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The Seven Brothers - Crying In The Streets - Charly Records LP

The Seven Brothers - Crying In The Street - Charly LP
Reading the interesting sleeve notes by Dean Rudland ,accompanying this Gospel album ,he explains the amount of Gospel albums such as this that were recorded and then sold at churches or showcases around the USA ,without ever denting the music charts ,and remain obscure and rare ,often being pressed in small quantities.
This album ,which was originally released on Lelan Rogers “ House Of The Fox “ label ,features the powerful vocals of Robert Sims with the title track “ Crying In The Streets “ being a powerful Gospel version of the George Perkins 1969 song ,released in the wake of Dr Martin Luther King’s shooting in 1969 .The powerful “I Had A Dream “ ,the uptempo shouters “ I’ve Been Born Again “ ,” Me And The Devil “ and the jazzy tinged “ America “ are all good examples of overlooked Black music straight from the church .
As mentioned the sterling sleeve notes by Dean Rudland are really interesting,with the album being pressed on a silver / grey rippled effect vinyl .
By Eddie Hubbard in Soul News ·

Sunshine Soul - This Weekend Events Heads Up...

All the soul you need, a grab of this weekends Soul event taken directly from our vibrant Soul Music Event Guide.
A stand still screengrab of our dynamic event map view follows below, check out the video showing after for the quick and easy method to use the dynamic view yourself
Screengrab


Video Demo

There you go free and easy...

Source Event Guide Link
https://www.soul-source.co.uk/events/


By Source Team in Event News ·

Gene Townsel - Time Wounds All Heels - Charly Records LP

Gene Townsel - Time Wounds All Heels - UK Charly LP
Another great release from Charly Records ,with this superb album from Gene Townsel ,originally recorded at Tangerine studios in 1975 and finally released on the Dobre label in 1978 .From the opening track,the cleverly titled and Deep Soul flavoured “ Time Wounds All Heels “ ,Gene takes the listener through a very personal journey of love and heartbreak ,but delivered in a very uplifting way ,especially on the tracks “ I’m Walking Away “ and “There’s No Use Hiding “ ,which have remained very indemand tracks on the Modern / Crossover Soul scene ,with beautiful production and arrangements by Gene and Anita Mitchell ,using strings and guitar riffs to great effect .
Most of the tracks are self penned by Gene ,though two Bill Withers songs are included “ Hope She’ll Be Happier “ and the medley of “ I’m Her Daddy / Daddy Don’t You Walk So Fast “ ,ending with a cover of the classic “ The Impossible Dream “ .Interesting to read in the credits that Clydene Jackson was involved in backing vocals .Apparently the reason why the original album is so rare ,is because Dobre Records was a tax shelter ,and very few copies became available in the marketplace .It’s good to see this album finally reissued on vinyl ,and able to reach a larger audience.Thanks to an interview by Colin Dilnot with Gene Townsel for the inside information on this project .
By Eddie Hubbard in Soul News ·

Joe Bataan… The Undisputed Reigning King Of Latin Soul!

JOE BATAAN… THE UNDISPUTED REIGNING KING OF LATIN SOUL!

Who better to shed a tear with during political turmoil than the undisputed reigning King of Latin Soul himself... Joe Bataan. “And I Cried” is a Latin Soul tear-jerker that'll break the hearts of many, then end with a bang! This rola cracks off with an overwhelming broken heart and tears, only felt by those who continue to struggle in the barrio, then segues into a Latin Percussion solo and an upbeat Mambo Cha-Cha to dance the tears away!

The flip is Joe Bataan’s rendition of The Occapello’s only record, “The Stars”, that'll take you back to Spanish Harlem street corners, between the Latin tinge and harmony groups.

This record strikes a perfect balance between new production and the legacy of Joe Bataan during his height. In fact, if someone told you these were remastered versions of previously unreleased Fania tracks, you’d bet your life on it! And for that reason, Joe Bataan continues to reign as the undisputed King of Latin Soul! Complete with tattoo tear drops from the studio of OG Midniters legend, Little Ray Jimenez at LA Sanctuary (East LA, CA), and defiantly crossing the border to Olah Producciones (Veracruz, MX), these rolas will make you cry just before reaching for the stars!

Intl. Dist: razadelsoul@gmail.com / Press & Booking: resquivel@solamusicgroup.com
Direct Sales: https://razadelsoul.bandcamp.com/



TITLE / ARTIST: And I Cried / The Stars - Joe Bataan
CATALOG# / SKU: SR-JB-002
7” Black Vinyl Single UPC: 875531028737
LABEL: SOLA Records
GENRE: R&B/Soul, Latin, Latin Soul, Low-rider Oldies, Harlem, NY
IN-STORES / RELEASE DATE: 5/16/25
FORMAT: 7” Black Vinyl Single w/Picture Sleeve
PRESSING: 1000 BLK
KEY MARKETS: Bay Area, Los Angeles, Texas, NY, Mexico, UK, Japan
WHOLESALE: razadelsoul@gmail.com / SLRP: $25 USD


#
TITLE (Click to Listen)
DESCRIPTION
A:
And I Cried
(R. Esquivel, A. Carmine)
© ℗ SOLA Records
ISRC: QZVS62400009
Latin Soul tear-jerker that racks off with an overwhelming broken heart, then segues way to a Latin Percussion solo, and an upbeat Mambo Cha-Cha to dance the tears away!
B:
The Stars
(B. Kline)
© Arc Music BMI ℗ SOLA Records
ISRC: QZVS62400010
Cover of The Occapello’s only record, “The Stars”, that'll take you back to Spanish Harlem street corners, between the Latin tinge and harmony groups.




By razadelsoul in Soul News ·

Betty Harris - Soul Perfection - Charly Records LP

Betty Harris - Soul Perfection- UK Charly
A timely reissue by Charly Records ,for this wonderful compilation album by Betty Harris - Soul Perfection ,which was originally issued in the UK on the legendary Action label in 1969 .This album replicates the 16 tracks in the same order as the original release ,with Soul quality to please both Deep Soul collectors and those who like to dance ,with every track epitomising the New Orleans sound with Allen Toussaint at the helm on song writing ,production and music duties .” What A Sad Feeling “ ,” Can’t Last Much Longer “ ,and “ Nearer To You “ are beautiful ballads with Ms Harris in great voice ,while the more uptempo “ I’m Evil Tonight “ ,”Ride Your Pony “ ,” I Don’t Wanna Hear It “ ,”Trouble With My Lover “ ,and “ 12 Red Roses “ are classic 60’s Soul dancers .In more recent times the funky “ Mean Man “ ,and “ I’m Gonna Git You “ have gained a new audience of fans digging “ sister funk “ tracks .
Informative sleeve notes by Dean Rudland ,some stunning label scans and beautiful bright pink vinyl complete an essential release .

By Eddie Hubbard in Soul News ·

Ad-Free Soul Source - Ads No More...

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By Source Team in Soul News ·

Soul4Real EPs: Sound Stage 7 / Seventy-Seven & Muscle Shoals Sound

Two exciting new 𝗥𝗘𝗦𝗘𝗥𝗩𝗔 𝗘𝗦𝗣𝗘𝗖𝗜𝗔𝗟 releases!
PRE-ORDER NOW FOR 14th July https://soul4real.es/shop/
RESERVA ESPECIAL: SOUND STAGE 7 / SEVENTY-SEVEN (S4R48)
S4R48 is dedicated to John Richbourg’s iconic labels, SOUND STAGE 7 and SEVENTY SEVEN, featuring the main man Joe Simon and the much-missed Ann Sexton on two album tracks available for the first time on 7”. Completing the EP are two originally unreleased tracks: Roscoe Shelton’s well-known Northern Soul classic "You’re the Dream", and another Southern Soul gem by Geater Davis.

 




RESERVA ESPECIAL: MUSCLE SHOALS SOUND (S4R49)
 S4R49 focuses on the legendary Muscle Shoals Sound Studio and features four previously unreleased tracks: two by the wonderful Katie Love; a fabulous version of Phillip Mitchell’s "Hitch Hike to Heartbreak Road" by Curtis Wiggins; and an exquisite song from Sandra Wright’s lost session at the studio, written by George Jackson and recorded in January 1978—proof that the magic was still alive.

















By Alexsubinas in Soul News ·

New 45 - Soul Direction Records - Eddie Watkins Jr and Legacy - SD024

Soul Direction Records are please to announce our next release.
Eddie Watkins Jr. and legacy – “Love Is Hard to Find” / “Did You Notice (My Love Grows)” – SD024
Pre Order from Friday 4th July – Release Date: Friday 18th July 2025
Soul Direction presents the second instalment of unissued tracks from the writer and composer behind the music of 70s group Legacy. Legacy was formed around 1975 by Eddie Watkins Jr., who started the band. At just 17 years old and still in high school, Eddie caught the attention of legendary Motown producer Norman Whitfield during an Undisputed Truth band rehearsal. A few days later, he received a call from Motown to play on Norman Whitfield’s new Temptations album, Masterpiece. Brenda Evans was a member of the Motown group The Undisputed Truth. She sang on their first three albums: The Undisputed Truth, Face to Face with the Truth, and Law of the Land, all released between 1973 and 1973. She left The Undisputed Truth and later married Eddie Watkins Jr. Brenda joined her husband’s band Legacy from 1974 to 1975. Under the guidance of Don Davis, Legacy recorded very few songs. The only two officially released were “I Must Confess” and “Believe in Yourself” on Tortoise International Records. The first set of unissued tracks released by Soul Direction—Boy, You’ve Been Acting Strange / Celebrate—were originally intended for Tortoise International Records. However, these two new tracks were meant for a planned new label that never materialized, and so they remained shelved until now. These two tracks came from two master tapes, and after further conversations with Eddie, he shared: “The lead vocals on Love Is Hard to Find were Delbert Nelson (who also performed some backing vocals for The Funk Brothers) and me, Eddie Watkins Jr.” Eddie is also the lead vocalist on “Did You Notice” (I Used to Love You.) He added, “Unbelievable! That’s me at 19–20 years old. I recognize Quentin Dennard playing drums on one of the songs too.”
“I was trying to copy Sly and the Family Stone by having different band members sing different parts,” he explained. “These were some of the first songs I ever wrote. Wow, I’m blown away. I’m speechless.” Eddie Watkins, who wrote all the songs, agreed to license the tracks to Soul Direction for a 7” vinyl release. Today, Eddie remains an active member of his church, spreading his message and living life. Without his support, this release wouldn’t have been possible.
The original Legacy members were:
• Eddie Watkins Jr. (Vocals & Bass Guitar)
• Brenda Evans (formerly of The Undisputed Truth)
• LaMarvin McMorris
• Delbert Nelson (Vocals)
• Butch Small
• Mark Johnson (Keyboards)
• Ricardo Rouse

Videos

Images






Full info and more via
https://soul-direction.co.uk/
By Source Team in Soul News ·

New Latin Soul 45 - Joe Narvaez From Thee Baby Cuffs For 4th Of July

NEW LATIN SOUL 45 FROM JOE NARVAEZ FROM THEE BABY CUFFS FOR 4th OF JULY🎇!

In 1969, Bobby Taylor and the Vancouvers released a rola titled, "Does Your Mama Know About Me", about a taboo interracial relationship. Written by Cheech & Chong's other half, Tommy Chong, a decade before he went up in smoke. That same year, @mr.joester joined the Junior Brown Berets during the height of the Chicano Movement and Anti-Establishment upheaval, when he was just 9 years old. Indoctrinated in carnalismo and La Causa, elder Brown Berets taught self-defense classes and focused on ending barrio warfare, explaining to a very young Joe, “That’s your carnal!”.

Just one year after Cheech & Chong’s cult classic, "Up In Smoke", hit the box office, @mr.joester began recording his own Latin Soul rendition of "Does Your Mama Know About Me", before serving in the US Army in Germany. Just a few years back, Joe Narvaez brought that old dream back to life! When asked what inspired Joe to record the rola, Joe responded, “Having served, I wanted to record a song about a woman in a relationship with a veteran in a wheelchair, and afraid of what her parents may think of his handicap.”

When asked about the state of the nation and mass immigration raids, @mr.joester replied, “I'm certainly an American, I feel proud that I served, we always were Americans, Mexico is part of the American Continent, but I guess we're not American enough. This guy the way he's doing things, like we're his police force, pitting us against each other, those that serve, against the civilians. How come we're good enough to serve this country, but not good enough to stay?”

The flip is a killer Chicano Soul, Latin percussion cover of Don Julian & The Larks' classic, "I Want You Back". Both rolas are previously unreleased from 1979.

Credits:

Vocals: Joe Narvaez
Transferred and restored by Jessica Thompson, Jessica Thompson Audio (Berkeley, CA)
Remixed & Mastered by Thee Midas Touch at Wyldwood Recording Studios (Berkeley, CA)
Art Direction by Thee Midas Touch
© Jobete Music Co Inc ASCAP ℗ 2025 Mr. Joester, © Cherryl Music BMI ℗ 2025 Mr. Joester



Intl. Dist: razadelsoul@gmail.com / Press & Booking: jnar1434vr@yahoo.com
Direct Sales: https://joenarvaez.bandcamp.com/
TITLE / ARTIST: Does Your Mama Know About Me / I Want You Back - Joe Narvaez (from Thee Baby Cuffs)
CATALOG# / SKU: JOE-002-BLK
7” Black Vinyl Single UPC: 199284739635
LABEL: Mr. Joester
GENRE: R&B/Soul, Low-rider Oldies, Latin Soul, Previously unreleased, San Jo, CA
IN-STORES / RELEASE DATE: 7/04/25
FORMAT: 7” Black Vinyl Single
PRESSING: 400 BLK, 100 Acid Trip (Bandcamp Exclusive), Master Lacquer Cut by Anne-Marie Suenram, formerly from Fantasy Studios (Berkeley, CA), using their famed Neumann VMS 66 disc-cutting lathe, one-step pressing at Musicol Vinyl Pressing Plant (Columbus, OH)
KEY MARKETS: Bay Area, Los Angeles, Texas, NY, Mexico, UK, Japan
WHOLESALE: razadelsoul@gmail.com / SLRP: $15 USD
#
TITLE (Click to Listen)
DESCRIPTION
A:
Does Your Mama Know About Me
(HT Baird, T. Chong)
© Jobete Music Co Inc ASCAP ℗ 2025 Mr. Joester
ISRC: QZZGE2500021
Digital UPC: 199519860257
Latin Soul rendition of Bobby Taylor and the Vancouvers’ classic about a taboo interracial couple, written by Cheech & Chong's other half, unreleased from 1979
B:
I Want You Back
(D. Julian)
© Cherryl Music BMI ℗ 2025 Mr. Joester
ISRC: QZZGE2500011
Digital UPC: 199341889839
Chicano Soul, Latin percussion cover of Don Julian & The Larks classic, unreleased from 1979



By razadelsoul in Soul News ·

New 45 - Carlton Jumel Smith & The Wax Preachers - On Symphonical Records

A new 45 from Symphonical Records
Carlton Jumel Smith & The Wax Preachers - 'Gotta Go Home' - Symphonical Records
Release notes
The newest release by NYC Soul Singer Carlton Jumel Smith, and the first time collaborating with London's own Wax Preachers on this double A-sider single, 'Gotta Go Home' & 'Loud & Clear'.
Produced by Fergal McBride, the single showcases the uplifting harmonies conducted by Carlton Jumel Smith, a well-versed showman when it comes to all things soul with a deep discography through Timmion & Colemine Records, backed by The Wax Preachers, a self-coined heavy instrumental funk band, with a string of releases on Funk Night Records.
released June 18, 2025

Video
Carlton Jumel Smith & The Wax Preachers

Bandcamp Link for both vinyl and download purchase
https://symphonicalrecords.bandcamp.com/album/gotta-go-home-loud-and-clear

By The Milk Man in Soul News ·

2 x New 45s - Charly Records - Soul City Imprint

Charly Records keep pushing out the new releases. This weekend saw the release of the first 2 x 45s on their revamped 'Soul City' imprint
Details of the first two 45s and one of the the next follow below...
Chris Jackson and His Music People - Since There's No Doubt / Forever I'll Stay With You
The first release selected by SOUL CITY on their 2025 relaunched logo is a much-sought-after number by Chris Jackson and His Music People. Originally slated for release on Soul City 120 in late 1969 but withdrawn following disagreements with the artist and the financial collapse of the label in 1970. But it wasn't the end of the story,
‘There's No Doubt.’  A handful of acetates were created for planned release on Soul City but with the label’s demise, the record was not issued although label co-founder Dave Godin did intend for the track to be part of an ill-fated 444 American Recordings venture that never materialised. Reputedly, only one of the acetates survived. Now, at last,
Soul City presents the 55th Anniversary restoration of the, near-mythical, Northern Soul dancer coupled with Chris Jackson's original composition Forever I'll Stay With You (SC112).
The Ikettes - What'cha Gonna Do / Beauty Is Just Skin Deep
The second release selected for the relaunched SOUL CITY label combines two tracks by The Ikettes. The ‘A-side, a long-time Northern Soul favourite, was originally released on Phil Spector's Phi-Dan label in 1966, the year that saw the release of the now iconic River Deep - Mountain High album produced by Spector. 
Written and produced by Ike Turner, 'What'cha Gonna Do (When I Leave You)', features the legendary P.P. Arnold (an Ikette from 1965-1966) on lead vocals, with sisters Brenda and Patrice Holloway providing background vocals aided by Tina.
Our chosen B-side, 'Beauty Is Just Skin Deep', was originally cut by Ike & Tina in 1966 for Ray Charles' Tangerine label. Produced by Ike, this version by The Ikettes (with a line-up of  Margaret Ann Thomas, Maxayn Lewis, Pat Powdrill, Mary Jean Brown) was released on Pompeii Records in 1968.
Video Playlist

Spotify

Upcoming 45
Kenny Smith - Lord What's Happened

Further info and more via website
https://charlydirect.com/collections/7-vinyl
By Source Team in Soul News ·

Love Train: The Songs Of Kenneth Gamble and Leon Huff

Love Train - The Gamble & Huff Songbook - Various Artists (Songwriter Series) CDTOP 534
New album in the 'Songwriter Series' from Kent Records
Release notes
Since Ace began what soon became a ‘Songwriter Series’ some years ago, one of the most frequently asked questions from customers and retailers alike has been ‘When are you going to do a Gamble & Huff project?’
Their songwriting partnership celebrates its 60th anniversary next year, and so with that in mind – and while these venerable gentlemen are both still with us – there has never been a more opportune time for Kent to debut “Love Train: The Songs Of Kenneth Gamble and Leon Huff” than now…
Full notes and more info via
https://www.acerecords.co.uk/love-train-the-gamble-huff-songbook

