Jump to content

Latest Updates

Jimmy Radcliffe - Barbara Jean English - Big Man New 45 Release BMR 101

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

 
 
 
 















By Mark Bicknell in News Archives ·

True Soul Scottish Rare Soul Weekender 2023

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

New Kent Cd - William Bell - The Man In The Street - Out Now

A busy release weekend for Ace Records, along with the vinyl releases, their latest cdtop cd catches the ear...
William Bell  - The Man In The Street - The Complete 'Yellow' Stax Singles  CDTOP 515
'Ace is delighted to follow up with the second volume of Bell’s solo singles for the label.'
As the tag says this is the follow up release to the May 2022 release 'William Bell - Never Like This Before' which featured the 'blue' singles (link at bottom of this article)
 
Release Notes
A clip of the release notes by Tony Rounce follows below
Its predecessor featured the A and B sides of every one of Bell’s 45s as originally issued on the blue Stax label between 1960 and early 1968. “The Man In The Street” does the same for every solo 45 that this well respected southern soul man released between late 1968 and early 1974, after the company had changed its label colour to yellow and rebuilt its catalogue from scratch.
Bell stayed with Stax almost until the label’s final demise in 1975. In the period covered by this collection he released some of his best known and best loved recordings, including his biggest Stax hit ‘I Forgot To Be Your Lover’ and long-time fan favourites ‘My Whole World Is Falling Down’, ‘Happy’ and his own version of his classic composition ‘Born Under A Bad Sign’.
 
All of those are featured here, along with 20 more tracks of comparable calibre.
Tony Rounce
Full release notes and more can be had via
https://acerecords.co.uk/the-man-in-the-street-the-complete-yellow-stax-singles
Track Listing
Side 1
01   I Forgot To Be Your Lover
02   Bring The Curtain Down
03   My Whole World Is Falling Down
04   All God's Children Got Soul
05   Happy
06   My Kind Of Girl
07   Born Under A Bad Sign
08   A Smile Can't Hide (A Broken Heart)
09   Lonely Soldier
10   Let Me Ride
11   A Penny For Your Thoughts
12   Till My Back Ain't Got No Bone
13   All For The Love Of A Woman
14   I'll Be Home
15   Save Us
16   If You Really Love Him
17   Lovin' On Borrowed Time
18   The Man In The Street
19   I've Got To Go On Without You
20   You've Got The Kind Of Love I Need
21   Gettin' What You Got (Losin' What You Had)
22   All I Need Is Your Love
23   Get It While It's Hot
24   Nobody Walks Away From Love Unhurt
 
Booklet Scans
As always the cd comes with an informative booklet, this time 16 pages deep, the scans below demo teh quality.

 

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

Ain't Nothin' But a House Party - A chat with Bruce Weinroth, producer of the Show Stoppers classic

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

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

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

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

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

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

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

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

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

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

By Joel E Turner in Articles ·

6 x New Kent 45s Released This Weekend - Town, City and Repro 45s

A busy weekend release schedule for Kent Records with the following 6 x 45s  now available for purchase.
One new 45 out on Kents Town/Soul imprint
The San Francisco TKOs - Make Up Your Mind / Ooh Baby Baby - Kent Soul 176
San-Francisco-TKOs-Make-Up-Your-Mind.mp3
TOWN_176-2-1.mp3
 
2 new quality additions to the Repro imprint
Ty Karim - Lighten Up Baby / All At Once - Kent REPRO 11
REPRO_11-1-1.mp3
REPRO_11-2-1.mp3
Hytones - You Don't Even Know My Name / Good News - Kent REPRO 10
The-Hy-tones-You-Dont-Even-Know-My-Name.mp3
The-Hy-tones-Good-News.mp3
 
