝘺 𝘵𝘩𝘦 𝘜𝘒, 𝘥𝘪𝘥𝘯´𝘵 𝘥𝘪𝘴𝘤𝘰𝘷𝘦𝘳𝘦𝘥 𝘩𝘪𝘮 𝘶𝘯𝘵𝘪𝘭 𝘵𝘩𝘦 𝘦𝘢𝘳𝘭𝘺 80𝘴 𝘸𝘪𝘵𝘩 𝘩𝘪𝘴 𝘧𝘪𝘳𝘴𝘵 𝘴𝘪𝘯𝘨𝘭𝘦 ‘𝘈𝘯𝘨𝘦𝘭 (𝘠𝘰𝘶’𝘳𝘦 𝘛𝘩𝘦 𝘙𝘦𝘢𝘴𝘰𝘯)’ 𝘸𝘩𝘪𝘤𝘩 𝘸𝘢𝘴 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘥 𝘣𝘺 𝘈𝘭 𝘓𝘦𝘸𝘪𝘴 𝘧𝘰𝘳 𝘭𝘰𝘤𝘢𝘭 𝘭𝘢𝘣𝘦𝘭 𝘏𝘺-𝘛𝘺𝘥𝘦, 𝘣𝘦𝘧𝘰𝘳𝘦 𝘣𝘦𝘪𝘯𝘨 𝘱𝘪𝘤𝘬𝘦𝘥 𝘶𝘱 𝘣𝘺 𝘛𝘦𝘥 𝘑𝘢𝘳𝘳𝘦𝘵𝘵 𝘧𝘰𝘳 𝘩𝘪𝘴 𝘛-𝘑𝘢𝘺𝘦 𝘪𝘮𝘱𝘳𝘪𝘯𝘵. 𝘛𝘩𝘦 𝘧𝘶𝘯𝘬𝘺 𝘧𝘰𝘭𝘭𝘰𝘸 𝘶𝘱 ‘𝘋𝘦𝘴𝘵𝘪𝘯𝘺’ 𝘸𝘦𝘯𝘵 𝘭𝘢𝘳𝘨𝘦𝘭𝘺 𝘶𝘯𝘯𝘰𝘵𝘪𝘤𝘦𝘥 𝘣𝘦𝘧𝘰𝘳𝘦 𝘩𝘦 𝘴𝘸𝘪𝘵𝘤𝘩𝘦𝘥 𝘵𝘰 𝘕𝘦𝘢𝘭 𝘏𝘦𝘮𝘱𝘩𝘪𝘭𝘭’𝘴 𝘊𝘳𝘰𝘸𝘯 𝘓𝘪𝘮𝘪𝘵𝘦𝘥 𝘭𝘢𝘣𝘦𝘭 𝘪𝘯 1984 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘙𝘰𝘴𝘤𝘰𝘦 𝘙𝘰𝘣𝘪𝘯𝘴𝘰𝘯 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘥 '𝘋𝘰 𝘐𝘵 𝘙𝘪𝘨𝘩𝘵 𝘕𝘰𝘸' 𝘤/𝘸 '𝘞𝘩𝘰'𝘴 𝘉𝘦𝘦𝘯 𝘞𝘢𝘳𝘮𝘪𝘯𝘨 𝘔𝘺 𝘖𝘷𝘦𝘯' 𝘢𝘯𝘥 𝘭𝘢𝘵𝘦𝘳 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘺𝘦𝘢𝘳, 𝘵𝘩𝘦 𝘩𝘪𝘨𝘩𝘭𝘺 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘢𝘣𝘭𝘦 ‘𝘕𝘪𝘨𝘩𝘵 𝘈𝘧𝘵𝘦𝘳 𝘕𝘪𝘨𝘩𝘵’ 𝘸𝘩𝘪𝘤𝘩 𝘣𝘦𝘨𝘢𝘯 𝘢 𝘧𝘳𝘶𝘪𝘵𝘧𝘶𝘭 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱 𝘸𝘪𝘵𝘩 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳 𝘋𝘢𝘷𝘪𝘥 𝘊𝘢𝘮𝘰𝘯 𝘢𝘯𝘥 𝘣𝘦𝘤𝘢𝘮𝘦 𝘢 𝘤𝘶𝘭𝘵 𝘳𝘦𝘤𝘰𝘳𝘥 𝘰𝘯 𝘵𝘩𝘦 𝘜𝘒 𝘔𝘰𝘥𝘦𝘳𝘯 𝘚𝘰𝘶𝘭 𝘴𝘤𝘦𝘯𝘦.