Leaflet Preview Scans




Tracks
01 Love In Them There Hills - The Vibrations
02 United - Peaches & Herb
03 I'm Gonna Make You Love Me - Madeline Bell
04 (You) Got What I Need - Freddie Scott
05 A Brand New Me - Mary Wells
06 Only The Strong Survive - Elvis Presley
07 Cowboys To Girls - The Intruders
08 Lost (Unedited Version) - Jerry Butler
09 Together - Gladys Knight & The Pips
10 I Can't Stop Dancing - Archie Bell & The Drells
11 Let's Get Together Soon - Dusty Springfield
12 Ain't No Doubt About It - Wilson Pickett
13 Drowning In The Sea Of Love - Joe Simon
14 Love Train - The Supremes
15 Me And Mr. Jones (Part 1) - Barbara Mason
16 Expressway To Your Heart - Margo Thunder
17 I Love Music (Part 1) - The O'Jays
18 I've Got The Groove - George Faith
19 Don't Leave Me This Way - Harold Melvin & The Blue Notes
20 Never Gonna Give You Up - Bonnie Bramlett & Dobie Gray
21 You'll Never Find Another Love Like Mine (Single version) - Lou Rawls
22 If You Don't Know Me By Now - Jean Carn & The Temptations
23 Now That We've Found Love - Third World
24 Hey Western Union Man - Bobby Rush


By Source Team in Soul News ·

New 45 - The Inclinations Reissue 45

Reissued for the first time on a limited 100 press collectors edition on Brown Vinyl.
The Inclinations - Could This Be Love, That I Feel / Cross My Heart (To You) Janus 1974. 
Baltimore, Maryland soul vocal group consisting of Billy Butler, James Player, Harold Foster, Charles Addison & Darnell Carter previously known as The Optimistics with Jerome Webb instead of Darnell Carter
Billy Butler and Charles Addison had previously recorded as The Del Capris and then as Beverly and The Del Capris before transitioning into the Optimistics.
Billy Butler produced 'Just Let Me Know' by Allen Harris and Perpetual Motion which he co-wrote with Allen Harris as well as Jay (James) Player 'Love Is The Answer' singer from The Inclinations. Billy also co-wrote and produced Crosswind 'Fire'.
The Optimistics were best known for 'Say It Baby' which was thought to be an Album only track and rumoured to be a single but unproven until surfaced in 2024!
They were based in Harlem and were supposedly discovered by Marvin Gaye who gave them their first break introducing them to Baltimore DJ Al Jefferson who eventually signed them to Turbo a subsidiary of All Platinum. They were assigned to George Kerr who produced their solitary Album. Despite their talent the album failed to get noticed primarily due to lack of promotion by the label. The group wanted to part ways but discovered their contract gave exclusive rights of their name to the label. 
So if they wanted to continue recording, they needed to create a new identity and so they became The Inclinations. Al Robinson secured them a deal with GRT's Janus Records. 
They released two killer sweet soul singles which are very rare and sought after 'I'm Gonna Make Love Last This Time' released in 1972 and by far the hardest of the two this double header 'Could This Be Love, That I Feel / Cross My Heart (To You) in 1974. 
Lovingly remastered by Frank at the Carvery. Don't miss this limited reissue of their most sought after 45.  Sweet Soul at its finest.
Available here
https://www.globalsoulstore.com/
By Jmsoul in Soul News ·

New 45 - The Soul Steppers

Currently only available on Vinyl the debut single from the Soul Steppers on a very limited run of 45s.
Soul Steppers
This is the Brand New Single from The Soul Steppers, out now on a Limited Edition Vinyl 45. "Fly With You" b/w "Slow It Down" taken from their forthcoming 6 track E.P. "Now Is The Time"
The 10 piece Brighton based outfit formed around 10 years ago to shake up the live soul music scene, performing re-worked & rearranged versions of 60s & 70s soul & funk rarities, which then inspired the band to start writing their own material & develop their own sound.
The Steppers have performed at The Craig Charles Funk & Soul Club nights, along with numerous sold out shows at well renowned venues including The Jazz Cafe, The Blues Kitchen & The Pizza Express Soho Jazz Club.
Soul, Jazz-Funk & Latin influences are all in the mix, the music highlighting their big band sound, featuring a super tight rhythm section, seriously soulful vocals & a punchy 4 piece horn section.
Both tracks written & produced by Tony Mead & Mark Treffel. 'Slow It Down' Co-written with Glenn Fallows.
Perfect fit for the ever-popular Retro Soul sound from this British Band.  
Available to buy here
https://www.globalsoulstore.com/


By Jmsoul in Soul News ·

Soul This Weekend - Heads Up Via Event Guide Map View

The return of the weekend heads up shouts, our weekly map view is back, check out the below for the details of where and how...

This Weekends Map View

The above is a static screengrab from our dynamic 'Weekly Event Map View', which not only gives you the local score but also offers a bigger picture as well.

In Action

The dynamic version allows you to drill right down to get all the relevant event info.

Where

To use just go to our Event Guide Main page and then tap the 'Weekly Map View (tap)' link as above

Tips
Just tap/mouse the screen to drill down for the full info
Use the full screen icon (top left corner) when viewing on phones etc
Event Guide link
https://www.soul-source.co.uk/events/


By Source Team in Event News ·

King Errison - The King Arrives - Charly Records

King Errison - The King Arrives - Charly Records
King Errison is a highly regarded percussionist player originally from Nassau Bahamas ,with a long and successful career.Early in his career he and his band were featured in the James Bond “ Thunderball “ film ,he was part of Neil Diamonds backing band for over 30 years ,and he was heralded the “ unsung hero “ of Motown by Raynoma Singleton and also Berry Gordy ,playing with Marvin Gaye ,Jackson 5 ,Diana Ross and many more of the Motown stable .He was also a member of The Incredible Bongo Band ,and recorded many solo albums which are revered for the “ breakbeats “ in Hip Hop circles .
“ The King Arrives “ is a solo album cut for and released in 1970 on Wally Rokers Canyon label,famous for releases by Swamp Dogg and Doris Duke amongst others .
The key track here is “ Zola “ ,also released on a 45 ,and a massive play on the Rare Soul scene of the mid 70’s ,a manic ,infectious bongo led side .The rest of the album could be described as Jazz with a Caribbean flavour ,with an array of highly regarded musicians such as : David T. Walker ,Wilton Felder ,Preston Love and George Bohannan .If you are a lover of Jazz this album is worth investigating.

By Eddie Hubbard in Soul News ·

New Album - New Breed R&B - Money Talks - Kent Records

A new Kent cd/lp due out this weekend...
New Breed R&B - Money Talks - Various Artists - CDTOP 532
A clip of the release notes follows, see the link below for the full read.
New R&B discoveries continue to emerge and entertain the many followers of the New Breed musical cult; nobody finds more than the Kent connoisseurs.
Berna Dean’s two previously unheard recordings are by far her best. They were laid down at Cosimo Matassa’s New Orleans’ studios by GNP Crescendo but eschewed in favour of two relatively average sides. The great 50s R&B songwriter Jesse Stone provides a rocker for the much-admired Jimmy Breedlove and a super-catchy ‘This Morning’ for an unknown mixed vocal group that has a joyous gospel feel. Jesse also penned ‘Private Eye’, a classic early 60s story-song, for Buddy Wilkins which was issued on Al Sears’ Tri-Ess imprint.
The title track is used twice, on two very different Fraternity recordings. Kenny Smith’s version was issued in 1964 and has many followers, but the equally meritorious Coasters-inspired composition by the Citations is newly discovered. Win Menifee’s ‘I’m Runnin’ Around’ from the same Cincinnati label comes complete with a fascinating back-story.
Full release notes and purchase options via
https://www.acerecords.co.uk/new-breed-money-talks

Leaflet Preview Scans





Track Listing Cd (Lp differs)
1. Don't Try To Tell Me - Berna-Dean
2. This Mornin' - The Jesse Stone Singers
3. All Around The World - Vermettya Royster With James Brown's Band
4. What's On Your Mind - The Four Bars
5. Bucket O Blood - Big Boy Groves
6. Don't Look Now - Wilbur "Hi-Fi" White & King Kolax Band
7. Laundromat - Elroy Peace
8. Twist It Baby - Jimmie Lee Robinson
9. Not So Much Talk - Jimmy Breedlove
10. Money Talks - Kenny Smith
11. Mary Don't You Weep - The Delights
12. Laughing On The Outside - Berna-Dean
13. I'm A Good Woman - The Afterglows
14. I'm Runnin' Around - Win Menifee
15. Case Of The Blues - Albert Washington
16. Private Eye - Buddy Wilkins
17. Hey Little Girl Pt 1 - Roosevelt Lee
18. Hey Hey Baby - T-Bone Walker
19. Goin' Away Baby (Round Like An Apple) - Smokey Wilson
20. You Make Me Mad - Johnny Madara
21. Money Talks (Tell Me What I Say) - The Citations
22. Tell Me Why - Richard Berry
23. Ain't No Woman Gonna Make Me A Fool - Willie Hutchinson
24. What Kind Of Love - Ernest Lane & The Ikettes (With Tina Turner)
25. Cleopatra - The Precisions - Berna-Dean

By Source Team in Soul News ·

The Source Weekly Email Newsletter is back

A quick shout that our 'Source Weekly Email Newsletter' has returned.
Due to the recent upgrade a new system is now being used which means that all members who have already opted in to receive 'our latest news and information' will now get this newsletter sent automatically once per week.
You can check and control if needed your subscription status (when logged in) with the below link, which does allow you to select on/off
https://www.soul-source.co.uk/notifications/options/?type=core_BulkMails
Basically as before the newsletter will send you a weekly heads up of all that's been going on here at Soul Source.
The first issue has just been sent and the next one, all being well, will be next week and then once every week

By Source Team in Soul News ·

Pittsburgh Diamond - The Soul Of Tommy Hunt - New Book

From the author of the best selling and critically acclaimed biography, 'Dave Godin A Northern Soul', comes the new book, 'Pittsburgh Diamond - The Soul Of Tommy Hunt', officially launched 18th June 2025 to coincide with what would have been Tommy's 92nd birthday. Extensively researched and highly illustrated with over 180 full colour pages, 'Pittsburgh Diamond' examines the performing and recording career of one of soul music's most respected and much loved entertainers.
From Tommy's first waxings with teenage combo The Five Echoes in the late 1950s which lead to an invitation to join one of Chicago's biggest vocal harmony groups The Flamingos and the recording of the million selling single 'I Only Have Eyes For You', onto Tommy's solo career with the Scepter record label scoring the number one r&b hit with his very first release, Human, and the honour of being the first vocalist to officially record the now classic Burt Bacharach and Hal David composition 'I Just Don't Know What To Do With Myself, which legend dictates was written specially for him.
The swinging sixties saw releases with the Dynamo, Capitol and Polydor labels and as a new decade dawned a relocation to the UK and Tommy's highly successful involvement in the '70s Northern Soul scene and the hit singles 'Cracking Up Over You', 'Loving On The Losing Side' and the iconic and historic album release via Spark records, 'Live At Wigan Casino'.
Sadly, Tommy passed away aged 91 on February 12th 2025 leaving behind a legacy of great records, 'Pittsburgh Diamond - The Soul Of Tommy Hunt' charts the history of all these seminal recordings along with the friendships and hardships enjoyed and suffered in-between.
NOTES AND EXCERPTS
CHAPTER 2 'CHICAGO'
Stepfather Paul 'Jelly' Holt, drummer with Chicago combo The Five Blazes who in 1952, as a slimmed down unit, scored a number one r&b hit with their debut 'United' label release 'Mary Jo'. Jelly initially supported stepson Tommy's embryonic career by allowing the teenager to accompany the band on stage at selected gigs until Tommy's solo contributions became a little 'too' well received!
CHAPTER 4  'AWOL AND ECHOES'
The formation of first group 'proper', The Five Echoes and their first release 'Lonely Mood'/'Baby Come Back To Me' via Sabre records. A sizeable local hit with Tommy singing second tenor and the group backed by The Fats Coles band (Fats the less famous brother of Nat King Cole). The follow up 45 sadly not featuring Tommy who was replaced for no better reason than being imprisoned for desertion from the US Airforce! Ex member of The Highway QCs and future 1968 'Who's Making Love' hitmaker Johnnie Taylor stepped in to take his place.
CHAPTER 5  'A FLAMBOYANCE OF FLAMINGOS'
Several years on we have Tommy's enlistment into one of Chicago's most famous doo-wop groups, The Flamingos. Originally only a temporary position that lead to full time membership and the recording of one of the biggest singles of the group's career, 'I Only Have Eyes For You'. It was at one of the first series of concerts Tommy ever played with the band that he met for the first time the King of Rock 'n' Roll, Elvis Presley. Playing on the same bill at the Casino Theatre in Toronto, Canada, Tommy couldn't believe how 'black' Elvis sounded and decided he just had to meet him. He knocked on the singer's dressing room door which Tommy noticed was the only one featuring a 'gold star'. "He invited me in and we just sat around and laughed, talked about music, he asked who my favourite artist was and he said he loved Ray Charles. 'You know, your voice is very close to black peoples'' I said, 'How do you find that voice within yourself, that groove, that feeling?' Elvis replied, 'We, I've learned it from you, I've learned it from black people. I'd stand outside the clubs where black people played. I couldn't go in 'cos I was too young and I'd just listen at the guys playing and singing. I just loved the way they sounded. I just listened intently and I made myself learn how to do that!'
"It was just a nice, little, warm conversation and what a lovely personality I though he had. Then I left and went back to my dressing room and told the fellas, ''I've just met Elvis!!'"
CHAPTER 7 ' THE APOLLO'
Throughout his career Tommy had many friendships with his performing peers, one of the biggest and deepest with Brunswick recording artist 'Mr Excitement' himself, the irreplaceable 'Jacke Wilson'. "I first met him at The Apollo, The Flamingos were on the show with him. He was a phenomenal dancer and singer. I was crazy about his voice. Me and him ran together, we went out to drink together, eat together we gelled. Where drink was concerned Jackie could hold up with the best, but he wasn't as good as me! Jackie was  a strange guy. The gangsters had him hanging out of a  15 storey building one night because he owed them money" They were getting ready to drop him if he didn't pay up. Jackie had one of the greatest voice in the world and he had one thing seldom mentioned these days... Talent! If Jackie had come to live in the UK he would have laid this country flat! Jackie I miss a lot, he was a character, one of my best mates and I think about him all the time!"
CHAPTER 12 ' THE KING OF NORTHERN SOUL'
The 1970s saw Tommy moving forward into one of his most successful chapter, Northern Soul and his many appearances at Wigan Casino. "When I first saw the club I was in a taxi and told the driver, 'You've got the wrong place!'
Tommy was expecting a gambling casino. "I walked into the club and couldn't believe what I saw. People were sleeping on the floor! I was stepping over bodies to get to the dressing room. I turned to Russ Winstanley and asked why they were sleeping, he said 'Tommy, they love to dance to the music, they dance a while then they lay down for a while, then they get up and start dancing again.
"I carried on stepping over bodies to get to the dressing rooms which were like holes in the walls! I walked through one and politely asked, 'Where's my dressing room?' 'You're in it!' they replied. There wasn't even a door to close so you could take your clothes off! But of all the clubs I had worked, Wigan Casino was by far the best".
One of the gigs Tommy played was to celebrate the club's 2nd anniversary which included the recording of the 'Live At Wigan' album. "It was a night I'll never forget, I think there were over 2000 people in there that night and WHAT a night. I was suddenly back in the 50s and 60s again. These kids had created their own sixties style spins and splits like I hadn't seen since Paul and I were doing them with The Flamingos. I went on that stage like hell had broken loose! I looked at the ocean of heads weaving and swaying in tempo to the music, man, it was the greatest feeling of my life. I sang and danced as if I was back at The Apollo in Harlem, I had no idea how popular I was with these Northern Soul fans, I felt like a King, in fact they even nicknamed me 'The King of Northern Soul'.
With several successful recordings on the Spark label, Tommy confesses he never actually made much money but he was never truly bitter even when he saw the chart successes of singles 'Cracking Up Over You' and 'Loving On The Losing Side'.
"I must have played Wigan Casino maybe 30/40 times. Wigan really put me on the map, they put me where I got a lot of respect from people. I'm not just a run of the mill singer because they put me in a position where I was a little higher which makes me feel good. That's worth more than money!"
'PITTSBURGH DIAMOND - THE SOUL OF TOMMY HUNT'  is available from 18th June 2025 from various independent stores, on-line dealers and by mail from the author priced 24.99 (includes free UK postage)   
Payment via PayPal: stevlor@hotmail.co.uk




By Source Team in Soul News ·

New 45 - Wikstrom & Lewen - June 16 2025 Release

Billed as being released on June 16th 2025, this new 45 release has been making a fair few ears and feet twitch...
Time To Make A Change - Wikstrom & Lewen
VINYL ONLY!.....LImited Edition 7" Black Vinyl
SIde A: Time To Make A Change (ftg Tommy Blaize)
Side B: Good, Good Feeling (Ftg Louise Marshall)

Both tracks, on the 7-inch, are taken from the MP3 only 2020 album “Vintage R&B”.

“Time to Make A Change”, features in Episode One of the 2023 BBC documentary “Fight the Power – How Hip Hop Changed the World”. A track to surely get the dancefloor moving.

Link
https://wikstromlewen.bandcamp.com/album/time-to-make-a-change
By Source Team in Soul News ·

Source Video Feature - Upgrade

Our video feature has had a bit of a revamp
Offering almost 1300 videos this Source feature has built up over the years to provide a decent reference feature offering the best of features found on sites such as youtube whilst avoiding the worse aspects of those sites.
The recent major site upgrade has led to various improvements...
The page views and the sections have been revamped, offering easier navigation
A review feature has been added, now all videos are now open to reviews by all members to pass on your take
Members can share Youtube, Vimeo and Daily Motion clips with all, if you can copy and paste you can add.
Members can now also upload their own event videos/trailers etc in our Event section, just hit the 'new video' button, then choose 'events' and then the 'upload' option
Link below...
https://www.soul-source.co.uk/videosdirectory/



By Source Team in Soul News ·

P.P Arnold - The Immediate Sessions - Charly LP

P.P.Arnold - The Immediate Sessions - Charly LP
This is a brand new album from Charly Records ,celebrating 60 years of Immediate Records and showcasing the talents of P.P.Arnold ,by way of a series of never released demos ,studio alternative and stereo mixes .
The album opens with a great version of the oft recorded “ Piece Of My Heart “ a superb version .Next is a demo version of the wonderful “ Angel Of The Morning “ which doesn’t differ too much from the issued take .” Little Girl” is a really nice ballad ,followed by an alternate version of “ If You See What I Mean “ which was the flip side of “ The Time Has Come “ on a 45 .Side A ends with “ Baby ,You’ve Got A Good Thing Going “ ,a really good demo with organ backing and loud femme chorus .
Side two opens with the classic “Everything’s Gonna Be Alright “ a stereo remix which really showcases the song to great effect in a way I’ve never previously heard .”Is This What I Get For Loving You “ is an alternate version ,first recorded by The Ronettes and included on P.P. ‘s “The First Cut “ album .A duet with Rod Stewart follows “ Come Home ,Baby “ originally issued by Wilson Pickett .This is excellent ,in a stereo remix form .” Letting Go Of A Beautiful Thing “ is a demo also known as “ Sweet Thoughts “ ,an excellent Motownesque dancer .” How Does It Feel To Be Lonely “ finds Ms Arnold in a heavy ,psychedelic mood ,for me the weakest track .This fine album ends with a duet version of “ ( If You Think You’re ) Groovy “ with The Small Faces .
Mention should be given to the stunning front cover ,and also the back cover with the track details and photos of the master tape boxes ,excellent stuff !!
Charly Records Store
The Immediate Sessions
Celebrating 60 years of Immediate Records, this collection showcases the first lady of Immediate as never heard before—featuring previously unreleased Sixties recordings, unissued alternate takes,...