3 new adds to the Kent City/Select range
Warren Raye & The Infernal Blues Machine - It's The Feeling I Get - Kent Select 086
Warren-Ray-Infernal-Blues-Machine-Its-The-Feeling.mp3
The Classic Example - Right On - Kent Select 083
The-Classic-Example-Right-on.mp3
Jackie Dee / Dave Hamilton - Who/ Who (Instrumental) - Kent Select 085
CITY_085-2-1.mp3
 
All avaiable now from all the usual online suspects including our very own Source Store - Tap here for Source Store
Full release notes via Ace Records Website - Tap Here to visit
By Mike in News Archives ·

Hit and Run - Two New 45s - Belita Woods & The Masqueraders

FINALLY - AFTER MUCH PRESSING PLANT DELAY - IT’S THAT TIME AGAIN – 2 NEW 45’s OUT NOW.
We are masters of the 'undersell' - but 2 really good and top value 45s here. 6 great tracks - popular with UK fans and our growing Low Rider base in the US.
£15.00 each + £3.00 UK postage (good for 1-3 records) , US postage £6.00 per order. Paypal – hitandrunsoul45@gmail.com
HR 1546 BELITA WOODS -
A1 : That's When I'll Stop Loving You - https://youtu.be/ALkLKwlMew0
A2 : You Do Your Thing And I'll Do Mine
B1 : Magic Corner - https://youtu.be/uHGPP8OtqH8
 
HR 1547 THE MASQUERADERS -
A1 : How - www.youtube.com/watch?v=HuQosni0tZI
B1 : One More Chance -https://www.youtube.com/watch?v=FsAFtl3cR6U
 
B2 : Be Happy For Me - https://www.youtube.com/watch?v=9XebXyD5QpY
 
All releases prior to 1540 remain at the old price of £12.00.
Paypal – hitandrunsoul45@gmail.com
Interested in a promo ?  please EMAIL for up to date availability - hitandrunsoul45@gmail.com




By Dewsburyborn in News Archives ·

Benny's Song or is it ?

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

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

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

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

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

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

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

By Billy Jo Jim Bob in Articles ·

Izipho Soul records - About Us & Release News

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

Soul 4 Real New 45 Releases - Paul Kelly & Lorraine Ellison

Two new releases upcoming from Soul 4 Real, 27th February 2023 the release date, pre-order now available.
𝗣𝗔𝗨𝗟 𝗞𝗘𝗟𝗟𝗬 - 𝗬𝗢𝗨 𝗠𝗔𝗞𝗘 𝗠𝗘 𝗧𝗥𝗘𝗠𝗕𝗟𝗘 / 𝗖𝗢𝗠𝗘 𝗪𝗜𝗧𝗛 𝗠𝗘 (𝙎4𝙍25)
𝗟𝗢𝗥𝗥𝗔𝗜𝗡𝗘 𝗘𝗟𝗟𝗜𝗦𝗢𝗡 - 𝗛𝗔𝗩𝗘𝗡´𝗧 𝗜 𝗕𝗘𝗘N 𝗚𝗢𝗢𝗗 𝗧𝗢 𝗬𝗢𝗨 / 𝗜´𝗠 𝗚𝗢𝗡𝗡𝗔 𝗖𝗥𝗬 𝗧𝗜𝗟𝗟 𝗠𝗬 𝗧𝗘𝗔𝗥𝗦 𝗥𝗨𝗡 𝗗𝗥𝗬 (𝙎4𝙍26)
 
 
 
𝗣𝗔𝗨𝗟 𝗞𝗘𝗟𝗟𝗬 - 𝗬𝗢𝗨 𝗠𝗔𝗞𝗘 𝗠𝗘 𝗧𝗥𝗘𝗠𝗕𝗟𝗘 / 𝗖𝗢𝗠𝗘 𝗪𝗜𝗧𝗛 𝗠𝗘 (𝙎4𝙍25)
Paul Kelly, who died in South Carolina in 2012, only ever had one genuine 'hit', ”Stealing In The Name Of The Lord” in 1970, despite a recording career that lasted the best part of three decades. He also had the misfortune in later years to be confused with an Australian singer of the same name.
He was, however, a singer and writer of unusual and undeniable talent, and in the first half of the seventies -a time when his songs were in considerable demand- cut two of the greatest of all soul LPs down in Nashville, “Don't Burn Me” and “Hooked, Hogtied & Collared” with long-time mentor and producer Buddy Killen, on which the two self-penned tracks on this single initially appeared.
It is the first time either of them have been featured on a 45. “Tremble” is a lovely relaxed dance side, bathed in shimmering strings, while “Come With Me” flows effortlessly underneath Paul's sublime aching singing. Enjoy!
𝗝𝗼𝗵𝗻 𝗟𝗶𝗮𝘀
 