𝘔𝘰𝘳𝘦 𝘸𝘢𝘴 𝘵𝘰 𝘤𝘰𝘮𝘦 𝘧𝘰𝘭𝘭𝘰𝘸𝘪𝘯𝘨 𝘏𝘦𝘮𝘱𝘩𝘪𝘭𝘭’𝘴 𝘴𝘶𝘥𝘥𝘦𝘯 𝘥𝘦𝘢𝘵𝘩 𝘪𝘯 1986 𝘸𝘩𝘦𝘯 𝘚𝘦𝘢 𝘮𝘰𝘷𝘦𝘥 𝘵𝘰 𝘯𝘦𝘸 𝘉𝘪𝘳𝘮𝘪𝘯𝘨𝘩𝘢𝘮 𝘭𝘢𝘣𝘦𝘭 𝘔𝘢𝘨𝘪𝘤 𝘊𝘪𝘵𝘺. 𝘏𝘪𝘴 𝘮𝘶𝘤𝘩 𝘢𝘯𝘵𝘪𝘤𝘪𝘱𝘢𝘵𝘦𝘥 𝘧𝘪𝘳𝘴𝘵 𝘢𝘭𝘣𝘶𝘮 ‘𝘈𝘯 𝘖𝘤𝘦𝘢𝘯 𝘈𝘱𝘢𝘳𝘵’ 𝘴𝘢𝘸 𝘤𝘳𝘪𝘵𝘪𝘤𝘢𝘭 𝘢𝘤𝘤𝘭𝘢𝘪𝘮 𝘢𝘯𝘥 𝘤𝘰𝘯𝘵𝘢𝘪𝘯𝘦𝘥 ’𝘚𝘵𝘢𝘺 𝘞𝘪𝘵𝘩 𝘔𝘦 𝘎𝘪𝘳𝘭’, ‘𝘐𝘯 𝘛𝘩𝘦 𝘔𝘰𝘰𝘥’, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘷𝘦𝘳𝘴𝘪𝘰𝘯 𝘰𝘧 ‘𝘓𝘰𝘷𝘦 𝘔𝘦 𝘋𝘰𝘸𝘯’, 𝘣𝘶𝘵 𝘧𝘰𝘳 𝘴𝘰𝘮𝘦 𝘶𝘯𝘬𝘯𝘰𝘸𝘯 𝘳𝘦𝘢𝘴𝘰𝘯 𝘵𝘩𝘦 𝘧𝘰𝘭𝘭𝘰𝘸 𝘶𝘱 𝘢𝘭𝘣𝘶𝘮 ‘𝘉𝘰𝘳𝘯 𝘛𝘰 𝘚𝘪𝘯𝘨’ 𝘧𝘢𝘪𝘭𝘦𝘥 𝘵𝘰 𝘭𝘢𝘶𝘯𝘤𝘩 𝘩𝘪𝘮 𝘪𝘯 𝘵𝘩𝘦 𝘥𝘪𝘳𝘦𝘤𝘵𝘪𝘰𝘯 𝘰𝘧 𝘢 𝘮𝘢𝘫𝘰𝘳 𝘭𝘢𝘣𝘦𝘭 𝘥𝘦𝘢𝘭 𝘥𝘦𝘴𝘱𝘪𝘵𝘦 𝘤𝘰𝘯𝘵𝘢𝘪𝘯𝘪𝘯𝘨 𝘴𝘰𝘮𝘦 𝘧𝘢𝘣𝘶𝘭𝘰𝘶𝘴 𝘵𝘳𝘢𝘤𝘬𝘴.
𝘏𝘦 𝘤𝘢𝘮𝘦 𝘤𝘭𝘰𝘴𝘦 𝘵𝘰 𝘳𝘦𝘱𝘭𝘢𝘤𝘪𝘯𝘨 𝘋𝘦𝘯𝘯𝘪𝘴 𝘌𝘥𝘸𝘢𝘳𝘥𝘴 𝘪𝘯 𝘛𝘩𝘦 𝘛𝘦𝘮𝘱𝘵𝘢𝘵𝘪𝘰𝘯𝘴, 𝘣𝘶𝘵 𝘰𝘱𝘵𝘦𝘥 𝘪𝘯𝘴𝘵𝘦𝘢𝘥 𝘵𝘰 𝘤𝘰𝘯𝘤𝘦𝘯𝘵𝘳𝘢𝘵𝘦 𝘰𝘯 𝘩𝘪𝘴 𝘴𝘰𝘭𝘰 𝘤𝘢𝘳𝘦𝘦𝘳, 𝘢𝘯𝘥 𝘢 𝘸𝘰𝘳𝘭𝘥𝘸𝘪𝘥𝘦 𝘵𝘰𝘶𝘳. 