By Eddie Hubbard in Soul News ·

Soul 4 Real EPs: Chess/Cadet & SAR Records

We launch the 𝘙𝘦𝘴𝘦𝘳𝘷𝘢 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭 series with two EPs dedicated to Sam Cooke’s SAR Records and the Chess label (including its subsidiary, Cadet).
The SAR EP shines a spotlight on the Womack family, initially known as the Womack Brothers before transitioning into R&B as The Valentinos. Three of the four tracks are originally unreleased, while the fourth is the Womack Brothers’ version of “Couldn’t Hear Nobody Pray” (SAR 123)—a virtually impossible-to-find gem that predates “Looking For A Love” by a year. Thanks to Friendly Womack for his help on this project.
The Chess/Cadet EP features songs by Laura Lee and Irma Thomas, recorded in the late ’60s at FAME Studios, along with some of the most sophisticated productions from Cadet, represented by Terry Callier. All tracks are originally unreleased and are making their debut on 7” vinyl.
𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 20th JUNE
https://soul4real.es/shop/





RESERVA ESPECIAL 𝗖𝗛𝗘𝗦𝗦 / 𝗖𝗔𝗗𝗘𝗧 (S4R47)
Terry Callier - Baby Take Your Time
Irma Thomas - Let´s Do It Over
Laura Lee - Sure As Sin
Terry Callier - Lover (Where Have You Gone)





RESERVA ESPECIAL 𝗦𝗔𝗥 𝗥𝗘𝗖𝗢𝗥𝗗𝗦 (S4R51)
Womack Brothers - Couldn´t Hear Nobody Pray
The Valentinos - Put Me Down Easy
The Valentinos - Rock In The Cradle Of Love
The Valentinos - Don´t Go Away









By Alexsubinas in Soul News ·

Win - This Is Northern Soul Lp - A Source Competition

It's been a while...
A return of our competitions, with a chance to win a brand new (still sealed) copy of this fine just released lp...
This Is Northern Soul - Various Artists - BGPD 1120
Description
'The recordings featured on this release are tried and tested, often in the hot forge of the scene's earliest day, when new discoveries were coming thick and fast, and only the strong survived. These did.
So we have 14 tracks which filled floors in Wigan, Blackpool, Cleethorpes, London's 100 Club and many other legendary venues. From West Coast Mirwood and Kent/ Modern label classics by Jackie Lee, Bobby Garrett, Mary Love and Danny Monday, to the big City Chicago soul of Darrow Fletcher via the super rare recordings by Rita & The Tiaras and Little Ann, which are now accepted standards of the scene.
To enter, all you need to do is simply 'up' this article ( look down and right), then come next Monday morning, all those members who are listed as 'upping this article' will be entered into a draw and a lucky lucky winner will be drawn out.
Vinyl for nothing...

Side 1
01 My Little Girl - Bobby Garrett
02 Baby, Without You - Danny Monday
03 Lighten Up Baby - Ty Karim
04 You Hit Me (Right Where It Hurt Me) - Alice Clark
05 Cigarette Ashes - Jimmy Conwell
06 (Just A Little) Faith And Understanding - The Magicians
07 I Can Feel Your Love - Felice Taylor
Side 2
01 Gone With The Wind Is My Love - Rita & The Tiaras
02 You Turned My Bitter Into Sweet - Mary Love
03 Would You Believe - Jackie Lee
04 Try My Love - Toni & The Showmen
05 The Same Old Thing - The Olympics
06 What Good Am I Without You - Darrow Fletcher
07 What Should I Do - Little Ann

Can view full info and purchase details via
https://acerecords.co.uk/this-is-northern-soul





By Source Team in Soul News ·

Northern Soul Time - Simon Soussan - The Soul Fox Chapter 1 - Charly Podcast

The latest Charly Podcast is out and about, posted up in our video section last week, this time around Kev Roberts aka @Goldsoul speaks to Simon Soussan. Titled the Soul Fox Chapter 1, this episode is the first of a three part series.
Release Notes:
Host KEV ROBERTS welcomes the legendary SIMON SOUSSAN to the Northern Soul Time studios. Simon talks candidly about his lifelong love of Northern Soul and his career in the music business as a producer and writer. His contribution to the Northern Soul scene in the early Seventies is unrivalled both as a discoverer and supplier of the most iconic records and, more controversially, as a creator! However, his passion and commitment cannot be denied or overlooked.
SIMON SOUSSAN | THE SOUL FOX CHAPTER 1
By Source Team in Soul News ·

The Secret History Of Chicago Music - June 2025 - The Radiants

The Secret History Of Chicago Music has a new addition, link follows below
'The Radiants helped drive the shift from doo-wop to soul
Despite some minor hits in the 1960s, this Chicago vocal group couldn’t ride the wave they’d helped create.
Chicago’s famed soul-music scene produced beloved groups (the Impressions, the Chi-Lites) and legendary labels (Chess, Vee-Jay), and that’s reason enough to remember soul’s roots in doo-wop. Doo-wop hasn’t aged as well as soul—it hasn’t produced an answer to neosoul, for instance'
https://chicagoreader.com/category/music/the-secret-history-of-chicago-music/
By Source Team in Soul News ·

New 45 - Thee Sacred Souls - Penrose- Upcoming Release

An upcoming 45 from Daptone/Penrose

Thee Sacred Souls
"Somebody Knew" b/w "We Don't Have to Be Alone" 

Thee Sacred Souls return with a new single, “We Don’t Have to Be Alone” – a gorgeous, floaty ballad that deals with two folks coming to terms with the fact that it’s ok to find comfort and joy in love at a provisional level.

Stream now & Pre-order the 45 (out June 20th)

By Source Team in Soul News ·

Reggie Soul's Lost Soul From The Vaults

Reggie’s ‘Lost’ Soul
Soul Junction's latest release features two previously unissued late 60’s Chicago Soul finds from the Scott Brothers Capri Productions vaults:
Press Release:   Reggie Soul “So Many Miles Away/Groovy Thang” SJ560      
Release Date: Monday 9th June 2025

 
Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label.  Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

 
Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions.  The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).
At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!
 
Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis. 

 
For further information e-mail:   sales@souljunctionrecords.co.uk
or visit the website at Soul Junction Records

By Chalky in Soul News ·

Local Soul - Events Near Me

A quick weekend shout that our 'Local Soul Events Near Me' feature has returned after last weeks upgrade saw it getting a bit of a sort out.
Just tap the below to check out this weekends soul events close to you...
https://www.soul-source.co.uk/events/14-local-soul/

By Source Team in Event News ·

Keep On Keepin’ On - Blackburn and Blackpool

Following news sent in to us, bit of a delay due to ongoing site work...
New play Keep On Keeping’ On is touring to Crewe, Blackburn and Blackpool from 13-31 May
Press Release and news below
New play Keep On Keeping’ On is touring to Crewe, Blackburn and Blackpool from 13-31 May in unusual pop-up venues across the north; transforming a shopping centre, a working men’s club, and a library into a Northern Soul-themed discount shop.
The show is a celebration of Northern Soul music (which is having a recent renaissance) and an exploration of the ongoing decline of the Northern high streets, told through the eyes of a big-hearted family who battle to keep their discount shop on the high street afloat.
The pop-up venue’s shop counter doubles as a DJ booth playing Northern Soul has an immersive set designed by students from Crewe University Technical College.
Keep On Keepin’ On is a new feel-good play which will tour to three non-theatre spaces in Northern Soul strongholds, using the themes the play to connect independent retailers with local authorities and Business Improvement District (BIDs) as a way of starting conversations to generate real change. Foregrounding the challenges facing independent retailers through the story of a working-class family, and through the choice of site-specific locations, theatre company Northern Soul Productions aims to combine a good evening’s entertainment with a route to reinvigorate the high street and nighttime economies.
Bradford-based writer Mick Martin has created the new high-energy comedy as a sequel to his 2003 Once Upon a Time in Wigan, with his teenage dreamers now middle-aged and balancing co-parenting, a failing Northern Soul-themed discount shop and a ‘what could possibly go wrong’ scheme. Keep On Keepin’ On is a soul-rich, cash-poor comedy with a classic Northern Soul soundtrack about a dysfunctional family just trying to keep it together on a run-down northern high street.
Keep On Keepin’ On follows Eugene and Maxine; their teenage romance first ignited on the dance floor, but life has spun them in and out of each other’s arms ever since. Now, years later, Eugene is a weekend DJ and a full-time disaster, barely keeping his shop afloat. When Maxine reappears with one more plea for help – this time for their son, newly released from jail – their ‘what could possibly go wrong’ plan sets them spinning into chaos. Keep On Keepin’ On is a hilarious and heartfelt story of resilience, family, and the power of music to keep us moving, even when times get tough.
Each site-specific location – a shop in Crewe, a working men’s club in Blackburn and a library in Blackpool – will be set up as Eugene’s shop with the audience seated in and around the bric-a-brac, and a shop counter that doubles as a DJ booth after the show. The set has been designed in collaboration with students from Crewe University Technical College, and the locations have been chosen as areas that have poor nighttime economy and high vacancy rates.
Dates
Blackburn
St Paul’s Working Men’s 104 Montague Street, Blackburn, BB2 1EE – Wednesday 21st May – Saturday 24th May 2025.
Blackpool
Blackpool Central Library, Queen Street, Blackpool, Lancashire, FY1 1PX - Wednesday 28th May – Saturday 31st May 2025
More info,,,
https://www.keeponkeepinonplay.co.uk/

By Source Team in Soul News ·

Carlton Jumel Smith & The Wax Preachers LIVE @ Liverpool Soul Weekender

Liverpool Soul Weekender & Tuff Love Soul Club proudly present Carlton Jumel Smith & The Wax Preachers Live
Performing on Saturday the 22nd of June 2025.
There will be chance to meet Carlton, shake the man's hand, have a chin-wag and get your records signed, if you're that way inclined. In fact, Carlton will be around hanging-out for the whole weekender.
It'll also be the official launch of CJSmith's new recording with The Wax Preachers (Teaser video attached below)
10d906cf-d132-4eac-ac01-bdc8ecf28ed1.MP4
Here's a few words from Carlton's biography to set the story behind the man...
Carlton Jumel Smith
Soul Man
Living in America in a time when far too many in power are completely devoid of Soul, it takes a Super Soul Man to keep the scales tipped to at least a Detroit lean for ‘stone to the bone’ balance! THAT brother is Carlton Jumel Smith.
Mr. Smith is a world-renowned, honest to ‘Good-God’ Soul Man - a self-made singer, songwriter, producer and actor who has set concert stages on fire from Shanghai and Helsinki to Russia, Turkey, London, France and, of course his hometown New York City. He has released several recordings including 2019’s critically acclaimed 1634 Lexington Avenue. He had the honor of portraying his greatest musical hero, James Brown, in the Barry Levinson film “Liberty Heights” (1999), and had a lead role opposite Cyndi Lauper in the off-Broadway musical “Largo” (about the life of Czech classical composer Antonín Dvořák). Above all, Mr. Smith is an entertainer, fortified by the traditions of golden eras past yet with razor sharp ears and eyes for the platinum-plus present. And like so many self-respecting Soul men, Mr. Smith lays first credit due at the feet of his mother, Ms. Corrine Brown. 
Carlton Jumel Smith was born May 11 in Harlem - and specifically raised in Spanish Harlem - with three sisters and his mother. Naturally, his R E S P E C T for, and understanding of, women, runs very high which is apparent by the lyrical content of his love songs. 
It was his mother who shepherded an 8-year-old Carlton to see The James Brown Revue at the legendary Apollo Theater – a venue that was not only hallowed ground for Brown (who recorded several incendiary live albums there) but sacred turf for all Black entertainers. The experience of seeing “Say it Loud – I’m Black and I’m Proud”- era James Brown and his 16-piece orchestra left an indelible imprint on Carlton. All the while, via records, his mother introduced him to the mastery of Ray Charles, Otis Redding, Sam Cooke, Joe Tex, Marvin Gaye, Johnnie Taylor, Al Green, the Temptations and so many more.  The profundity of their impact was such that Carlton has their names tattooed up and down both of his arms.
It was in his second year of college that Carlton and a friend skipped a night class to see Stevie Wonder – Hotter Than July-era - perform at massive Madison Square Garden. To hear Carlton tell it (even though he was breaking ‘The Godfather of Soul’s strictest rule about staying in school), he quit college, never to look back!
Mr. Smith spent the 80s woodshedding under local vocal mentors Rick Torres and Greg Fore, trying his hand at songwriting and sending out demos - one of which Loleatta Holloway recorded. Though that song was never released, it led to a connection with her manager Yvonne Turner that resulted in Carlton’s debut single in 1986, a House Music jam fittingly titled “Excite Me.” In the 90s, Carlton would exploit this form of Dance Music under the alias Napoleon O-Soul - alone, and with Frederick Jorio presents ‘Sextravaganza,’ followed by the hard rockin’ band Thrill Cycle (First Taste is Free, Get Your Swerve On).
After hopping on a plane to Hollywood to hand-deliver his audition tape to director Barry Levinson which sealed the deal for him getting to play a hungry 1954-era James Brown in the film “Liberty Heights,” Carlton slid into B.B. King’s Club in Times Square in New York, 2002 – initially as a substitute for an ailing Ray Charles. This led to years of SRO hometown gigs there. Carlton also cut two indie live albums there: 2003’s Carlton J. Smith Live at B.B. King's (featuring songs associated with Brother Ray - who by then had passed on - other giants of Soul, originals and a funky remake of Bobbie Gentry's "Ode to Billie Joe") and 2006’s Thinking About James Brown and a Few Nice Things (recorded during a substitute gig - this time that Brown himself was unable to make because he passed away – it is, as yet, unreleased). Legendary artist manager Alan Leeds, who led the careers of Brown, Prince and Maxwell, affectionately dubbed Carlton. “Soul Brother Number New.”
This particular accolade proved prophetic as Carlton landed a lucky break. When a Jazz band bowed out of a residency at a club in China, the booking agent was frantically calling `round the globe for an 11th-hour replacement. Alan Pepper, who ran the legendary New York nightclub The Bitter End, referred Carlton who flew right over and wowed the Asian audience starved for authentic Soul on a platter. A 3-month engagement turned into nearly a decade of 6-nights-a-week/3-shows a day steady work for Carlton between 2005-2014. Word of mouth spread across the continents resulting in SRO appearances in Finland, Turkey, London and more.
During this period, Carlton also did more recording. First came Waiting (2006), a project of mostly soulful remakes of material by an anomaly influence: bohemian art house story-weaving songwriter Tom Waits who Carlton describes – like Bobby Womack – as an uncle-like purveyor of ‘the unvarnished truth.’ Two years later, he revisited the Waits songbook with The Skinnybone Tree, this time for Exile Records which also released Carlton’s Neo-Soul concept album, Diagram of a Relationship, tracing the arc of an affair from sweet to sour to ‘a kind of reconciliation.’
Home from China in 2014, Carlton released G.U.M. (Grown-up Music) shifting his focus back to more mature audiences. On fire, Carlton returned to globetrotter mode in earnest, racking up residencies in Turkey, the U.K., Switzerland, Romania, Bali, Indonesia, Russia and Norway. While in Helsinki, he linked-up with 8-piece R&B outfit Cold Diamond & Mink, did some shows with them and, by year's end, recorded Mr. Smith's most acclaimed album to date, 1634 Lexington Avenue (Timmion Records - 2019), named after the address of the home in which he grew up. Among its many highlights is the single “Woman You Made Me,” the lyrics for which Carlton drew heavy inspiration from love letters sent by his father to his mother. Music writer Kyle Mullin of the website Exclaim! waxed poetic of another song from the album, “Remember Me”: “There's a uniquely conversational quality to Smith's delivery…not to mention a palpable sincerity in his tone - a smooth baritone that is alternately grainy and sweet with a distinctive falsetto.”
Over the years, Carlton J, Smith has also reached into his acting toolbox in the 1992 interactive movie “I’m Your Man,” the comedy “Let There Be Clothes” (opposite model Carol Alt) and even a recurring role as a policeman on the long-running soap opera “As the World Turns.” Additionally, his recording of Tom Waits’ “Make it Rain” was featured in the 2015 Kevin Costner high school sports drama, “McFarland, USA.”
On the horizon for Carlton is a show in which he brings some of his treasured classic soul concert posters (many signed) on the road for a highly personal and nostalgic talk and music program he calls “A Lifetime of R&B.” This ties-in with his book “Nothing Matters Except the Music,” all about the experiences he’s had encountering luminaries such as Sly Stone, The Isley Brothers, Patti LaBelle and many more.
Carlton Jumel Smith is a Soul Man of the highest order. His passion for the music, the good people of the earth, and his belief in the principles of Love, Peace and Harmony, are solidly grounded “On The One.” And he still has all his mama’s 45s, LPs and 8-tracks.
A. Scott Galloway 


www.carltonjsmithofficial.com 




By Nedmundo in Soul News ·

New Album - The 7:45s - LRK Records

LRK is proud to announce the 7:45s will be releasing their debut album Spinning on 20 June.

The 7:45s are an original soul collective from Manchester, UK – the brainchild of songwriter and bassist Sam Flynn. Inspired by the house bands of soul labels from Motown to Big Crown, the young collective spotlights guest vocalists such as Martin Connor and Nicole Battick. Named after 7-inch vinyl, The 7:45s write snappy singles that blend the vintage feel of rare groove with the songcraft of perfect pop.The 7:45s have been played on BBC Radio 6 Music by Craig Charles, Stuart Maconie and Chris Hawkins and on Jazz FM by Simon Phillips.