 
 
𝗟𝗢𝗥𝗥𝗔𝗜𝗡𝗘 𝗘𝗟𝗟𝗜𝗦𝗢𝗡 - 𝗛𝗔𝗩𝗘𝗡´𝗧 𝗜 𝗕𝗘𝗘N 𝗚𝗢𝗢𝗗 𝗧𝗢 𝗬𝗢𝗨 / 𝗜´𝗠 𝗚𝗢𝗡𝗡𝗔 𝗖𝗥𝗬 𝗧𝗜𝗟𝗟 𝗠𝗬 𝗧𝗘𝗔𝗥𝗦 𝗥𝗨𝗡 𝗗𝗥𝗬 (𝙎4𝙍26)
It's safe to say that "Stay With Me" defined Lorraine Ellison's career. Her controversial debut and most successful release on Warner Brothers has divided opinion among deep soul fans since its release back in 1966. Sadly, Lorraine could not repeat its success, eventually retiring from the music business in the early 70s, leaving a relatively modest catalogue of recordings.
Soul4Real has selected two Jerry Ragovoy-produced gems from Warner Brothers´ vaults to showcase her undoubted talent. Recorded in March 1967, "Haven't I Been Good To You" appears for the first time on vinyl (it was included on a CD retrospective in 2006). It's a fine, restrained, soulful performance which is equal to many of her released tracks.
The B side is a great version of Irma Thomas' 1964 release "I'm Gonna Cry Till My Tears Run Dry", arranged by Bert DeCoteaux and taken from her 1969 'Stay With Me' album.
'Philadelphia's Queen Of Soul' - a worthy addition to Soul4Real's 'Hall Of Fame'.
𝗠𝗶𝗸𝗲 𝗟𝗼𝗳𝘁𝗵𝗼𝘂𝘀𝗲
 
------------------------------------------------------------------
Label design by Jordi Duró.
𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 27th FEBRUARY
15 𝗲𝘂𝗿𝗼𝘀 + postage as it follows:
1 to 5 copies: 6,90 euros UK & Europe
1 to 5 copies: 3 euros Spain
1 to 5 copies: 10,55 euros USA & rest of the world
𝗣𝗮𝘆𝗺𝗲𝗻𝘁 𝗯𝘆 𝗣𝗔𝗬𝗣𝗔𝗟 𝗮𝘀 𝗳𝗿𝗶𝗲𝗻𝗱𝘀 & 𝗳𝗮𝗺𝗶𝗹𝘆:
soul4realrecordlabel@gmail.com
Check previous releases: www.soul4real.es








By Alexsubinas in News Archives ·

Upcoming 45 - Dojo Cuts - Ain’t got no reason / Uptight - Last Bastion Records

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

3 x New Kent Soul 45s - Select - Deep - Soul

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

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

Connie Austin / Charles Spurling Ball Of Fire / You've Got Love On Top Of Love - Kent Select 084
 
‘Ball Of Fire’ is an exceptional song, first recorded by Connie Austin as a smouldering mid-tempo number on which she pours her heart out. It would be updated a year later by Marva Whitney who took it at a faster funkier pace. Charles Spurling remembers Connie as a good looking, fast-living girl who was murdered in Los Angeles soon after.
Spurling was a good singer himself and had five King releases between 1967 and 1969. The excellent ‘You’ve Got Love On Top Of Love’ failed to make it to wax until now. Kent found the tape in the King vaults and issued it on CD in 2001; now it is on a righteous single
CITY_084-1-1.mp3
CITY_084-2-1.mp3
 