𝘈𝘵𝘵𝘦𝘯𝘵𝘪𝘰𝘯 𝘧𝘳𝘰𝘮 𝘑𝘢𝘱𝘢𝘯 𝘭𝘦𝘥 𝘵𝘰 𝘵𝘩𝘳𝘦𝘦 𝘊𝘋 𝘳𝘦𝘭𝘦𝘢𝘴𝘦𝘴 𝘧𝘰𝘳 𝘑𝘝𝘊; ’𝘚𝘦𝘢𝘳𝘤𝘩𝘪𝘯’ 𝘍𝘰𝘳 𝘓𝘰𝘷𝘦’ 𝘤𝘰-𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘥 𝘣𝘺 𝘚𝘦𝘢 𝘸𝘪𝘵𝘩 𝘈𝘭 𝘌𝘮𝘰𝘳𝘪, ’𝘉𝘦𝘥 𝘖𝘧 𝘚𝘦𝘢’ (𝘢 𝘤𝘰𝘮𝘱𝘪𝘭𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘩𝘪𝘴 𝘧𝘪𝘳𝘴𝘵 𝘵𝘸𝘰 𝘢𝘭𝘣𝘶𝘮𝘴) 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘭𝘢𝘳𝘨𝘦𝘭𝘺 𝘰𝘷𝘦𝘳𝘭𝘰𝘰𝘬𝘦𝘥 ‘𝘎𝘳𝘰𝘰𝘷𝘦 𝘔𝘪𝘴𝘴𝘪𝘰𝘯’ (1996) 𝘧𝘳𝘰𝘮 𝘸𝘩𝘪𝘤𝘩 𝘵𝘩𝘦𝘴𝘦 𝘵𝘸𝘰 𝘴𝘪𝘥𝘦𝘴 𝘩𝘢𝘷𝘦 𝘣𝘦𝘦𝘯 𝘴𝘦𝘭𝘦𝘤𝘵𝘦𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦𝘴𝘵 𝘑𝘢𝘪 𝘈𝘭𝘢𝘪 𝘳𝘦𝘭𝘦𝘢𝘴𝘦 𝘢𝘯𝘥 𝘢𝘱𝘱𝘦𝘢𝘳 𝘰𝘯 𝘷𝘪𝘯𝘺𝘭 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦.
𝘈𝘳𝘨𝘶𝘢𝘣𝘭𝘺, 𝘑𝘢𝘪 𝘈𝘭𝘢𝘪 𝘩𝘢𝘷𝘦 𝘤𝘩𝘰𝘴𝘦𝘯 𝘵𝘩𝘦 𝘵𝘸𝘰 𝘣𝘦𝘴𝘵 𝘵𝘳𝘢𝘤𝘬𝘴 𝘰𝘯 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮; ‘𝘉𝘢𝘤𝘬 𝘐𝘯 𝘛𝘩𝘦 𝘋𝘢𝘺’ 𝘪𝘴 𝘢 𝘲𝘶𝘪𝘳𝘬𝘺 𝘣𝘶𝘵 𝘦𝘯𝘥𝘦𝘢𝘳𝘪𝘯𝘨 𝘤𝘳𝘺 𝘧𝘰𝘳 𝘯𝘰𝘴𝘵𝘢𝘭𝘨𝘪𝘢, 𝘢𝘯𝘥 ’𝘉𝘢𝘤𝘬 𝘐𝘯 𝘓𝘰𝘷𝘦 𝘈𝘨𝘢𝘪𝘯’ 𝘪𝘴 𝘴𝘶𝘳𝘦 𝘵𝘰 𝘩𝘦𝘭𝘱 𝘶𝘴 𝘳𝘦-𝘧𝘰𝘤𝘶𝘴 𝘰𝘯 𝘸𝘩𝘢𝘵 𝘢 𝘸𝘰𝘯𝘥𝘦𝘳𝘧𝘶𝘭 𝘷𝘰𝘤𝘢𝘭𝘪𝘴𝘵 𝘚𝘦𝘢 𝘳𝘦𝘢𝘭𝘭𝘺 𝘪𝘴 𝘢𝘯𝘥 𝘸𝘩𝘺 𝘩𝘦 𝘸𝘢𝘴 𝘴𝘶𝘣𝘴𝘦𝘲𝘶𝘦𝘯𝘵𝘭𝘺 𝘤𝘩𝘰𝘴𝘦𝘯 𝘵𝘰 𝘵𝘰𝘶𝘳 𝘸𝘪𝘵𝘩 𝘋𝘦𝘯𝘯𝘪𝘴 𝘌𝘥𝘸𝘢𝘳𝘥𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘰𝘵𝘩𝘦𝘳 𝘛𝘦𝘮𝘱𝘵𝘢𝘵𝘪𝘰𝘯𝘴 𝘪𝘯 𝘵𝘩𝘦 '𝘛𝘦𝘮𝘱𝘵𝘢𝘵𝘪𝘰𝘯𝘴 𝘙𝘦𝘷𝘪𝘦𝘸’, 𝘱𝘦𝘳𝘩𝘢𝘱𝘴 𝘵𝘰 𝘵𝘩𝘦 𝘥𝘦𝘵𝘳𝘪𝘮𝘦𝘯𝘵 𝘰𝘧 𝘩𝘪𝘴 𝘴𝘰𝘭𝘰 𝘤𝘢𝘳𝘦𝘦𝘳?