A concept album for the soul, Spinning is a retro-soul love story. Side A is sunshine soul about the dizziness of an on-off relationship, as heard in the Charles Bradley-inspired opener ‘The Way That I Love You’. Side B is nocturnal. Head-spinning heartbreak is the subject of rare groove-influenced ‘The Writing’s on the Wall’ while dancing to a new dawn is the theme of Prince-inspired disco number ‘We Will Be Friends’. The album also features a reimagination of The Beatles’ ‘Don’t Let Me Down’.

Spinning is released digitally, on vinyl and on CD through LRK Records on 20 June 2025.

https://lrkrecords.bandcamp.com/album/spinning



By LRK in Soul News ·

Soul Searchin' Feature Documentary - London Screening

Soul Searchin' is a feature-length documentary that delves into the passionate world of rare soul music record collectors and the crate digging culture. It highlights how these enthusiasts transform obscure tracks into cultural treasures, preserving the legacies of forgotten Black, Chicano & Latino artists celebrated within the West Coast Mexican American (Chicano) community that has proved equally popular in the UK and Japan amongst Rare Soul afficionados. There is a very particular sound slow raw heartfelt Soul on DIY independent private press limited Vinyl runs from the 60s and 70s a far cry from the polished sound of Motown or raw gritty southern sound of Stax. This is the ‘sweet’ sound of Soul group harmonies from obscure Artists who in most cases had at most a handful of releases then disappeared without trace only to be rediscovered, treasured and celebrated years later by these collectors.
The film focuses on key protagonists Ruben Molina, Josh Whittemore, and Arlene Sepulveda—collectively known as The Southern Soul Spinners from Los Angeles, California. Through their stories, the documentary reveals how soul music so often inspires a love for record collecting shared by collectors all over the world and in part responsible to the continued resurgence of Global Vinyl sales.
This documentary charts the story the ‘Lowrider’ scene through the eyes of the key protagonists. This movement is most prevalent on the west coast of America and has inspired a new generation of Artists replicating that unique Retro Soul sound they have championed for decades. In recent years these Artists have become hugely popular across the world such as Thee Sacred Souls, Jalen Ngonda, Aaron Frazer, Durand Jones & The Inclinations, Thee Sinseers, The Altons etc.
Jesus Cruz, an independent filmmaker from the San Francisco Bay Area, developed a passion for soul music in childhood through legendary labels like Motown and Stax. A high school discovery of a CD with Mexican American prison-style artwork introduced him to the “Lowrider oldies” or “Souldies” subculture within the Chicano community. In 2022, he directed Souleros, a short documentary about Bay Area record collectors that garnered acclaim in U.S. film festivals, winning Best Short Documentary at the Lone Star Film Festival in Fort Worth, Texas.
Ruben Molina, a renowned independent scholar and soul music enthusiast, began collecting Mexican-American and soul music recordings as a teenager in 1960s Los Angeles, California. He is the author of two influential books: The Old Barrio Guide to Low Rider Music (2000), which documented music central to Chicano lowrider culture, and Chicano Soul (2008), which explored the history and recordings of Mexican-American soul groups and garage bands across the Southwest.
As co-founder of the Southern Soul Spinners collective, Ruben shares his extensive collection through DJ performances in major U.S. cities and internationally in England, Mexico City, Spain, Germany, and Japan.
Trailer

Special Exclusive London Screening + Q&A + Colour One Tear Black After Party
This event is Ticket Only in an exclusive Private Members Club - The Old Warner Bros Screening Room in London's West End. As this is a very small cinema there are only very limited tickets for the actual screening but all are welcome to the after party which is FREE but you still need a ticket.
Q&A - with the film with director, Jesus Cruz and DJ/collector/Author, Ruben Molina.
DJs Ruben Molina (USA), James Pogson (Symphonical Records), Claire Kalvis, JIm Edwards, David Hill & JM
Rare Soul, Deep Soul, Sweet Soul, Steppers, Lowrider Soul, Chicano Soul, Latin Soul played on original Vinyl 45s
The screening also includes feature a series of short films Symphonical Introduces:
A series of short films celebrating the people behind the music featured on 'The Key To Our Love' compilations.
A snapshot introduction, providing a face to the name behind these well-revered sweet soul records. Grails that have almost been lost to time, now celebrated through Symphonical Records
King Wilson
The Young Mods
Little Caesar
The Invaders
Tickets available here
Eventbrite
Color One Tear Black: Soul Searchin' Documentary Screenin...
Exclusive Screening: Soul Searchin' Documentary + After Party DJs Ruben Molina, James Pogson, Claire Kalvis, JIm Edwards, David Hill & JM


By Jmsoul in Soul News ·

Little Buck - Complete New Orleans Recordings - Charly Records

Little Buck ( Edward Ross ) recorded a small but significant amount of recordings in New Orleans between 1966 and 1970 for Seven B and Instant ,they are gathered together here on this great album ,including his work with Huey Smith and seven previously unissued recordings .His most Indemand record is the heavyweight funk track “ Little Boy Blue “ which is presented in its original mono form ,plus a newly discovered stereo master .The flip side “ Whisper My Name “ is great Southern Soul .The second Seven B 45 is another great coupling of the funky “ Everybody’s Love “ flipped with the fantastic ballad “ Walking In The Mist “ that reminds me of Bobby Bland at his best .The  Instant sides with Huey Smith  “ You Got Too “ and “ You Ain’t No Hippie “ are great trademark New Orleans sides plus it’s flip “ Coo -Coo Over You “ which received a release on UK London is a slightly humorous track full of NO charm with great femme background vocals .The unissued “ I’m Your Little Chicken “ is a fine funk flavoured side ,the “ Untitled 1 “ is a fantastic slightly funky instrumental,plus two great ballads “ Starting With Today “ and “If I Could Do It All Over “ showcase Little Bucks soulful vocals .
As always ,very informative sleeve notes by Dean Rudland and great label scans and artwork .

SIDE A
Little Boy Blue (original mono master)
I'm Your Little Chicken*
Untitled 1*
You Got Too - Part 1 – Huey Smith & The Clowns featuring Little Buck
You Got Too - Part 2 – Huey Smith & The Clowns featuring Little Buck
Walking In The Mist
Whisper My Name
SIDE B
Little Boy Blue (2024 Stereo master)*
Everybody's Love
Coo-Coo Over You – The Hueys featuring Little Buck
Soul Brother Soul Sister*
You Ain't No Hippie – The Hueys featuring Little Buck
Untitled 2*
Starting With Today*
If I Could Do It Over*
*Previously unreleased
 The Complete New Orleans Recordings by Little Buck
 
https://charlyrecords.bandcamp.com/album/the-complete-new-orleans-recordings
By Eddie Hubbard in Soul News ·

Eccentric Soul - Eccentric Capsoul 7" Bundle

Details of an upcoming Eccentric Capsoul 7" Bundle
Marion Black Go On Fool b/w Who Knows
Johnson, Hawkins, Tatum & Durr You Can't Blame Me b/w You're All I Need To Make It
Ron Harrington It Happened To Me Again b/w Because You're Mine
Blurb follows below
For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black's timeless two-sider "Who Knows" b/w "Go On Fool" made a few blips upon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years.
We discovered Ron Harrington's "Because You're Mine" demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint "It Happened To Me Again" adorns the flip, with a lo-fi funk backbeat tossed in for good measure.
Capsoul's crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet's "You Can't Blame Me" has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.
Pre-order: Release date is July 25th - Orders will begin shipping in early July!
More info via...
https://numerogroup.com/products/eccentric-capsoul-bundle-1
By Source Team in Soul News ·

Free The Black Man's Chains - New Charly Records Release

Charly Records continue their GSF Records reissue programme with this new release ,originally issued in 1972 .”Free The Black Man’s Chains “ was an ambitious project to release a Black Opera ,no doubt encouraged by the rock operas “ Tommy “ and “ Jesus Christ Superstar “ which were in vogue at the time .
The main vocalists are L.C.Grier ,who with The Grier Brothers had a fine release on the Philadelphia Melody label with “ Weeping Baby All The Time “ and Novella Edmonds a new name to me .
Not surprisingly ,the lyrics on many of the songs have a strong social conscience ,black struggle theme ,which again was to the fore in 1972 .The strong musicians line up included some key names from Philly : Bobby Eli,Daryl Hall ,Don Renaldo ,Richard Rome ,Ron Baker ,Norman Harris and even Ray Charles on electric piano .
The best songs for me are the powerful title track by L.C. Grier ,a powerful funk track which would go down a storm at the hard edged Funk events ,the beautiful “ Gone Is The Laughter Of You “ which also gained a 45 release on the Sunshine label ,and the duet of LC and Novella Edmonds on “ North To The Promised Land “ .
Excellent in depth sleeve notes by Dean Rudland complete a really interesting release .
Free The Black Man's Chains by The Afro-American Ensemble
SIDE A
L.C. GRIER - Free The Black Man's Chains
L.C. GRIER - "Slave" I Wanna Be Free
L.C. GRIER - It's A Sad Black World
L.C. GRIER AND NOVELLA EDMONDS - North To The Promised Land (Big Black Man)
NOVELLA EDMONDS - Black Is Black
JR. GRIER - Fair Skin Man
SIDE B
L.C. GRIER - Gone Is The Laughter With You
NOVELLA EDMONDS - Somebody Bigger Than You And I
L.C. GRIER - Love (L.O.V.E.)
L.C. GRIER - Tomorrow The Sun Will Shine
L.C. GRIER - Soul President
NOVELLA EDMONDS, L.C. GRIER - We Are Here (Finale)
https://charlydirect.com/products/free-the-black-mans-chains
 

By Eddie Hubbard in Soul News ·

New 45 - James Holvay - Love That Lady / Don't Take Your Love - LRK Records

LRK records have just announced details of anupcoming 45 from James Holvay (who was recently featured in both our Source News and Video features).
James Holvay - Love That Lady / Don't Take Your Love - LRK Records 33
Limited Edition 7" black Vinyl 300 copies
Pre-order of Love That Lady / Don't Take Your Love. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released
Release notes
Chicago-born JAMES “SOUL” HOLVAY is a real survivor. The veteran singer, songwriter and guitarist is probably best remembered for writing the US pop no. 1 hit ‘Kind Of A Drag’ for the Buckinghams in 1967. James then went on to lead his own band, the Mob, but as musical tastes changed in the late 70s, the band split up and James turned away from the music business.

In 2020, spurred on by the rise of retro soul, James decided to make a musical comeback, delivering his take on the soul music he’d grown up with in Chicago – the sounds of Curtis Mayfield, Major Lance, Gene Chandler, Johnny Pate et al.

In 2021 he released an EP, ‘Sweet Soul Song’ which drew praise from Johnny Pate himself and made James something of a cult figure amongst 60s Chicago soul collectors. Earlier this year, James released a new EP, ‘Working Man’ , on which, once again, the soundscape was the classic sound of 60s Chicago and it’s from that EP that the two new LRK tracks are taken. The A side is ‘Love That Lady’, a tune that embodies all that was good about 60s Chicago soul, while the putative B side is ‘Don't Take Your Love’, which sounds like a long lost Curtom artefact.

These new tracks, released by LRK Records as a limited-edition 45, are a must-have for fans of vintage soul and collectors of rare 45s. Holvay's ability to blend catchy melodies with genuine emotion remains unmatched — don't miss the chance to own a piece of this Chicago soul legacy! 
Releases June 2, 2025
https://lrkrecords.bandcamp.com/album/love-that-lady-dont-take-your-love
 
Love That Lady / Don't Take Your Love by James Holvay
By Source Team in Soul News ·

Launch - Ace Records & Acid Jazz present Spring Revisited

This Friday, May 2nd, Acid Jazz Records and Ace Records kick off the Spring Revisited campaign fully — a major collaboration celebrating the rich musical legacy of New York’s iconic Spring Records.
 
The first 12” release features dynamic new remixes of Millie Jackson’s 1979 classic "We Got To Hit It Off" by internationally renowned DJs Dimitri From Paris and Opolopo. Both were granted full access to the original 24-track master tapes, reconstructing the song from the ground up to create two vibrant reworks that stay true to the spirit of the original while making it fresh for today’s dancefloors.
Dimitri From Paris’ version premiered on DJ Spoony’s show on BBC2, quickly climbing to #2 on Traxsource, while Opolopo’s mix debuted on Mark Knight’s show on Kiss FM and reached #5 on Traxsource — signaling strong early support from the global dance community.
For Spring Revisited, a dozen highly respected DJs and producers were invited to reimagine a wide range of tracks from the Spring Records catalog. Each artist was given full access to the original masters, resulting in energetic, respectful updates that honor the timeless soul, funk, and R&B of the originals while introducing them to a new generation of music lovers.
"We Got To Hit It Off (Dimitri From Paris & Opolopo Remixes)" will be available digitally on all major platforms, alongside a limited edition 12” vinyl via Acid Jazz Records.
Millie Jackson says:
“Haha, that's great you picked ‘We Got To Hit It Off’ — it was never a hit for me back in the day. Really looking forward to hearing it in a new version!"
The Spring Revisited series will continue throughout 2025, with further digital releases and limited vinyl drops, culminating in a deluxe collector’s box set this fall.
________________________
For more information visit: 
https://www.springrevisited.com/
By Source Team in Soul News ·

New Soul4Real 45 Releases: Geater Davis & Lynn White

What’s new on Soul4Real? S4R50 and JAR15
Two fantastic releases from Geater Davis (originally unreleased 70s recordings) and Lynn White, with all songs available for the first time on 7".
Special thanks to Lula Toliver, widow of Geater Davis, for providing previously unseen photos for the cover.
PRE-ORDER NOW FOR 13th MAY  https://soul4real.es/shop/
 
 
 
 
GEATER DAVIS (S4R50)
I´M SO IN LOVE WITH YOU / A WHOLE LOT OF MAN
Here we have two slabs of hard-hitting southern soul. With their grit-infused vocals, tasty guitar and swelling horns, they should appeal to all who enjoy their soul with a touch of blues.
Geater (pronounced JEE-ter) was born in East Texas as Vernon Davis in 1946, took childhood guitar lessons from T-Bone Walker, did stints as a sideman with Ted Taylor and Eddie Giles, and labored in Shreveport’s club scene before finding success with his first record, “Sweet Womans Love”, in 1970. He made the charts again in 1972 with “Your Heart Is So Cold” on John R’s Seventy 7 Records. The songs on this disc, unreleased at the time, are from Geater’s sessions for that label.
Two modest hits provided years of one-nighters across the South, until the “disco crisis” (his words) dried up work for real musicians. He kept at it, though, in Jackson, Columbus, Little Rock and Dallas. Set for a career rebirth, Geater had studio time booked when his heart gave out at age 38.
JEFF KUHN
 
 
 
 
LYNN WHITE (JAR15)
I DON´T KNOW WHY / IF I COULD OPEN UP MY HEART
Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though.
Her sultry bluesy Darby-penned/produced “I Don’t Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night – Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys.
By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider.
STEVE HOBBS






By Alexsubinas in Soul News ·

1964 – The Year Billboard Abandoned R&B.

In 1964, R&B music really came of age. Mainstream black music was evolving from R&B into soul and this helped it sell to greater volumes of white American teenagers. At the time, teenagers were the big growth market in record sales both in the US and in Europe. Because of this (due to the additional advertising revenue generated) most US radio stations were chasing the teenage market. But many American pop station DJ's weren't keeping up with the times. A 1964 run-down of top US radio DJ's most played artists includes the likes of Andy Williams, Frank Sinatra, Bobby Vinton, Elvis Presley, Connie Francis, Brenda Lee, Lesley Gore, Peter Paul & Mary, the Beach Boys and the Four Seasons. The 'British Invasion' was also kicking in with the likes of the Beatles, Rolling Stones, Dave Clark Five, Manfred Mann, Searchers, Hollies, Lulu, Moody Blues, Herman's Hermits and Sandi Shore all taking covers of US R&B hits high onto the US pop charts. When asked by journalists about who their favourite singers were; the Beatles, Dusty Springfield and Stones all listed black US artists. So US black music was really coming into it's own. A singles success was measured in the US in a number of different ways back then. A main source of assessing a 45's popularity was it's standing in the pop charts. Charts were also compiled of the most popular juke box tracks, there were also radio station charts and soul records also made up the content of the R&B charts. All three of America's top music mags compiled R&B charts and these were published each week. This is till just before the start of 1964.

With sales of black artists 45's being on the up in 1964, it seems really strange that this was the year Billboard magazine decided to abandon it's long established R&B 45 chart. The stated reason behind this decision was that so many R&B singles were making it onto the pop charts that the R&B chart had lost it's significance. It's hard to believe that this was the full explanation. Billboard never once considered dropping it's C&W chart during the magazine's long history. But then just about all C&W artists are white. The US being such a vast country, it was always quite difficult to select a truly representative sample of record shop 45 sales. Due to this, a combination of actual 45 sales and radio station plays were utilised to arrive at the chart standings there. Of course, radio station plays were highly influential in catching record buyer's ears, as were jukebox plays. The records that got the most radio exposure, reached a bigger audience, so tended to sell more copies; a virtuous circle therefore being formed. What singles pop stations decided to feature in their DJ picks and breakout sounds was totally different to the singles that R&B stations selected. A 45 by a little known R&B act or one released on an independent black owned label that sounded like a hit would be selected for playlisting by R&B stations. But only when it started to make a real impact on those R&B stations (& their charts) would it even be considered for playlisting by pop stations in 99% of cases. Even then, some pop stations south of the Mason - Dixon line were reluctant & slow to play popular singles by black artists.
 
None established R&B acts would therefore initially only got heard via spins of their new record on R&B radio. If a particular 45 proved popular on one R&B station, DJ's at other R&B stations would note it as a 'breakout' release and would select it as one of their plays. This would result in jukebox operators requesting copies to go on their machines and eventually the record (if it was popular enough on black radio) would crossover and start to gain plays on pop stations. Very few 45's by none established R&B acts would secure plays on 'white' pop stations initially but would have to prove their popularity with the audiences of R&B stations first. Of course, by 1964 lots of R&B stations had a sizeable white teenage audience and thus, for a lucky few releases, a path towards pop radio playlisting would begin. Such soul 45's would start to sell in pop outlets and so start to figure on music mag's tip / breakout listings. In addition to the difference in black / white radio record selections, regional differences also loomed large. Large and established labels (RCA, Mercury, Epic, Atlantic) had the resources to send copies of new releases out to both pop and R&B radio stations nationwide. The likes of Motown, Chess and Stax had by 1964 established themselves as strong enough to follow a similar practise, but many independent black labels only had the resources to service local stations and R&B stations over a slightly larger area. Going back to Motown, Berry Gordy could exert a lot of power over R&B radio DJ's. If one such DJ angered Berry, then he wouldn't get sent advance copies of the company's next big hits. He'd therefore be behind his rival DJ's and would instantly learn the error of his ways and fall back into line.

If a black act's 45 started out on a tiny label and still managed to start making an impact with a large audience then it would be picked up by the likes of Atlantic, Chess or Amy / Mala / Bell for national distribution. The large company would then send out promotional copies nationwide and thus give the single a chance of reaching a nationwide audience. In this way, a single would go (over a period of weeks) from being a radio hit in say Detroit to establishing itself on the charts of numerous R&B stations before crossing over and making it onto the national pop charts. The path for lots of black artist's releases to securing playlisting on many US pop stations was a long and torturous one. An unknown acts soul release could jump via black radio spins to local and national R&B chart success. Pop radio plays would then follow, the extra exposure becoming the road to Hot 100 success for many such singles. Due to this fact, Billboards decision to drop it's R&B chart for the whole of 1964 must have impacted negatively on the success of many black act's releases that year. Of course, Cash Box and Record World magazines continued to compile their R&B charts, but it was Billboard that was the most influential publication right across the US at that time. There were many more pop stations than R&B radio stations in just about all regions of the US. For instance, in Washington DC, just two stations (WOOK & WUST) dominated the market. So to gain a playlisting on either one meant the record in question would reach the ears of most black record buyers in the area. A 45 would then take off in DC and it's success could spread all along the eastern seaboard. But without Billboard's R&B chart to display it's growing achievements, it might not become a nationwide hit.

The impact of Billboard's decision to close down their R&B chart from November 30, 1963 till January 23, 1965 has continued to have an effect right down the years. The definitive book on R&B chart listings up to the present day is 'Joel Whitburn's Top R&B Singles' publication and this has always presented a false picture for 1964. Only R&B 45's that made it onto Billboard's Hot 100 Pop chart are detailed in the book during that year. The performance of most singles differed immensely between their R&B chart popularity and their standing on the pop charts. Of course, an alternative book was (in the past) made available that did correctly detail R&B 45 successes in 1964. But the book (The 'Cash Box' Black Contemporary Singles Charts 1960-1984) that listed Cash Box's 1964 R&B chart listings went out of print around 40 years ago. Examples of the difference between Hot 100 and R&B chart placings in 1964 aren't difficult to find. Betty Everett's – “Shoop Shoop Song” was No.1 on the R&B charts for most of April whereas it only reached No.6 on the Hot 100 chart (April 18th). It was the 5th best performing single of the year R&B wise but only 44th in Hot 100 standings. The Tams “What Kind Of Fool” was No.1 on the R&B charts for 3 weeks from mid February whereas it only reached No.9 on the Hot 100 chart (March 21st). It was the 21st best performing single of the year R&B wise but only 77th in Hot 100 standings. Making reference to both the Cash Box and Record World R&B charts for 1964 it is possible to identify the popularity of many black singles that were misrepresented in Billboard's pop chart listings.
 
Beginning in January 1964; Hank Marr's “The Greasy Spoon” (Federal #45-12508) is the first 45 I'll highlight. This Hammond organ led instrumental gained extensive airplay on black radio stations at the start of the year. On January 18th Cash Box had the single at No.15 on their R&B chart. A check with Billboard shows that this 45 never made an entry on their Hot 100 chart at all. Moving onto February we come across a release that seemingly broke the usual rules. Clyde McPhatter already had a good history of success on the US pop charts and his record was released by a major record label (Mercury). So he was one black singer who's new releases should have gained pop station plays from the outset. However his “Deep In The Heart of Harlem” (Mercury #72220) stood at No.10 on Cash Box's R&B chart on February 1st. The highest position it achieved on the Hot 100 was No.90. Another 45 doing well on that same ( Feb 1st) chart was Bob & Earl's club anthem “Harlem Shuffle” (Marc #104). It stood at No.3 on the chart, having taken 3 months since it's release to rise to those heights. On the Hot 100 it peaked at just No.44. Hoagy Lands was enjoying a regional breakout in Baltimore in late February with his Atlantic outing “Baby Come On Home” (# 45-2217). After receiving a favourable audience reaction to the plays it received, WEBB placed it at No.17 on their chart. By early April, it was enjoying similar success in Tennessee where WNOO (Chattanooga) also had it featured on it's top 20. The track must have been reactivated by one of that station's DJ's as it was already 12 weeks old by that time. Hoagy's cut never managed to make any national chart.
Becoming a regional hit didn't lead to it even attaining national R&B chart status.

The Vibrations had also already enjoyed hit singles, mainly with dance craze releases. In February 64 their latest release was enjoying lots of success. “My Girl Sloopy” was at No.10 on WUST's (R&B) chart on 28th February. A couple of weeks later, over on WOOK, it held down the #5 placing (8 weeks later it would be back in the same position). From there, it spread it's wings to cross over to numerous pop stations. In April and May it was charting with KQV, WEEP, KRLA and KRDG (radio stations who's call sign started with a K were located in the western states). In mid July it was still on Tucson (Arizona) pop station KTKT's chart. Nationally, it also fared well. On Cash Box's R&B chart it stood at No.10 for both the last week in April and the first week of May. It sold well enough right across the US to make the Hot 100 pop chart. After having entered that chart, it climbed slowly to eventually attain a top 40 place. Their single peaked on the chart at No.26 but then fell away till it dropped from view. But that wasn't the end of the song. The Yardbird's heard the Vibrations track and really liked it. So they cut a version that escaped in the US on their album. Reworded to become “My Girl Sloopy”, it would also cut by the McCoys and their 45 was issued in July 65. Over a year after the Vibrations original had been on the US pop charts, the McCoys take of the song followed it onto to the Hot 100 (August 14th). Their pop version got way more radio exposure than the Vibrations offering and this helped it attain the pivitol No.1 position on the Hot 100. By then, the song was so popular that the likes of jazz soul group the Ramsey Lewis Trio had added the song to their live act. It proved so popular with their audiences that a live take by them would also be put out on 45.
 
A soul instrumental was doing well at the same time as the Vibrations “My Girl Sloopy”. This was King Curtis's “Soul Serenade”. The tune would go on to become a much recorded soul anthem, with a version even being cut by a British outfit. King Curtis's version benefitted from being released on Capitol Records, so it was well promoted and easily available right across the country. So, unlike many other soul tracks, it had every chance of reaching a wide audience and going on to be a hit 45. It managed to achieve this feat and it became both an R&B and pop hit, locally and nationally. The 45 had been released in mid January and by early February it was already charting. It was popular on Top 40 station WJET from 4th February. That showing got it playlisted by a number of other DJ's, including by those who spun for KDIA; It held down the No.4 position there by the 15th March. At the same time, it was rising at two other R&B stations; WSID (#20 on 15th April) and WUST (#4 on 18th April). It was filling the airwaves via many other R&B outlets but detailing which is a hard task 60 years after the fact (record keeping for radio charts being much better for T40 stations). Back with Top 40 radio, down in Louisiana, on KDBS it stood at No.20 in mid April. By May, the single was dropping down on WWIN (R&B); from #11 to #18 and then to #22. Some Top 40 stations had lagged way behind, at KAYC in Texas (T40) it still stood at No.5 at the end of June. It had dropped to #10 as July opened. WDRC (Hartford) had been even slower off the mark, with it still charting there in late July. Nationally, it figured on both the Hot 100 and R&B charts. It had entered Billboard's flagship listing on 14th March. It climbed slowly and by the 4th April it had climbed to #86. Over at Cash Box, it climbed from #45 to #40 R&B on April 11th and it had also just scraped into their Top 100. Record World was still known as Music Vendor Magazine (the name change would happen one week later) and they had “Soul Serenade” at No.96 on their Top 100. The publication actually listed their top 150, placings 101 to 150 being labeled their 'Looking Up' section and the extra exposure this gave to many soul 45's certainly assisted them in pop circles. On their R&B chart, the track stood at #32.
At the start of that March, Gino Washington's 45 “Out Of This World” (Wand #147) was on Cash Box's R&B chart. Although it remained on their chart for almost the entire month, it never managed to rise higher than No.44 which it reached in the 3rd week. It was selling well enough right across the whole market to be listed as bubbling under the Hot 100 at the time (@ #125) – Billboard also detailing the next 35 most successful 45's each week. Also in March, Detroit based SonBert (a subsiduary label to Correc-tone) released another 45 by Gino; “Gino Is A Coward” (#3770). This was a reworking of an earlier Correc-tone outing by him titled “I'm A Coward”. For some reason two Detroit pop stations decided to playlist the record and it was soon rising up both their 45 charts. It rose to No.2 on both WKNR and WJBK at the end of April / early May. It was popular with both station's white audiences but SonBert didn't really have the clout to break it anywhere else and so the record stalled. In June, the reactivated Ric-Tic label decided to try again with the single and it was put out again (Ric-Tic #RT100). The label sent out promo copies to radio DJ's over a much wider geographic area than was normal and managed to secure plays in cities such as Minneapolis and San Francisco. By the end of June the single was being listed as a 'breakout' release in a good number of areas. As plays / sales occurred over an extended period and were split between pop & black stations, it never made it onto the national R&B 45 charts. It did however reach No.121 (July 11) on Billboard's Pop chart (the 'bubbling under' section to the Hot 100) and No.98 / 104 on Record World's pop chart almost a month later (August 1st / 8th).
 
Despite enjoying a long recording career, Gino never managed another release that would become a pop hit. However “Gino Is A Coward” was the best selling 45 at Harmony House store in Hazel Park that May. Being a top seller in such outlets illustrates the value of gaining pop radio plays. It was also in the top five sellers with Mumford Music in Oak Park. Another black act who had enjoyed a lot of Hot 100 success was Ike & Tina Turner. On 28 March 64 their Sonja 45 “You Can't Miss Nothing That You Never Had” (#2005) was placed at No. 29 (Cash Box R&B). This label was owned and run by Ike himself and he usually only sent out promo copies to black radio stations. Ike used his own label's 45 releases to help plug the band's upcoming live shows. Supplying R&B stations with these singles acted as promotion for tour dates (radio stations in cities that weren't hosting a show wouldn't be sent copies). The fact that this single (& his similar output) failed to make any impression at all on the Hot 100 should therefore not come as any big surprise. April witnessed Z Z Hill enjoying R&B success with both Cash Box and Record World magazines. His “You Were Wrong” (MH #200) had been climbing Cash Box's R&B chart during March and it peaked at No.20 on April 4th. It also enjoyed similar success on Record World's Top 40 R&B chart in the middle of the month. It had been slower to catch on in Baltimore, making it big there as April turned into May. At least ZZ's efforts were rewarded by an entry on the Hot 100, it making the bottom position on that chart for just one week.
 
New Orleans had a distinct music scene all of it's own. The city was somewhat distanced from other big US cities with large black populations. Due to this, it made soul tracks with a particular feel to them. This makes it worth looking at that city's R&B output in isolation. Lots of locally recorded tracks were played by the R&B radio stations in the city and it's surrounding area. Pop stations in the area also followed suit and playlisted locally recorded black cuts. Larry McKinley was a top DJ at radio station WYLD at the end of the 1950's. He next went into partnership with local record distributor Joe Banashak to form Minit Records. They signed lots of locals acts to their label and put Allen Touissaint in charge of recording them. Hit tracks from the likes of Ernie K-Doe, Benny Spellman, Jessie Hill and Chris Kenner soon followed. The cuts released on these acts were first picked up by Nola based R&B stations. As they became more popular with local listeners, pop radio started to playlist them too. From there, it didn't take long for these 45's to make the national R&B and then the Hot 100. The Minit label soon established itself as a major hit label, a position it held throughout most of the 1960's. Which records were doing well in New Orleans influenced what got played on radio stations in the surrounding area. Pop station KDBS (out of Alexandria) had Irma Thomas's “Wish Someone Would Care” @ No.7 and Benny Spellman's “Walk On Don't Cry” (Watch #6332) @ No.27 on their chart dated April 19th. Other soul singles on their chart that week included Cookie & the Cupcakes “Untill Then”, Marvin Gaye's “You're A Wonderful One”, King Curtis's “Soul Serenade”, Betty Everett's “Shoop Shoop Song”, Major Lance's “The Matador” and Dionne Warwick's “Walk On By”. It's obvious that KDBS's decision to get behind Irma & Benny's latest offerings was largely determined by their high standing on New Orleans R&B station charts.
 
Regional differences in certain record's popularity were always happening. It was local radio station charts that best illustrated this fact and the charts of Baltimore's R&B stations demonstrate this fact perfectly. From April 15th to 21st, WSID had Mary Wells “My Guy” at No.1 for the 2nd week, whereas her cut was still rising on Cash Box's national R&B chart (jumping from No.17 to No.8). Betty Everett's “Shoop Shoop Song” (Vee Jay) was still No.1 nationally but it had already dropped out of WSID's Top 20. WSID had the Marvelettes “Goddess Of Love” (Tamla) at No.3 for a 2nd week, whereas nationally the plug side of that single (“He's A Good Guy”) had dropped to No.36. Baby Washington's “I Can't Wait To See My Baby's Face” (Sue) was dropping down WSID's chart (to No.16), whilst The Diplomats “Help Me” (Arock) was a new entry at No.19. Neither were in the national R&B Top 50 at the time. Across Baltimore, WWIN had the 4 Buddies (“I Want To Be The Boy” Imperial), the Exotics (“Sad Sad Song” Coral), & Miss LaVell (“Why Young Men Go Wild” Duke) in their top 20 chart at the end of April. None of these singles would ever feature on any national charts. Which new soul 45's were getting major action and where was also detailed in the national music magazines as they published regular 'R&B Regional Breakout' listings. Appearing on these listings would assist 45's in getting radio playlistings over a wider geographic area and therefore help them to make a national R&B chart. Record World also identified which singles were doing well with One Stop distributors, in record stores and on radio station charts. They also noted in their 'SPOTLITEMS' section what some soul artists were currently up to. One such mention of Joe Hinton and Junior Parker designated that both were back in Houston for TV appearances and to record. Thus, their fans were alerted to new 45 releases in the near future.
Back at WSID in mid May, Gladys Knight's “Giving Up” (Maxx) was No.1 with Donnie Elbert's “Run Little Girl” (Gateway) standing at No.5. On the national charts, Gladys' record had just risen to No.33 while Donnie's outing was nowhere to be seen. Also on the WSID chart were Judy Clay's “My Arms Aren't Strong Enough” (Scepter) at No.12 while lower down Joan Baker's “Everybody's Talking” (Diamond) was also featuring. Little Johnny Taylor's “First Class Love” (Galaxy #729) became a national R&B hit in mid April but in Norfolk, WRAP had it's B side, “If You Love Me”, in their top 10 at the end of May, so one of their DJ's had obviously flipped the record. Jackie Wilson's “Big Boss Line” (Brunswick) and L C Cooke's “Put Me Down Easy” (SAR) were also on their chart. While Jackie's 45 fared well on the national charts, LC's didn't. Cash Box noted that Barbara Lewis's “Someday Were Gonna Love Again” and the Wallace Brothers “Precious Words” (Sims) were top plays with juke box operators at that time. Ricky Madison's “I'll Follow You” (DeRy) and Johnny Nash's “Talk To Me” (Argo) were two tracks that WRAP's DJ's were playing in heavy rotation and tipping for big things. It would be the B side of Johnny's 45 (“Love Ain't Nothin”) that would go on to prove popular in the UK. Inez Foxx's “Hurt By Love” (Sue) was being advertised nationally at the end of April and this exposure helped it make a major impact. It was already on some R&B station charts; it having made an entry onto WEBB's on 9th March. It was soon on a good number of other radio charts too, including pop stations. It did really well at WUST (in DC), on 20th March it was at #7 on their chart. Five weeks later it was back @ #7 and the week after (2nd May) it made #3. Meanwhile, it was doing well on pop stations such as WIBG, WLAN, WAMS and WMID. At WAMS it was still on their chart at the end of June; falling from #10 to #24. So her single enjoyed across the board sales and this assisted it gaining release in Canada and the UK.

 
Also at the end of May, in Baltimore, “Something You Got” by Alvin Robinson (Tiger) was at No.1 on WWIN. Nationally it had only just entered the charts and was still down in the 30's. Other 45's in the WWIN top 10 were Donnie Elbert's “Run Little Girl” and Clarence Ash's “Troubles I've Had”. The tiny New York based Falew label had two singles placed in the top 20 of WWIN's chart as well; Tommy Duncan's “Dance, Dance, Dance” and Bette Bothe's “Teardrop Avenue”. So Falew obviously had targeted WWIN's DJ's back then. The Tommy Duncan track, which had originally been released in April, also got lots of plays on white pop station WDRC up in Hartford, Connecticut. This fact helped it make the 'bubbling under' section of Billboards' Hot 100 in late July and the profile it gained eventually resulted in the single getting a UK Sue release (February 1966). Another indie label outing also on their top 20 was the Messengers “Darling This Is How I Feel” (Beam), a slow burner produced by Richard Barrett. The DC based Carltons also figured on the chart with their Argo outing “Can't You Hear The Beat”, as did Little Herman with “Gotta Keep On Walking” (Arlen / Gina). As a pointer to pop stations wanting to playlist up and coming soul tracks, the national music press printed lists of R&B 45's that were beginning to break on the pop charts. Which stations were playing what being detailed to assist pop radio DJ's as to which recent soul 45's they should consider adding to their show playlists. Not only had Billboard dropped it's R&B chart, it also seemed to be undervaluing soul 45's in other sections of the magazine. It ran a regular 'Breakout Singles 'listing. In a May edition, this gave an extra push to 7 newish 45's, not one of them being a soul release. However in the adjacent Hot Pop Spotlights' section both the Exciters “We Were Lovers”, the Orlons “Rules Of Love”, Otis Redding's “Security”, the Improbables “A Most Unusual Feeling” and Little Gigi's “Take The Bitter With The Sweet” were noted as being potential Hot 100 hits.
 
May saw both sides of Barbara Lewis's newest 45 outing gain R&B chart success. Released in April, her single coupled “Someday We're Gonna Love Again” with the Eddie Singleton penned “Spend A Little Time” (Atlantic #45-227). The highest Cash Box R&B chart position achieved by “Someday We're Gonna Love Again” was No.34 on May 23rd. “Spend A Little Time” faired somewhat better, peaking at No.30 on May 30th. Radio station's such as WRAP in Norfolk (Virginia) were responsible for making “Spend A Little Time” popular. Of course, had just one side of this single made the chart, then it would have achieved a better standing than both sides had managed individually. Both sides of her release also made it onto Record World's R&B charts, each track occupying Top 30 placings at the end of the month. Unfortunately neither side of her outing made any impression at all on the Hot 100. However, another version of the song did make it onto the Hot 100. After the Searcher's cover of “Someday We're Gonna Love Again” had enjoyed UK pop chart success following it's release here in July, it got released on Kapp in the USA and made it to No.34 on the Hot 100 (end of September). Another single charting R&B with both Cash Box and Record World from mid May to mid June was Clarence Ash's “Trouble I've Had” (J & S #1466). It's likely that this 45 started out gaining plays in the New York area and was then picked up for national distribution by Chess records in late April. With wider distribution, it's popularity spread to the likes of Baltimore and beyond. But even with Chess giving this 45 an extra push, it failed to even dent the Hot 100. In the DC area, WUST had both Mary Wells and Marvin Gaye in their Top 10 twice over. Their duet “What's The Matter With You Baby” stood @ #1. A bit lower down were Mary's “My Guy” and Marvin's “Try It Baby”. Also on their chart that same week (30th May), “Big Party” by Barbara & the Browns (Stax) was doing well @ #8 .