𝘏𝘪𝘴 𝘧𝘪𝘯𝘢𝘭 𝘢𝘭𝘣𝘶𝘮, 𝘵𝘰 𝘥𝘢𝘵𝘦, 𝘩𝘢𝘴 𝘣𝘦𝘦𝘯 ‘𝘓𝘰𝘷𝘦 𝘔𝘢𝘬𝘦𝘴 𝘛𝘩𝘦 𝘞𝘰𝘳𝘭𝘥 𝘎𝘰 𝘙𝘰𝘶𝘯𝘥’ 𝘰𝘯 𝘗𝘢𝘳𝘬 𝘗𝘭𝘢𝘤𝘦 (2006) 𝘸𝘩𝘪𝘤𝘩 𝘤𝘰𝘯𝘵𝘢𝘪𝘯𝘦𝘥 𝘵𝘩𝘦 𝘍𝘳𝘦𝘥𝘦𝘳𝘪𝘤𝘬 𝘒𝘯𝘪𝘨𝘩𝘵 𝘱𝘦𝘯𝘯𝘦𝘥 𝘵𝘪𝘵𝘭𝘦 𝘵𝘳𝘢𝘤𝘬 𝘢𝘯𝘥 ‘𝘚𝘵𝘢𝘺 𝘐𝘯 𝘔𝘺 𝘈𝘳𝘮𝘴’, 𝘣𝘰𝘵𝘩 𝘵𝘰𝘱 𝘲𝘶𝘢𝘭𝘪𝘵𝘺, 𝘣𝘶𝘵 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮 𝘱𝘳𝘦𝘴𝘶𝘮𝘢𝘣𝘭𝘺 𝘥𝘪𝘥 𝘯𝘰𝘵 𝘴𝘦𝘭𝘭 𝘸𝘦𝘭𝘭 𝘦𝘯𝘰𝘶𝘨𝘩 𝘧𝘰𝘳 𝘢 𝘧𝘰𝘭𝘭𝘰𝘸 𝘶𝘱.
𝗦𝗧𝗘𝗩𝗘 𝗛𝗢𝗕𝗕𝗦
(𝗦𝗼𝗹𝗮𝗿 𝗥𝗮𝗱𝗶𝗼 / 𝗧𝗼𝘁𝗮𝗹𝗹𝘆 𝗪𝗶𝗿𝗲𝗱 𝗥𝗮𝗱𝗶𝗼)
-----------------------------------------------------------------
𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 27𝘁𝗵 𝗝𝗔𝗡𝗨𝗔𝗥𝗬
14 euros + postage as it follows:
6,90 euros UK & Europe (1 to 5 records)
3 euros Spain (1 to 5 records)
10,55 euros USA & rest of the world (1 to 5 records)
𝗣𝗮𝘆𝗺𝗲𝗻𝘁 𝗯𝘆 𝗣𝗔𝗬𝗣𝗔𝗟 𝗮𝘀 𝗳𝗿𝗶𝗲𝗻𝗱𝘀 & 𝗳𝗮𝗺𝗶𝗹𝘆:
soul4realrecordlabel@gmail.com
Check previous releases: www.soul4real.es