One black record company that chased pop chart success more than most of the others was Motown. Berry Gordy had come up with the slogan 'The Sound Of Young America' to reflect the fact that he was chasing sales with white US teenagers as much as their black counterparts. By 1964, Motown 45's were attaining high positions on Billboard's Hot 100 chart almost as often as they were doing the same on R&B stations / magazines charts. Of course, not every Motown act was as successful at crossing over to the white market as the Supremes, Temptations, Marvin Gaye and Four Tops were. That August, Motown placed a big ad in the national music press. This promoted 10 of their recent 45 releases. Five of these singles were on the Tamla label; Nos. 54095 to 54099. Marvin Gaye's “Try It Baby” was issued on 21st May 64 and the 45 made it onto 100's of radio station charts; both R&B + pop. It had entered Maryland R&B station WUST's Top 10 before the end of May. A month later it was holding down the No.5 position on that same chart. However it didn't enter the Cash Box Top 100 until mid June (climbing from #72 to #45 on 20th June). Stevie Wonder's “Hey Harmonica Man” made it onto nearly as many R&B plus pop radio station charts as Marvin's 45 had. Two of the earliest stations that Stevie's 45 got plays on were WJBK (T40 in Detroit) and CKLW (T40 in Windsor, Canada – their signal being targetted on Detroit). Over in DC, WUST had it at No.9 on their chart just a couple of days later (30th May). Although Stevie's single was on radio charts almost everywhere, it never really occupied many high positions (struggling to achieve many top 10 placings). In mid July it did stand at No.10 on Milwaukee Top 40 station WRIT. A week later it stood @ #5 on WBRB (T40), at #4 on WGH (T40) and at No.16 on WWIN (R&B). Though it didn't gain many more top 10 placings, the 45 didn't drop off many Top 40 station charts till the very end of the month. The Marvelettes had been the top female Motown group earlier in the decade but by summer 64, their standing had dropped. So their latest 45, “You're My Remedy”, got less attention than it's associated releases and so figured on a lot fewer radio charts. Because the group had enjoyed big pop hits in the past, their singles did still get lots of plays on Top 40 stations. The latest made WBIG's chart from the 8th June. As with Stevie's single, it never really occupied many high placings. It was #20 on WWIN in mid July, #7 on WJIM (T40) in Lansing from 24th July. The record was much later on the scene at KAKC in Tulsa, it rose to gain #10 on their chart on 10th August. At the same time over on WAMS (T40) in Wilmington it had started to descend their chart (from #15 to #18).

The 3rd of these Tamla 45's, the Miracles “I Like It Like That” got more radio plays than the Marvelettes single, but not as many as Marvin or Stevies. Once again, having enjoyed past big pop hits, the Miracles new record got lots of Top 40 station airplay (from mid June onwards). On the R&B front, it was #28 from 13th July at WWIN, it went on to hold down the #10 slot on WUST and the #1 position on WOOK at the end of the month. As August began, it was #4 on WVON. For the last week of July and the first half of August it occupied the #9 placing on WAMS (T40) but just about everywhere else it was tumbling down the charts. Brenda Holloway's “I'll Always Love You” got less radio station exposure than the other four releases that summer of 1964. I guess she wasn't as established a name as the other Tamla artists or was only really a fixture on the scene in California. She had just enjoyed a big hit though with her previous 45 release; “Every Little Bit Hurts” which had spent 3 months on R&B charts and almost as long on lots of Top 40 radio charts. The fact that her last outing had gained lots of pop radio airplay certainly helped her follow-up and it gained airplay on lots of Top 40 stations. Between the 19th July and the end of the month it was doing well on numerous such stations; including KGB (San Diego), WAVZ, WIBG, WKLO, WAMS and WTTH (#16 on their chart). Further stations got behind her 45 in early August, these included WTMA, WSPR, KSO, KAFY, WLAN, KYNO and WSPR (all top 40). It was also getting R&B station plays with WOOK listeners giving it lots of support (it hit that stations top 10 on 22nd August). Back at WTMA in Charleston, it had climbed to stand at #12 on their chart (15th August). But overall, across the board radio airplay was far less.
 
Another soul single that had the weight of a major label behind it was Billy Butler & the Enchanters “Gotta Get Away” (Okeh #4-7192). This had been released at the end of March but it was late May / early June before it was getting any national R&B chart action. Airplay on this single had commenced in Chicago and then slowly spread to black stations in other cities. At the beginning of May it was on Baltimore's WWIN top 20 and by the end of May it was doing well in St Louis plus other major cities. So Epic placed a big ad for the single in the music press and this helped it make it onto Cash Box's R&B chart at the end of that month. It rose to reach No.36 on June 6th but never managed to get anywhere near a Hot 100 placing. Lenny Welch's “If You See My Love” (Cadence #1446) was a throw-back ballad sound (written by Seals & Croft) that sounded really out of date in mid 64. This fact didn't prevent it from entering both the Cash Box and Record World R&B charts. It made the Cash Box chart on July 11. A week later it also made an appearance on Record World's R&B chart. It peaked at No. 38 (Record World) in mid July and No.43 (Cash Box) at the end of July. Welch's two previous singles had both made the top 30 of Billboard's Hot 100 and this outing also gained a lot of plays on pop stations across the country. These plays didn't really result in much pop chart success though as it peaked on the Hot 100 at No.92. Motown had introduced a new label back in March; SOUL. The initial release on the imprint was Shorty Long's “Devil With The Blue Dress” (# 35001) and this very slowly built in popularity over a four month period. By 18th July it held the No.36 position on Cashbox's R&B standings and it occupied a top 30 position through the first two weeks in August. By then, it had also placed on Record World's R&B chart but it never managed to achieve a Hot 100 placing.
 
Too many soul singles only ever managed to achieve local success, with home city R&B stations playing local act's product and this resulting in their 45's making those radio station charts. Good examples of this are illustrated by Chicago's WVON chart from July 31. The Vondells “Lenora” (Marvello #M5006), the Accents “New Girl” (M-Pac #7216) and the Du-ettes “Please Forgive Me” (One-derful #4827) all achieving top 20 status. One-Derful Records placed national ads for the later two 45 releases as they had charted so well in Chicago. For the Accents, the ad worked. The single was soon on WHK's (Cleveland) chart, six weeks later it stood at #25 and had gained major exposure to pop listeners in the city. That same week it held down the #28 position at Chicago pop station WLS. “Please Forgive Me” was slower to take off. By mid August , when it stood @ #19 at WVON, it began to get playlisted at a few pop stations. By the time September had arrived, it was charting on WRAW, WAMS, WTRY, WLAN and WBUD. The story didn't end there either. The 45 enjoyed a second spell in the spotlight in 1965. It must have been re-promoted by One-derful (probably following a radio DJ reactivating it) as in late November 65 it was @ #15 on Philly's WIBG. It also charted in 1965 at WAAT and WAEB. Returning to WVON's 1964 chart, lower down were Charles (Plookie) McCline's “She Got Another Man” (Larry-O #101) and Johnny Williams “You've Got It” (Kent #45x400). Just to prove that it wasn't just local acts who got to enjoy regional success, Baltimore's Kenny Hamber was also featured on the chart with his “Show Me Your Monkey” (DeJac #1254). Distributed by Atlantic (which obviously helped) this single also enjoyed regional breakout status in Baltimore, Nashville, Atlanta, New York and North Carolina. Joe Tex's “I'd Rather Have You” (Dial #45-3020) had first been released in May but initially the up-tempo “Old Time Lover” had formed the plug side of the single. This side failed to take off and so by July London Records (it's distributors) had flipped the 45 and were promoting “I'd Rather Have You”. By late July this policy had begun to bear fruit and it made an appearance on the Cash Box R&B chart. At the start of August it reached No.44 but that proved to be it's highest position. That was much better than it's pop showing though as it failed to get anywhere near the Hot 100. Joe had already been recording for 9 years at this point (having releases on King, Ace, Anna, Jalynne & Dial) but would have to wait till early 1965 before he would get his first national pop chart hit.
 
Two Donnie Elbert singles were featured on the KATZ chart in St Louis in late July; his earlier release “Run Little Girl” plus his new Gateway 45 “Lilly Lou”. Donnie's “Run Little Girl” 45 didn't cross over to the pop charts but it did gain him a place on a big revue package that played chit-lin venues down the east coast. In early July he was on at the Royal Theatre, Baltimore. A local release was also on the KATZ chart in the form of Billy James' “Don't You Think I Ought To Know” (Teek). At that same time, a number of 'obscure' singles were enjoying strong success in the Atlanta area. Radio station WAOK there had been formed by Zenus Sears in 1956 as one of the first all R&B format radio stations in the US. It soon became a highly influential broadcaster and set a trend that many other stations followed through to the 1960's. Both sides of Kip Anderson's latest Tomorrow label single were receiving strong supporton WAOK. “That's When The Crying Begins” was on their chart with “I Done You Wrong” also getting lots of airplay and listener support. Tomorrow Records was a small outfit based out of Columbia, South Carolina that didn't have the resources to get Kip's record out to a nationwide audience. Thankfully ABC-Paramount (# 45-10578) picked it up for national distribution though they flipped the single and made “I Done You Wrong” the plug side. As a result of ABC's intervention, the 45 was exposed to a much wider audience. Other tracks that WAOK were spinning included Nathan McKinney's “Weep No More (Ray Co), D.C. Playboys “You Were All I Needed (Arock), Bobby Marchan “I Got A Thing Going On” (Dial), the Carlton's “Can't You Hear The Beat” (Argo) and the Accents “New Girl (M-Pac). The station's DJ's were also getting behind Dorothy Williams “Closer To My Baby” (Volt), Sam Baker “Sweet Little Angel” (Athens) and Kenny Hamber's DeJac outing.
 
Before ABC-Paramount had picked up the Kip Anderson 45, they had released a slow burner of their own. The Tams “Hey Girl Don't Bother Me” (# 45-10573). This had been issued in late June and by mid July it was in WAOK's top 10 down in Atlanta. It was also on WEBB's chart in Baltimore (@ #19 in late July). Its entry onto Cashbox's R&B chart (#42) had also been in mid July when it made their Top 100 pop (# 95) too. The single continued to climb most charts and by August 22nd it was at No.7 on the Record World R&B chart. It made the top 10 on Cashbox's R&B chart in early September. The highest position it achieved on the Hot 100 however was only No. 41. Released at the end of April, Barbara Lynn's “Oh Baby (We Got A Good Thing Going” - Jamie # 1279) also failed to convert it's R&B success into a high Hot 100 placing. By early June, it had started to achieve national recognition, but it would be late July / early August till it hit Cash Box's R&B top 20. It was also on Record World's R&B top 20 for the first two weeks in August. The best it could do on the Hot 100 though was No.69. The radio exposure that had been building on Nathan McKinney's indie label outing “Weep No More (Ray Co #R-526) finally resulted in some chart success. The single made Record World's R&B chart top 30 on 22nd August and stood at No.20 on Cash Box's chart the following week. Down in Baltimore, it was featuring on WEBB's chart. Once again, it never got anywhere near a Hot 100 placing, even though it remained on the R&B charts till late September. Speaking of WEBB's charts, at the end of July, 45's from the Wallace Brothers (“Precious Words”), the Caronators (“Long Hot Summer / Senorita”) and a DC release from Jay Wiggin's (“You're On My Mind” – Solid Sound) all featured. The Jay Wiggins single would remain on their chart for the whole of August.

Other breaking sounds in Baltimore in August included “Baby Won't You Try Me “ Jill Harris (Capitol), I'm Counting On You” Freeman Brothers (Mala), “Opportunity” the Jewels (Dimension), “Can't Live Without Her” Billy Butler (Okeh) and “Weep No More” Terry & the Tyrants (Kent – an alternate version of Nathan McKinney's hit). DC's WOOK (August 22nd) had James Brown with “Out Of Sight” at the top of their chart. Little Anthony's “I'm On The Outside” and the Four Tops “Baby I Need Your Loving” stood just below it. At their No.6 was Brothers & Sisters Of Soul “I Don't Like It”. Up in Cleveland, WABQ's chart was featuring “Bad Girl” by the Fabulous Denos (King), “Gotta Get My Hands On Some Lovin” the Artistics, “Baby I'm Satisfied” Bob & Earl plus Tom Storm & the Peps “I Love You” (Ge Ge). Eddie Holland's “Candy To Me” (Motown) was doing well in Cleveland, Detroit, Pittsburgh, Philly and New York. Two other singles being tipped for big things on WABQ were “I'm Gonna Cry A River” Ohio Untouchables (Thelma) and “Sweet Young Love” Lenny O'Henry (Atco). Barbara Mason's “Trouble Child” (Crusader) and Carolyn Crawford's “My Smile Is Just A Frown” (Motown) were sounds that were hot in Philly, with James Duncan's “My Pillow Stays Wet” (King) doing really well in Georgia. The Enchanters “I Want To Thank You” (Warner Bros – Garnett Mimms old group) was getting lots of airplay in Cleveland, Philly and Charlotte (N Carolina). Some of these regionally hot tracks would eventually scrape onto Cash Box's national R&B chart but many of them wouldn't. As well as posting their R&B and pop charts plus reviewing new 45 releases, magazines like Cash Box also listed current 'Sure Shots' (singles that record dealers reported were selling really strongly). In mid August, the Four Tops “Baby I Need Your Loving”, Joe Hinton's “Funny” and Jerry Butler's “I Stand Accused” all achieved this status.
A single that was on Record World's R&B chart through most of August was Sugar Pie DeSanto's “Soulful Dress” (Checker # 1082). In fact on 8th August both sides of the 45 were on their top 40; “Use What You Got” being the flip side. By the end of the month “Soulful Dress” was around No.20 on both Record World's and Cash Box's charts. This was another soul outing that never broke into the Hot 100 but it's showing in soul circles did secure it a UK release on Pye International. Montgomery born Art Grayson was a jack of all trades in the music business who got his big break playing in the band on 'The Beat' TV show. His manager cut him on some solo tracks and leased his recording of “Oh My Heartache” to Four Corners (a Kapp label). This got some radio action that August. John Richbourg was spinning it on WLAC in Nashville, so were Sir Walter on WAMO in Pittsburgh and Ed Wright on WABQ in Cleveland. The popularity of the single spread geographically and by the end of September / early October it held a top 40 position on Record World's R&B charts. Two further singles followed with Art getting to perform his “When I Get Home” live on 'The Beat' in 1966. Also in August, Miami DJ's on WAME were making Jimmy Ricks' “Trouble in Mind” (Atlantic) into a local hit, while Chatty Hatty (WGIV) was pushing it in Charlotte. By the 3rd week in September, it was also doing well in New Orleans. It's regional success eventually resulted in it scraping into the national R&B chart. In Baltimore, Jackie Ross's “Selfish One” was riding high. WEBB had it at No. 6 on their Top 20 at the start of the month. It then held down the No.1 spot for most of the rest of August.
 
Houston, more than most other US cities, was in a somewhat similar position to New Orleans. It's 'isolated' location and home grown recording studios again led to it having a sound somewhat of it's own (though the biggest local record company did also sign a lot of Florida & Detroit based acts to it's roster). Finding charts from Texas based R&B ststions in 1964 is no easy matter these days. However, it is a lot easier with regard to Texas based pop stations. As with pop stations across the US, lots of soul 45's made the charts of these stations. Houston based KNUZ was typical of many US pop stations with British acts dominating their charts. In mid June 64, KNUZ had Peter & Gordon, Billy J Kramer plus Beach Boys tracks holding down their top 4 chart places. Lower down their chart (@ no.13) though was “Share Your Love For Me” from Duke's own Bobby Bland. Other R&B tracks also doing well on the station were the latest releases from the Dixie Cups, the Reflections, Barbara Lynn, King Curtis and Dionne Warwick. Earlier in June, “Share Your Love For Me” had become a top 'Klimber' on KFJZ in Dallas / Ft Worth. The end of the month would see both sides of Bobby's 45 (“After It's Too Late” being the other one) standing at No.4 on KAY-C's chart in Beaumont, Texas. For a pop station to have playlisted both sides of a soul 45 is somewhat unusual, however it just goes to show the power that Duke Records exerted in their home state. There were other differences between KFJZ and KAY-C's charts. KFJZ's top 10 only featured 4 R&B records, whilst KAY-C's contained 9. The highest placed R&B 45 on KFJZ's chart (@ no.2) was Mary Wells “My Guy”, this wasn't on KAY-C's Top 50 at all. Meanwhile over at KCOH, Texas’s first black radio station, one of their DJ's was branching out. Skipper Lee Frazier started to MC and promote shows by top soul artists playing in the area. From there, he started his own label and signed lots of top local acts. As well as cutting tracks on these acts and putting out their records, he also became their manager and launched them to international fame. Another artist who cut for a Houston based label (Duke) was Little Jnr Parker. His current 45, “Things I Used To Do” was a top play on juke box's right across the States back then.
 
An earlier New Orlean's cut record by Irma Thomas that had done well was “Ruler Of My Heart” (May 1963). The song was 'adapted' by Otis Redding to become “Pain In My Heart” (October 63) and it proved to be even more popular when covered by the Rolling Stones in 1964. That same British group's actions impacted on another black single. Due to this, the Valentinos “It's All Over Now” (SAR #152) experienced quite a tangled life. This single had originally been released in late May and was listed by Billboard as a 'breakout single' on 20th June. Although initially it didn't make the national R&B charts, it did enter Cash Box's pop Top 100 at the end of June. Here it climbed over a 3 week period to reach No.92. It then disappeared off the charts until after the Rolling Stones cover version had been released in the US. On the R&B front, it held down the No.3 position on WWIN's chart on the 6th July. The Rolling Stones effort had been a UK No.1 hit from July 2nd and US chart success followed after it's release there. It immediately entered the Hot 100 and climbed to reach no.26 by mid September. The UK success of the song had prompted SAR to re-promote the Valentinos version and in the middle of August it entered Cash Box's R&B chart. It remained on their R&B chart right through September, peaking at No.21 early in the month. The song's writer, Bobby Womack, wasn't initially too pleased that his group's version had been eclipsed by a UK group's cover version. But when the writer's royalty cheques started rolling in from the Stone's version, his attitude softened somewhat. Another record also charting at that time had a really long stay on Cash Box's R&B listing. “Solomon Burke's “Everybody Needs Somebody To Love” (Atlantic #2241) had first entered the chart in mid July and it slowly rose up throughout August. Early September found it peaking at No.4 after which it slowly descended, finally dropping off the chart in mid October. Despite it's 12 week stay on the R&B charts, it only managed to reach No.58 on the Hot 100. This was yet another soul song covered by the Rolling Stones.
 
By mid September a number of singles were enjoying regional breakout status via plays on local stations. Three of these had first hit in Nashville at the end of August but then went on to find more widespread acceptance over the following weeks. Wendy Rene's “After Laughter (Comes Tears)” (Stax) also broke in Washington DC, Baltimore, New York, Charlotte, Miami, Atlanta and Chicago. Big Maybelle's “Oh Lord What Are You Doing To Me” (Scepter) became popular in Atlanta, Baltimore, New Orleans, DC, New York while Roscoe Shelton's “Love Comes & Goes” (Sims) found favour in San Fran and New Orleans. Other singles getting widespread plays then included the Willows “It's Such A Shame” (Heidi) in Philly, Miami, Houston, Atlanta and San Fran. Another 45 that was doing well in San Fran was Joe Simon's “My Adorable One”. At local station KDIA, DJ John Handy was also spinning Ben E King's “It's All Over”, Inez Foxx's “La De Da, I Love You” and Little Richard's “Goodnight Irene”. California cities had something of a self contained scene, being seperated from other major black markets by the Rockies. The R&B airwaves in LA were dominated by just two stations; KGFJ and Santa Monica based KDAY. KGFJ had only just changed to 100% R&B formatting. The new management at the station had also eliminated all DJ picks, so restricting the total number of records that were being spun there (a policy that would become much more common later in the 60's). However Nathaniel "Magnificent" Montague was one of the top DJ's at KGFJ and he had a whole load of fans so could still push the limits. Elsewhere the Dells “Wait Till Tomorrow” (Vee Jay) was popular in Houston, Detroit, Fort Worth and Dallas. The Volumes “Gotta Give Her Love“ (American Arts) in Detroit, Baltimore and DC with the Gems “ I Can't Help Myself” (Chess) getting spun in Cleveland and Baltimore. The Mystics “She's Got Everything” (Safice / Constellation) only really broke out in the Charlotte area but it was enough for this outing on the Washington DC based label to convince Constellation to pick it up for wider distribution. That must have pleased Eddie Floyd (the song's writer) who part owned and helped run Safice Records.
 
Ever present on Cash Box's R&B chart right throughout September were Eddie Holland's “Candy To Me” (Motown #1063) which had risen to No.29 by the end of the month and Dee Clark's “Heartbreak (Constellation #132) that only made it to No.43. Bobby Marchan's “I Got A Thing Going On” (Dial #3022) had entered the chart on September 12th, it then went on to outstrip the other two and had made it up to No.27 before the month was out. It continued to climb the chart in early October, while Eddie's 45 was dropping down and Dee's effort had disappeared altogether. Pop wise, Billboard had Eddie's outing peaking at No.58 on their Hot 100, Neither Dee's or Bobby's efforts managed to come anywhere near a Hot 100 placing. October saw two 45's issued that were slow burners on the R&B charts. Mitty Collier's “I Had A Talk With My Man” (Chess #1907) and Rufus Thomas's “Jump Back” (Stax #157) both entered Cash Box's R&B chart on 3rd October. Mitty's cut had taken some time to make it onto the charts as it had been a mid August release. In mid September it was getting strong plays in Baltimore, Philly, Charlotte, Miami and Houston. From there, it's popularity built nationwide. Once on the national R&B charts it climbed quite slowly to attain a top 10 placing at the very end of that month. It continued to climb in November, peaking at No.3 on the 14th. Rufus's release had followed a similar path; it was a mid September release that steadily climbed Cash Box's chart through October. It reached the chart's top 10 on November 7th and peaked at No. 6 on the 14th. Both remained on the chart for quite a while; Rufus's effort dropping off just ahead of Christmas while Mitty's stayed on right into 1965. Pop wise, Rufus made No.49, while Mitty's peaked at No.41 on the Hot 100.

Motown had yet another hot 45 at the time. The Temptations “Why You Wanna Make Me Blue” (Gordy) being listed as 'single of the week' on WEBB at the end of August. Billboard followed suit and had it as a R&B national breakout 45 in mid September. It was also registering nationally in the pop field by then. From there, the only way was up. The 45 shot straight onto the Hot 100 chart on 12th September, a week later it had climbed to No.50. The following week it stood at #39, by 3rd October it stood at #30. It then climbed to #27, then to #26 (October 17th) but from there it started to descend back down the chart. On Record World's Top 100, the 45 rose from #44 to #36 at the start of October. By the middle of the month it was at #25 and #17 R&B (so it was almost as high on the pop chart as it was on their R&B one). At Cash Box, it was #27 pop and #13 R&B on Ocober 10th. That was it's peak position on their pop chart and from there it started to drop. However, on their R&B chart it held steady and two weeks later was holding down the #12 slot. The Temptations had similar popularity with both black & white record buyers (though the white pop buyers were responsible for a much larger volume of sales). By 1964, it wasn't just UK artists that were cutting R&B tracks and taking them high onto the US pop charts. American groups were also doing the same. California based the Blendells cut an old Stevie Wonder song; “La La La La La” (Reprise). It entered the Hot 100 in early September and had reached the No.80 position by 26th September. It continued to climb the chart and by October 17th held down the #62 position. On the radio front, it was almost exclusively pop stations that playlisted their 45. It started out by getting lots of airplay on the west coast (at KRLA, KFXM, KXOA, KFWB, etc.) but that soon spread to stations in Texas, Michigan, Pittsburgh, Atlantic City, Chicago & more). It made it all the way to the top spot at KMEN in San Bernadino and to #2 on KFXM and to #3 on KRLA. It did chart (#54) on R&B station WBUD in New Jersey, but that was one of a very few.
 
A quick look around some radio station charts in October showed the Music City Soul Brothers “Looking For My Baby” (Music City), the Spidells “That'll Make My Heart Break” (Monza), Emanuel Lasky's “Crazy” (Thelma), Cicero Blake's “Soul Of Pain” (Renee), Troy Dodds “Earthquake” (Baytown) and the Kolettes “Who's That Guy” (Barbara / Checker) all breaking on WJMO (Cleveland). The Cicero Blake & Kolettes cuts were already on WVON's chart (Chicago), as were Martha Jean Love's “How To Succeed In Love” (ABC) and Freddie Gorman's “In A Bad Way” (Ric Tic). Freddie Gorman was also on the KATZ chart in St Louis, along with Juanita Williams “Baby Boy” (Golden World). KDIA (Oakland) had Vernon & Jewel's “Those Lonely Lonely Nights” (Kent) in their top 10, with the Superbs “Baby Baby All The Time” (Dore) featuring lower down. Baltimore's WWIN were tipping the Fiestas “All That's Good” (Old Town), the Diplomats “He's Got You Now” (Arock) and Tutti Hill “He's A Lover” (Arock). Down in Houston, new entries to WYLD's top 15 were Joe Simon's “My Adorable One”, O V Wright's “That's How Strong My Love Is” and Big Maybelle's “Oh Lord, What Are You Doing To Me”. One's to watch included the Enchanters “I'm A Good Man” and Rufus Thomas's new 45. In Baltimore at station WWIN, Mitty Collier's “Talk With My Man” was top with Gene Chandler's “Bless Our Love” at #2 (these singles having swopped places since the previous week). The Harold Betters Combo with “Do Anything You Wanna” (Gateway) was at #10. This jazzy instrumental doing so well locally confirmed Balto's status as a jazz outpost (this 45 also fared well on KTOP in Topeka). The 45 even generated a vocal version credited to George (Stardust) Green with Harold Betters. Other singles on the chart at WWIN included Tutti Hill's “He's A Lover”, Don Gardner's “Bitter With The Sweet”, Candy & the Kisses “The 81” and Rita & the Upsetters “Done Got Over”.
 
On the Cash Box R&B chart, Walter Jackson's “It's All Over” (Oken #4-7204) was a new entry on October 24th. It slowly made it's way up the chart to peak at No.10 just ahead of Christmas. It didn't finally dropped off the chart till mid January after a 13 week stay. This prolonged R&B success wasn't shared by it's showing on the Hot 100 where it only reached No.67. A comparison between other soul 45's Cashbox R&B chart positions and their showing on the Pop 100 in mid November shows widely varying placings. The Supremes “Baby Love” was top of both charts but after that things really diverged. Mitty Collier was No.3 R&B but only No.46 pop. Major Lance's “Rhythm” (Okeh) was No.5 R&B but had already dropped out of the pop 100. Rufus Thomas was No.6 R&B but only No.86 pop. Joe Simon's “My Adorable One” (Vee Jay) was No.10 R&B but only No.76 pop. A new R&B chart entry on November 21st was Candy & the Kisses “The 81” (Cameo #336). From there it inched it's way up the chart, reaching No.19 over the Christmas period. Pop wise it only reached No. 51 on the Hot 100. Billboard had started to see the error of their ways by summer 1964 and had reintroduced an R&B section to the magazine, however their R&B chart hadn't been reactivated at that time. It would be January 30th 1965 before the Billboard R&B chart would reappear. Thus ended the period when the magazine only reflected the pop success of all R&B / soul singles. During that period of over 13 months, the popularity of many singles released by soul acts had not truly been reflected within the magazine's pages. Cash Box had the Impressions “Amen” as their top R&B single over the Christmas period. It retained the top spot on that chart right through to mid January. Pop wise it peaked @ #8 that same week. The Cash Box top 12 that Christmas period was quitr typical for 1964. The Supremes held down the No.1 spot and there were three other soul 45's on there too. These were joined by five singles from UK groups and a soulful effort from Johnny Rivers.
 
Picking just one single to reflect the distortion in performance terms by Billboard's chart showings however isn't that hard; Lee Rogers “I Want You To Have Everything” (D-Town #1035) providing all the evidence necessary to make the case. If you consult 'Joel Whitburn's Top R&B Singles' book, you learn that Lee Rogers 45 entered the Billboard R&B chart on 30th January 1965 and remained on there till March 13th. At first all seems normal, until you check the release date on this single. D-Town put it out back in early October, so it seems it took over 3 months to become popular enough to even make Billboard's R&B chart. Nothing could be further from the truth. It began it's journey in Detroit but first found success at R&B station WJMO (Cleveland). It was one of the station's top breakers on 12th October and entered their chart (at No.20) on 19th October. Back in Detroit, it had become a 'pop breakout' by November 15th.. By the end of November it had also attained similar status in LA. By then, it stood at #1 on WJMO's chart. The run up to Christmas saw it bubbling under the Hot 100 (at No.120) and a week later it stood at No.101 on Record World's pop chart. By then, Lee's effort was getting spins in various cities on both R&B and pop stations. It had made an appearance on numerous pop and R&B radio station's charts. These included WKNR, WXYZ, WKNR, WKFR, WAMS and WJLB. On December 19th it was a top breaking sound on Baltimore's WSID (R&B) while a week later it was No.10 on KGFJ's chart in LA. From there it quickly achieved chart placings on WJMO, WVON and KNUZ. So listing it as an R&B chart hit from 30th January totally distorts what the single had actually achieved over the previous 14 weeks.
 
Of course, some soul 45's actually did have to wait some period of time before they found chart success. But this was almost always down to the efforts of a R&B radio DJ. Each week, many more good soul 45's would be released across the US than could possibly ever even become R&B chart hits. So, on lots of ocassions a deserving track would get lost in the shuffle or would only break in one or two markets. Time passed and for all intents and purposes that 45 was now 'dead in the water'. But then a radio DJ would hear it with fresh ears – perhaps his station hadn't originally been mailed a copy of this record put out by a label based in a distant city. Or maybe, they had been sent a copy but the DJ in question had now flipped it and decided that he liked the other side. So the DJ would start to feature the cut in question on his show. If it got favourable audience reaction, his collegues would also start spinning it. DJ's at other local stations, seeing what was happening at a nearby rival station, would also follow suit. Word would get back to the label or artist in question and the decision to re-promote the single would be made. Fresh copies would be serviced to R&B stations with a cover letter stating the 45 was a hit in (say) LA or Miami. Because it was getting action elsewhere, the station's sent a new copy would consider playlisting it for a second time. Many would decide to give it airtime and, with luck, the single would begin a whole new (& more successful) life. One 45 that enjoyed such a life was Archie Bell & the Drells (one of Skipper Lee Frazier's groups) “Tighten Up”. It had first been put out on Ovide, a local Texas label as the B side to “Dog Eat Dog” (November 67). Atlantic Records picked it up for national distribution in January 68 (again with “Tighten Up” as just the B side). But radio DJ's started to flip the record and play the other side. “Tighten Up” took off and so Atlantic put the 45 out a 2nd time, as “Tighten Up / Tighten Up Part 2”. From there it went on to become a big R&B and pop hit. Of course, over in the UK, many soul singles that got neglected first time around went on to become chart hits. But that was via club DJ's and the soul scene here, so was a completely different story.
 
Of course, as soul 45's were competing with many pop releases on the Hot 100 chart, a soul single gaining a higher R&B chart placing was normal. However, that doesn't explain a great many of the differences that occurred over this period. Strangely, the odd soul 45 relatively outperformed it's R&B standing on the Hot 100 chart. When checking why, these almost always gained a lot of radio airplay on pop radio stations (some more so than on R&B stations). For instance, Dionne Warwick's “Walk On By” made the charts of 100's of US pop stations and a similar percentage of R&B station charts. In May, her single went from #16 to # 5, then to #2 for two weeks (May 18th / 25th) on R&B 's WWIN. During the same period, on pop station CKLW it made #1 (5th May) and at WKNR it was also #1 by 14th May. At other pop stations it rose more slowly; it didn't top WAKR's chart till 29th May, on WAVZ it got to #1 on 13th June. WTOB (North Carolina) were even later on the 45's case as it didn't top their chart till 11th July. But then the Carolinas were a very racist area, so beginning to playlist hot black records on the pop stations there was a slow process. “Walk On By” was on the top 10 of Cash Box's pop chart for just about the entire month of June (peaking @ #6). On that magazine's R&B chart, Dionne's 45 held down the no.2 position for both the 2nd & 3rd weeks in June. So it was selling more copies to pop 45 buyers then to R&B buyers. Chuck Jackson's “Beg Me” was released by the same record company as Dionne's 45. He also had a history of getting 45's high onto the pop charts. His “Beg Me” started out doing well early in May on R&B stations such as WUST, WRAP and KDIA. It then started getting pop station plays. Once again, some pop stations were slow on the uptake; it making it to #3 on WTOB but not until 22nd August. Moving to November, the Supremes “Baby Love” was another example of a 45 that was topping the chart on both the R&B and pop charts. On Cash Box's R&B chart on November 14th, it moved from #2 to #1. Likewise, on Cash Box's Top 100 pop chart it also went from #2 to #1.
 
Of course, the vast majority of soul releases on small locally based black owned labels never even managed to attain a chart placing on the R&B radio stations in their own home town's, so for these releases any pop chart placing would have been totally out of the question. But Billboard's strange decision to stop treating R&B as a seperate genre of US music certainly had a big effect on lots of soul releases. Over at Cash Box during the same timeframe, they were even running editorial pieces on the growing popularity & influence of American black music. In May they ran with the headline 'SOUL DISCS SELL'. This stated, that even though dance fads and fancies would come & go, year on year common denominators remained. A major one of these being the continuing and heavy action soul releases were now always getting. It also made mention of the fact that even though it could take many weeks for a soul 45 to cross over from the R&B to the pop charts, those singles still went on to enjoy an extended life, selling in good quantities for a further 9 to 12 months. Just weeks later (in July) the magazine ran a 2nd linked editorial; 'R&B: IS IT BREAKING THE ENGLISH SOUND BARRIER'. This detailed the fact that UK recordings were dominating the US pop charts (& other charts right around the world) but only a small number of US recordings now did well in the UK charts. A few years earlier, the UK charts had been dominated by US acts. By 1964, this was no longer the case. Lots of British groups, doing covers of R&B tunes, had gone from attaining high chart positions in the UK to doing the same in the US (the British Invasion – the Beatles and Rolling Stones getting specific mentions). It then went on to say that US recordings by the likes of Chuck Berry, Dionne Warwick, Little Richard, Ray Charles etc. were the only ones still making the UK charts. Getting back to the point of this article though; if you want to gauge how popular a particular soul 45 had been back in 1964, you need to be quite careful in the way you go about determining this.

It's worth checking out a top R&B station's plays from just before Billboard reinstated their R&B chart. Baltimore's WWIN was such a station, so I've looked at their Top 40 chart. Over the Xmas to New Year period, they had Joe Tex's “Hold What You've Got”” at No.1. Effie Smith “Dial That Telephone” was @ #2. The Jive Five's “United at No.6 with Baby Washington's “It'll Never Be Over Over For Me” at #11 (both for a 2nd week in a row). Lower down came Joe Graves “Always In Love”, Harold Melvin's “Get Out” and Big Maybelles “My Mothers Eyes”. Radio station charts were just about always ahead of the national music magazine's charts with regard to 'climbers'. So, moving forward to the week 11th to 17th January 65, their top spot was occupied by the Temptations “My Girl”. Right behind it at No.2 was Sam Cooke's “Shake”, which had also jumped up strongly since the week before. Betty Everett's “Getting Mighty Crowded” was at No.10 (up from #15) with the Contours “That Day She Needed Me” (the other side to “Can You Jerk Like Me”) rocketing up from #30 to #13. Lower down but also climbing quickly were Alvin Cash's “Twine Time” and Dottie & Ray's “I Love You Baby”(Le Sage). The new entries were headed by the Ad-Libs ”Boy From New York City”, Willie Mitchell's “Percolating”, Bobby Bland's “Blind Man and Leroy Taylor's “Taking My Time (Shrine). The last chart climber I'll make mention of is the Springers “I Know Why” (Way Out) out of Cleveland, which was up to #30 from #39. This showing was enough to get Atlantic to pick it up for national distribution.