By Alexsubinas in News Archives · January 11, 20232 yr

The latest release from Big Man Records, the first in a series of previously unissued Jimmy Radcliffe recordings. Sleeve notes and audio follow below...
Jimmy Radcliffe - Big City Blues - Big Man Records 45 - Out Now BMR 1012
Sleeve Notes
As Jimmy Radcliffe's fan #1 I'm super excited for the release of "Big City Blues" b/w "You Can't Lose Something You Never Had" on Big Man Records! My father's signature vocals showcase the brilliant talents of the songwriting team of Brass-Levine-Kooper, on perhaps lesser known songs than their celebrated hit "This Diamond Ring" but what these songs may lack in notoriety they more than make up for in their measure as quality soul music. Much like the lonely lost love footsteps that open the David-Bacharach opus "(There Goes) The Forgotten Man" the horns and timpani heartbeat of "Big City Blues" sounds out the pathos and desperate longing found down the alleyways and corridors of the discarded hotels that echoes throughout the songs of the big city. Once again harkening back to the sweetly inspired records that the David-Bacharach-Warwick team, Tommy Hunt or Chuck Jackson released in the early 60's, "You Can't Lose Something You Never Had" speaks right to the heart of a souring love with the horns hurling the tinkle of the piano down the waterfall of emotion in Jimmy's voice.
Will this add to the long standing legacy of classic Jimmy Radcliffe discs like "Long After Tonight Is All Over" (Musicor), "My Ship Is Com in' In (Aurora) and "Breakaway"(United Artists)? Only you, the fans, can determine this ... but for my part, I say the soul scene is all the better for them and I for one look forward to hearing them out and about on a talc dusted floor.
So without further ado, it is with great pleasure that we bring to you BIG CITY SOUL!
Keeping The Faith, Chris Radcliffe
Special thanks to Chris Radcliffe - Black Patch Productions for his blessing, permission and assistance in making this release possible. Massive thanks to David Cartlidge for his recommendation and bringing "Big City Blues" to the attention of the Soul Scene, after acquiring the studio acetate from Sean Chapman. Special thanks to Ian Gregory - Soul Time Soul Flyers for label, sleeve, collectors card and lyric sheet artwork. To my best mate Kevin Cox - SoulSpinner Northern & Rare Soul Sales for his involvement with Big Man Records. Finally to my soulmate Karen Bentham for her continued support and administration skills. Last but not least we thank the Legend ... Jimmy Radcliffe for whom the night will never be over!
Mark Bicknell - Big Man Records

Release Notes
Jimmy Radcliffe - Big City Blues b/w You Can't Lose Something You Never Had - BMR 1012 new release. The first in a series of previously unissued Jimmy Radcliffe recordings from Big Man Records.
Fully licenced from Black Patch Productions to Big Man Records taken from studio masters, big city soul of the highest order.
Each 45 is presented in a custom card picture sleeve, with liner notes written by Christopher Radcliffe Jimmy's son. Also included is an A6 collectors card, lyric sheet (insert inside the sleeve), all in a poly outer sleeve.