Back to Billboard and their first R&B chart which was published on 30th January, having been compiled a few days earlier. The Temptations “My Girl”was at No.1, with Sam Cooke's “Shake” at #6 (with it's flip “A Change Is Gonna Come” @ #10). Betty Everett's “Getting Mighty Crowded” wasn't on the chart at all, with the Contours “Can You Jerk Like Me” #18 and “That Day She Needed Me” also holding the #37 placing. Alvin Cash's “Twine Time” was #8, the Ad-Libs ”Boy From New York City” @ #19. The more blusey Bobby Bland 45 was missing altogether, but “Get Out” by Harold Melvin was at #38. Cash Box's R&B chart for the same week also didn't even have Betty Everett's “Getting Mighty Crowded”, neither was the Contour's newie on their chart (the Top 50 R&B 45's being noted). Alvin Cash's “Twine Time” stood @ #2, Joe Tex @ #3, the Temptations “My Girl” @ #8, Sam Cooke's “Shake” @ #4 (with “Change Is Gonna Come” @ #39), Dottie & Ray's “I Love You Baby” @ #33. The Ad-Libs ”Boy From New York City” @ #19 and Bobby Bland's “Blind Man @ #16 with Effie Smith's “Dial That Telephone” @ #26. Likewise on Record World's R&B chart for that same week Betty Everett's and the Contours 45 weren't even on their top 40. Joe Tex's “Hold What You Got”was top of the pile, Alvin Cash's “Twine Time” stood @ # 3, the Temptations “My Girl” @ #6, Sam Cooke's “Shake” @ #4 and Dottie & Ray's “I Love You Baby” @ #38. The Ad-Libs ”Boy From New York City” @ #15 and Bobby Bland's “Blind Man @ #17 with Effie Smith's “Dial That Telephone” @ #19. The Jive Five's single wasn't on any of the three R&B charts with Harold Melvin's Lando 45 not figuring with Cash Box and Record World. As can be seen from these details, what tracks were hits on black radio and what the national chart magazines listed as being the most popular sounds were quite different a lot of time back then.
By Roburt in Articles ·

The One~Derful Admirations

Much of what we know of the group The Admirations is already “out there” but scattered across the internet.  I decided to pull together what we know of the group into one article.  The groups discography and gaps in their story was discussed at length on Soul Source, instigated in particular by Timmy Leonard (R.I.P.) from Brussels and other members of Soul Source contributing.  Robert Pruter was a valuable source as was Secret Stash who had access to One-Derful masters and the associated labels of Mar-V-Lus, Toddlin’ Town. M-Pac, Mida and Halo.
In the early 1900s immigrants, mainly Italians settled in an area around Goose Island on the Near North Side of Chicago. It was an industrial area, steel and gas works, low paid and dirty.  The area was known as ‘Little Sicily’ due to the large number of Italians but it would also be known as ‘Little Hell’, due to the industry and the crime that blighted its in habitants, not just Italians but Irish and Swedish.  It was described as “the most dangerous neighbourhood in the city” by the Chicago Tribune. 

(1960s Cabrini Green)
During the war the Chicago Housing Authority decided to raze ‘Little Hell’  to the ground and pave the way for a new housing development to be named Frances Cabrini Homes after the first American canonized by the Catholic Church, Mother Frances Cabrini. But in the end urban redevelopment provided no cure for the problems.  Many of the houses were built with limited budgets leading to poor quality housing and a future lack of investment and maintenance. Overcrowding, dirty streets and dark alleys exacerbated the problems and crime of the projects. The inhabitants, largely a mix of Italians, Irish, African Americans and Puerto Ricans were often the poorest led to a new wave of crime and poverty which the authorities had no answer to, exacerbated by overcrowding, dirty streets and dark alleys.
By the 1960s racial segregation overtook and the area. By 1990 the authorities in Chicago, like they did with ‘Little Hell’ decided the answer to the problems would be to raze the area to the ground and start again.
Despite the problems of the area, it would produce some highly notable people, in particular musicians.  Major Lance, Curtis Mayfield, Jerry Butler & Terry Callier to name a few.

(photo courtesy of Robert Pruter)
One such group of singers originating from the Cabrini Green Housing Complex in the mid 1960s was The Admirations.  Consisting originally of siblings Ralph, Bruce, Kenneth & Yvonne Childs.  By 1966 Yvonne would leave the group and Sherman ‘Red’ Myles and Walter Smith would join the three male siblings who remained.  The group would be managed by Herbert Butler and Tommie Johnson of The Players vocal group.  They were all still in High School.

 
The Admirations debuted on the tiny Paree label with ‘My Admiration for You’, written by Kenneth and Bruce Childs in probably July 1967.  The flip however, written and produced by the Otis Hayes and Jimmy Jones, ‘Heaven Is In Your Arms’ is actually the Young Folk.  Arthur McThune is on lead ably backed by Miss Madeline. (Strickland), Patrice Suggs and Marlene Lee.

All indications would suggest both sides were recorded at the One-Derful’s Tone Recordings studio. Alvin Cash’s Mar-V-Lus release ‘Different Strokes for Different Folks’ would suffer a mis-press and actually play ‘Heaven Is In Your Arms’. (a record initially due to release in July 1967). The fact that this mis-press mix-up happened at the pressing plant is not just your more common template mix-up.  This mix-up happened at the lacquer stage as the template used to press that Alvin Cash & the Registers 45 features the correct matrix '3235' (and not the Paree '117 B' one) for their ‘Diff'rent Strokes for Different Folks’. A very first batch of pressings in error indicating a close release date setting the Paree by June 1967 or thereabouts.
According to Larry Blasingaine, The Young Folk were supposed to release ‘Heaven Is In Your Arms’ on Mar-V-Lus but as we have already ascertained it ended up on the Alvin Cash mis-press and instead ‘Joey’ was released by the Young Folk with Miss Madeline on lead and the guys singing background.
‘Heaven Is In Your Arms’ would find favour in the 70s on the Northern Soul scene in the UK in the 70s via Deejay ‘Soul Sam’ at Cleethorpes.

For their second release the Admirations joined George and Ernie Leaner’s One-Derful label. Launched in 1962 when McKinley Mitchell brought George Leaner the song ‘The Town I Live In’ which became the first release on One-Derful. An A&R and production team was formed with Monk Higgins, Andre Williams & Jimmy Jones at the forefront.  The label also had a studio, Tone Recordings and was based in the One-Derful building at 1827 S. Michigan Avenue.  Distribution was handled by United Distribution, formed by George & Eddie in 1950 and was located in the same building. The label would do well and sister labels Midas, M-Pac, Mar-V-Lus and Halo were soon added.

The Admirations ‘Wait Till I get To Know You’ was released in September 1967 and featured Ralph Childs on lead vocals.  It gained a mention in Record World on the 7th October as a Hot New Release. Co-produced by Teddy Bear (real name Theodore McRae) and Eddie Silvers, written by Ralph Childs, Walter Smith and Sherman Myles.  Local radio station WVON-AM listed the 45 in its top 20 in December ’67.  It received a mention in Record World in the October 7th 1967 edition and in Billboard on the 23rd December of that year.  With two presses at least for this release, with differing label designs, again it must have sold reasonably well locally. 

The groups final outing on One-Derful was in January 1968. ‘All For You’ which was written by Walter Smith, Ralph Childs and Sherman Myles Eddie Silvers no longer involved with the group by this stage, instead it was co-produced by Teddy Bear and Po-Jo.  I’m not sure who Po-Jo is?  The flip the superb ‘Don’t Leave Me’ was written by written by Bruce and Kenneth Childs and Sherman Myles. This side found huge favour on the UK Northern Soul scene. 

There was one other release by the group on the tiny Peaches label produced by Eddie Silvers and Gordon Keith (he of Steeltown Records fame).  ‘You Left Me’ b/w ‘I Want To Be Free’.  Released twice, once as the Aspirations and as the Admirations.  The year of release is subject to some debate with the general consensus giving the Aspirations in 1967 and The Admirations release as 1968.    There is however a school of thought both were released in 1968 with ‘You Left Me’ with the lead vocals being taken by Kenneth Childs possibly being an answer recording to the One-Derful outing ‘Don’t Leave Me’.  

Others have the Aspirations and the Admirations releases on Peaches as 1967 before the group signed with One-Derful.  Whatever the year, someone had faith in the release.  The only outing on the label, it gained two presses as The Aspirations, once with Peaches down the Right of the label and once down the left and then a further press as The Admirations.  It did virtually nothing with any of the releases and has remained incredibly rare.  

The 45 found favour in the UK on the Rare Soul scene in the late ‘70s early ‘80s and now commands a four-figure valuation.  Gus Taylor was the bassist for the group and in conversations we had he stated that he wrote ‘I Want To be Free’ but received no credit or any royalties, not that many royalties would have been forthcoming due to lack of sales.
All the releases by the Admirations found favour in the UK and now around the world and all are highly collectable.
In 1968 the demise of One-Derful also saw the demise of The Admirations. Walter Smith would transfer to Tilden High School on Chicago’s South Side where he would form ‘Walter & The Admerations’ alongside Clifford Frazier (lead), Keith Donaldson (bass), Brad Donaldson (baritone) and David Donaldson (tenor).  The group would be managed by Ted Daniels.

(Walter & The Admerations)
The groups first outing was on Leo Austell and Hillery Johnson’s LA-Cindy label.  Entitled ‘Life of Tears b/w Man Oh Man (What Have I Done).  The release again did nothing and remined incredibly rare to this day commanding a price well into four figures.  ‘Life Of Tears’ would receive turntable action via Pat Brady at the famed Wigan Casino in the UK in the late 70s.  The flip would be a huge turntable hit for UK DJ Mark ‘Butch’ Dobson in the mid 1980s.

After graduation from High School and with the war in Vietnam still raging the group would have a change of name to the Green Berets with releases on Chicago’s Uni label.  Members would later record as Velvet Hammer on the Soozi label with another track finding favour in the UK Soul scene, ‘Happy’. 
DISCOGRAPHY
June 1967 
The Admirations - PAREE
My Admiration For You b/w Heaven Is In Your Arms
(The flip is members of The Young Folk)
SEPTEMBER 1967 
The Admirations – ONE-DERFUL
Wait Till I Get To Know You b/w Instrumental
JANUARY 1968
The Admirations - ONE-DERFUL
All For You b/w Don’t Leave Me
JULY(?) 1967 or 1968 (?)
The Aspirations - PEACHES
You Left Me b/w I Want To Be Free
(PEACHES logo to the RIGHT first then repress with the logo to the LEFT
FEBRUARY(?) 1968
The Admirations - PEACHES
You Left Me b/w I Want To Be Free
 
Photos courtesy of Robert Pruter.
Label scans courtesy of Alan Kitchener, Paul David, Andy Dennison, Keamus Setna and Harry Morgan.
Cover photo: The Admirations, taken with Herb Kent, WVON Deejay, wielding the sword on Sherman Myles neck. This was a promotional photo when the group had just released ‘Wait Till I Get to Know You.’
By Chalky in Articles ·

5 x New 45s Via Kent - Valerie Simpson, Pretenders, Albert Washington, Hesitations...

The last weekend of the month, which as usual means it's a Release Day for Ace/Kent Records
And it's a busy one this month, with 5 brand new quality soul 45s unleashed, that's two Repro 45s, 2 Select 45s and 1 Pied Piper 45
Details follow below, along with other Kent release news

Valerie Simpson - Look Away - It's Just Love - Kent Select 102
Release notes
This is a previously unheard, Kent Records exclusive release from the great singer/songwriter Valerie Simpson. ‘Look Away’ by the Shirelles on Sceptre was a big 100 Club play in the 80s. Now we have found the original version by the song’s writer - complete with a sensitive girl backing group, no doubt featuring some of those legendary NYC studio vocalists.
CITY_102-1-1.mp3
The flip is possibly even more relevant. There has never been a known US production of ‘It’s Just Love’ which is adored by collectors and dancers through the UK’s John Andrews’ super-rare and expensive 1966 Parlophone release. To have a female version by the song’s co-writer is exciting and advance DJ plays of this have already built big demand.
CITY_102-2-1.mp3
 
 

The Cheques - The Merits - In The Groove - Arabian Jerk - Kent Select 101
Release notes
...is a double dancer’s delight. The Cheques infectious ‘In The Groove’ comes with
instructions over a pulsating organ-lead track. That singing Louisianian organist, Tony Nardi, would go on to form Salt & Pepper in Thailand where he recorded the funky ‘Man Of My Word’. This very 60s-style mover has crossed over from the mod scene to northern soul dancefloors and beyond.
CITY_101-1-1.mp3
 ‘Arabian Jerk’ by the Merits was a Goldwax production out of Memphis. It is a mod meets exotica gem; perfect for the belly-dancer in your life. Both of these tracks were issued at the time but now fetch very high prices – if ever available.
CITY_101-2-1.mp3
 

The Hesitations - That's What Love Is - Soul Superman #2 - Piper 014
Release notes
Last month’s Eddie Parker ‘I’m Gone’ 45 release reused the Pied Piper backing track
from the Hesitations album-only recording ‘That's What Love Is’. Both versions of this great 60s Detroit soul stomper are adored on the northern soul scene; to see it on our Pied Piper label will be quite a buzz.
PIPER_14-1-1.mp3
We’ve plundered another of the group’s LP-only tracks for the B side. ‘Soul Superman #2’ has never been on a 45, though its brother ‘Soul Superman’ was one of the few Pied Piper chart hits. #2 has a similar macho theme with a different, though recognisable, Pied Piper track.
PIPER_14-2-1.mp3
 

Albert Washington    I'm The Man / Case Of The Blues - Repro 22
Release notes
Cincinnatian blues stalwart Albert Washington was a prolific recording artist from  the 60s to the 90s. His ‘I’m The Man’ has become a New Breed R&B classic, which despite several US and UK releases, including our Kent one in 2003, is still eagerly sought out by people willing to pay whatever it takes.
REPRO_22-1-1.mp3
'Case Of The Blues’ is a similarly hip R&B dancer that was first issued on the Rye label in 1971. This slightly earlier Fraternity version is very similar
REPRO_22-2-1.mp3
 

The Pretenders - A Broken Heart Cries - For The Rest Of My Days - Repro 19
Release notes
When we accessed Joe Evans’ master tapes in the mid-90s we were pleased to find the superb ‘A Broken Heart Cries’ by the Pretenders as it had never been released. Over time enterprising Crossover DJs picked up on it from our CD, causing demand for a Kent Select release in 2007. Once that had sold out demand continued, making that original Kent 7” so in demand that prices are now into the low hundreds of pounds.
REPRO_19-1-1.mp3
 We took the opportunity to add the group’s beautiful harmony ballad ‘For The Rest Of My Days’ for its debut UK vinyl release.
REPRO_19-2-1.mp3
 
Cd and Lp Releases
Also out today, more info soonest
CDTOP 1660 ISAAC HAYES HOT BUTTERED SINGLES VOLUME 2: 1972-1976 CD ACE / STAX
HIQLP2 154 ISAAC HAYES HOT BUTTERED SINGLES VOLUME 2: 1972-1976 2LP ACE / STAX
BGPD 1120 VARIOUS ARTISTS  THIS IS NORTHERN SOUL LP BGP NORTHERN SOUL
BGPD 1121 VARIOUS ARTISTSTHIS IS FUNKY JAZZ LP BGP JAZZ / FUNK
 
Availability
 
Availability
All the above items are now available via Ace Records website (tap here), and various record stores including our very own Source Store (tap here to visit)
By Source Team in Soul News ·

New 45 - Kip Carmen Reissued on Continued Sound

Indie record label, Continued Sound, announces its first 7" vinyl release with the reissue of an unspeakably rare rock and soul-tinged single from 1973 by Kip Carmen, a Native American R&B artist from Huntington, New York. The record features two original songs ("That's Enough For Me" and "Loving in the Morning") recorded in NYC with veteran producer Bob Morgan (known for his work with Bobby Vinton and Marcos Valle) shortly before Kip signed with Hi Records in Memphis.
Fans of garage and northern soul may recognize the song "That's Enough For Me" from the psych-influenced cover by a band called Compass issued on True Love Records. But Kip's original version with The New Frontier, his backing band at the time, captures the authentic 70s magic and energy of a young R&B artist who refused to be put in a box. "I was so happy to record this song the way I wrote it," Kip remembers. "To have it released on record was freedom."
The songs are available to stream as part of a longer collection titled "Kip Carmen: That's Enough For Me (Singles and Unreleased Recordings)" and the single is out now. The 7" will be available in limited edition colored vinyl (orange with black smoke) and standard black vinyl. Look for it at continuedsound.com and in record shops across the US, Japan, UK and Europe.
 
 
By Continued Sound in Soul News ·

New Book - We Were There: How Black culture, resistance and community... by Lanre Bakare  

We Were There: How Black culture, resistance and community shaped modern Britain by Lanre Bakare (Author)  
Out today (17 April 2025) via Kindle, Hardback and Audible formats
Site note 
Check out the Kindle preview (at end) or the Audible preview (below) which details the author's experience while viewing Tony Palmers 'This England' 1977 Granda Tv Northern Soul documentary which is explored further in the first chapter 'Chapter 1: Northern Souls – 1977'
Audible Preview
Tap here to listen to Audible Preview (5 min)
Release notes
We Were There is about a Black Britain that for too long has been unknown and unexplored – the one that exists beyond London.

'A vital corrective that enhances our understanding of black British history' STEVE MCQUEEN
'Utterly brilliant' DIPO FALOYIN
'Captivated me from the first page' PRAGYA AGARWAL
'Essential reading' EKOW ESHUN

From the late 1970s to the early 1990s Britain was in tumult: rocked by Margaret Thatcher’s radical economic policy, the rise of the National Front, widespread civil unrest. With anti-immigration policies in the political mainstream, Black lives were on the frontline of a racial reckoning. But it was also a time of unrivalled Black cultural creation, organising and resistance. This was the crucible in which modern Britain came into existence.

We Were There brings into the spotlight for the first time extraordinary Black lives in once-rich cities now home to failing industries: the foundries of Birmingham, the docks of Liverpool and Cardiff, the mills of Bradford. We are in Wigan, Wolverhampton, Manchester and the green expanse of the British countryside. We meet feminists and Rastafarians, academics and pan-Africanists, environmental campaigners and rugby-league superstars; witness landmark campaigns against miscarriages of justice; encounter radical groups of artists and pioneering thinkers; tread dancefloors that hosted Northern Soul all-nighters and the birth of Acid House.

Together, these voices and stories rewrite our idea of Black British culture. London was only ever part of the picture – We Were There is about incorporating a vastly broader range of Black Britons into the fabric of our national story.

Alive with energy and purpose, We Were There decisively expands our sense of who we are. Confronting, joyful and thrilling, this is a profoundly important new portrait of modern Britain.
 
Kindle Link
https://amzn.to/4ims0t0
Hardcover Link
https://amzn.to/3GbAkOJ
Guardian Review
https://www.theguardian.com/books/2025/apr/16/we-were-there-by-lanre-bakare-review-reimagining-black-britain
 
Contents
About the Author
Introduction
1. Northern Souls - 1977
2. Free George Lindo Bradford, 1978
3. Jah Warriors - Birmingham, 1979
4. The Ghost of William Huskisson - Liverpool, 1081
5. Black Art an'done Wolverhampton. 1982
6. The Black Door - Manchester, 1086
7. The Last Fort-1087
8. The Myth and The Bay. Cardiff-1988
9. The English Disease. Edinburgh-1989
10. People of the Future 1990
We Were There: Coda
End Notes
Acknowledgements
Credits
 
 
By Source Team in Soul News ·

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