Listen

Images

Availability
Available now direct from @Mark Bicknell Big Man Records, or via the many records shops now, including our own Source Store - Tap to view Jimmy Radcliffe - Big City Blues Source Store page

releases

By Mike in News Archives · January 10, 20232 yr

Spector - A 4 Part Series Via Sky Documentaries
'Through the lens of a notorious crime and the media hysteria following the case of Phil Spector, this major four-part documentary series uncovers the hidden layers to tell the story both of Lana Clarkson and the man who was convicted of her murder. SPECTOR re-examines the life of one of the most important, yet mysterious, cultural figures of the 21st century in a way that has never been done before'
Now showing via Sky Documentaries and Now tv in the UK
Live S1 E1 10 Jan 9:00pm
and streaming via Now tv
https://www.nowtv.com/gb/watch/home/asset/spector/iYEQYZ6xzLBzvuRXEwPrCu
A 4 star review can be read here
https://www.theguardian.com/tv-and-radio/2023/jan/08/phil-spector-review-sky-documentary
'This four-part series about Phil Spector walks the tightrope between sensitive and salacious – and refuses to diminish the importance of Lana Clarkson, the woman he killed'

By Mike in News Archives · January 9, 20232 yr

udiscovermusic.com are running an article titled Stax ’68: Easing A Nation’s Sorrows, One Song At A Time
Written with references to a UMC/Concord l 5 Cd Box set 'Stax 68: A Memphis Story' Box Set released 4 years ago,...
Stax ’68: Easing A Nation’s Sorrows, One Song At A Time
As political unrest swept the world in 1968, Stax Records faced a tumultuous year saved only by the legendary label’s own soul power.
Published on January 8, 2023 by Ian McCann
Article via
https://www.udiscovermusic.com/stories/stax-records-1968-politics-memphis-music/

By Mike in News Archives · January 8, 20232 yr

We regret to learn of the sad passing of Bonnie on 8th June 2020 and of Anita on 31st December 2022
The Pointer Sisters achieved mainstream success during the 1970s and 1980s. Their career spanned four decades and their repertoire has included such diverse genres as pop, disco, jazz, blues, soul, funk, country and dance.
The Pointer Sisters have won three Grammy awards and received a star on the Hollywood Hall Of Fame in 1994. The group had 13 US top 20 hits between 1973 and 1985
The group had its origins when sisters June and Bonnie Pointer began performing in clubs in 1969 as Pointers, A Pair. The line-up grew to a trio when sister Anita joined them. They then got a record deal with Atlantic records and released several singles. The trio grew to a quartet when sister Ruth joined in 1972.

By Ady Of Newark in Soul News · January 6, 20232 yr

HR 1544 NANCY BUTTS – I Want To Hold Your Hand Baby / Your Friend Will Take The Man You Love
Wonderful Northern / Modern soul dancer from this Southern soul sister. Played at 100 Club originally by Guy Hennigan coverd up as by Eula Cooper. c/w a great midpace beat ballad flip.
Reputedly released in a quantity of only 200 in the late 80s/early 90s after an unissued master was found in Detroit.

HR 1545 DEON JACKSON - Someday The Sun Will Shine / I Remember The Feeling
Iconic Detroit artist from the legendary Ollie McLaughlin's family of labels, this was unknown and unreleased until one acetate was found. It then appeared on a Canadian Maple St. boot CD and also had a UK boot on a crappy looking fake Carla label.
Carefully remastered to obtain absolutely the best audio available from the source. Flip is another unreleased at the time, also cut by the great Barbara Lewis.

All releases prior to 1540 remain at the old price of £12.00. Paypal – hitandrunsoul45@gmail.com
Interested in a demo ? please pm me for availability and new pricing.
HR 1544 A - Nancy Butts - I Want To Hold Your Hand Baby 2.21 master ref copy.mp3 HR 1545 A - Deon Jackson - Someday The Sun Will Shine 2.08 master ref copy.mp3 HR 1545 B - Deon Jackson - I RememberThe Feeling.mp3 HR 1544 B - Nancy Butts - Your Friend Will Take The Man You Love.mp3 HR 1545 B - Deon Jackson - I RememberThe Feeling.mp3

By Dewsburyborn in News Archives · January 4, 20232 yr

Ain't Too Proud: The Life and Times of the Temptations, the exhilarating new musical following the remarkable journey of The Temptations from the streets of Detroit to the Rock & Roll Hall of Fame, coming to the Prince Edward Theatre in London next March.
From the creators of the award-winning Jersey Boys…Get Ready, Cause Here They Come!
AIN’T TOO PROUD is the exhilarating new musical following the remarkable journey of THE TEMPTATIONS from the streets of Detroit to the Rock & Roll Hall of Fame.
TONY Award-winning choreography and Grammy Award-winning music tell a thrilling story of brotherhood, loyalty and betrayal set to the beat of the group’s most treasured hits, including My Girl, Just My Imagination, Get Ready, Papa Was a Rolling Stone and so many more.
With their signature dance moves and unmistakable harmonies, THE TEMPTATIONS rose to the top of the charts with a staggering 42 Top-Ten Hits and 14 Number Ones. The rest is history.
Experience the sound of genius in the making. Begins March 2023 at the Prince Edward Theatre, London.
More information about the show, including our recently announced Temptations can be found at
https://www.ainttooproudmusical.co.uk

Tickets are on sale now - Currently 31st March - 1st October 2023
The advertising agency for this show, have been in touch asking can we inform members that the following deals are available.
'We currently have a discounted groups rate available, where groups of 10+ can get tickets for £32.50 each. Throughout the rest of the run, and for individual bookings, we have accessible pricing with tickets from £25.'

By Mike in News Archives · January 3, 20232 yr

It's that time of year again...
Back in April 2013, Russ aka @Amsterdam Russ started up a freebasing topic, simply set up for Source members to share their wildlife photos.
Straight off it became a most popular topic, so popular it was extended to include all types of photo subjects, with a new year based topic at the start of every year.
So here we are 10 years later ...
The 2023 topic has just kicked off and can be had here
https://www.soul-source.co.uk/forums/topic/435880-show-us-your-great-photos-2023/#

While all the previous topics (2013-2023) can now be found under the below tag
https://www.soul-source.co.uk/tags/photos/
Almost 10,000 comments in the 10 topics

Of course many thanks go to all members past and present who have contributed photos and comments wise over the last 10 years and to Russ for his time and efforts in organising the topics
Cover photo is from the very first 2013 post by Russ

By Mike in Soul News · January 3, 20232 yr

WE ARE THRILLED TO ANNOUNCE JIMMY RADCLIFFE - BIG CITY BLUES - BMR 1012 IS DUE TO BE SHIPPED TO US ON DECEMBER 27TH AND WILL BE RELEASED FIRST WEEK IN JANUARY COMES IN CUSTOM CARD PICTURE SLEEVE, A6 COLLECTORS CARD, LYRIC SHEET INSERT IN A POLY OUTER SLEEVE, LINER NOTES WRITTEN BY CHRISTOPHER RADCLIFFE JIMMY'S SON.
PRE RESERVES FOR THIS RELEASE HAVE BEEN INCREDIBLE, TO ORDER PM MARK BICKNELL EMAIL bicknellmark@aol.com OR bigmanrecords1@gmail.com
FULLY LICENCED FROM BLACK PATCH PRODUCTIONS TO BIG MAN RECORDS TAKEN FROM STUDIO MASTERS, BIG CITY SOUL OF THE HIGHEST ORDER.
JIMMY RADCLIFFE - BIG CITY BLUES B/W YOU CAN'T LOSE SOMETHING YOU NEVER HAD - BMR 1012 NEW RELEASE. THE FIRST IN A SERIES OF PREVIOUSLY UNISSUED JIMMY RADCLIFFE RECORDINGS FROM BIG MAN RECORDS.

By Mark Bicknell in News Archives · December 23, 20222 yr

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