Alpaca Phase III / Sam Dees - Paper Man / False Alarms - Kent Deep Soul 16
‘Paper Man’ is a major discovery for lovers of Sam Dees music and the Atlanta/Birmingham soul sound of the 70s. Written and recorded in that productive period, it has only just been found in the vault of Moonsong / Clintone recordings. Sam Dees worked with Alpaca Phase III for the Atlantic release ‘I Like To Party’ in 1974 and a Clintone release the following year. He co-wrote this ballad with Wes Lewis and Ken Walker from the group (he also composed ‘Someone To Run To with Wes Lewis and group member Berry Collins).
Dees is the vocalist on ‘False Alarms’, one of several brilliant Dees’ compositions first released on his “Second To None” Kent CD in 1995. With “so tied up” being such an important lyric in this song, it is conceivable that it is a forerunner of ‘So Tied Up’ which featured on his Atlantic LP at this time.
DEEP_SOUL_16-1-1.mp3
DEEP_SOUL_16-2-1.mp3
 
 Coming soon
A pressing delay means that the much awaited Warren Raye & The Infernal Blues Machine 45 the next Kent Select release, has been put back to the end of this month (Febuary 2023)
By Mike in News Archives ·

New Release: EPS019 RENALDO DOMINO & THE ORIENTATIONS EPSILON RECORD CO.

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

Grayson Perry’s The Full English C4 (inc Northern Soul Segment ) Ep3 Thur 9th Feb 9-10pm

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

 
added by site, video of the Northern Soul Segment
 
By Coolnotes in Soul News ·

New Soul Direction 45 - The Intruders - Upcoming

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

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

The Intruders - You're My One & Only Baby
 
The Intruders - I've Got Love For You
 
 
 
By Mike in News Archives ·

Wigan Casino Photos - Red Saunders - Britsh Culture Archive

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

New Cd - Loma Northern Soul - Classic & Revelations 1964-1968 - Kent Cd

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

Claire Davis -'Get It Right' - Full length Ltd Edition LP/ CD / DIGITAL LRK Records Pre-Order

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

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


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

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

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

By LRK in News Archives ·

New Soul Direction 45 - The 4 Masters - Upcoming

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

Release date Mid/Late February 2023


 

By Mike in News Archives ·

New 45 - Carmy Love - In The Morning / Together Again - Big AC Records

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

 
   
 
 
 
By Mike in News Archives ·

BBC 2 - Fight the Power: How Hip Hop Changed the world

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

By Mike in Soul News ·

Soul Junction Records Full of Energy with Their Latest Release

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

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

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

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

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

Cannonball Records 8th Anniversary Special Release

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

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

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

5 New Penrose 45s from Daptone Records

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

Out February 24th. Pre-order Now.

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

All five will be available in advance at our Valentine's Day Record Release Showcase at The Observatory in Santa Ana on February 14th, featuring live performances by The Altons, Los Yesterdays, Vicky Tafoya, and a special guest appearance by Jonny Benavidez. One show only. Get your tickets now!
Links to listen (2) and pre-order/save (all)
 
Thee Sacred Souls
"Future Lover" / "For Now" by Thee Sacred Souls
Someone's at the door.... Who is it? It's Thee Sacred Souls and they've come bearing a pair of massive tunes off their debut album, this time on the convenient 7" 45rpm format. "Future Lover", a fan favorite of their live set, is beat-ballad perfection, punctuated by silky strings and a pleading call and response hook that serves as the perfect compliment to Josh's passionate lead. "For Now" is a sparse, brooding track whose protagonist pulls at the listeners heartstrings as he struggles to make sense of love that's fading away.
https://daptone.ffm.to/prs1018.GTQ
 
Vicky Tafoya
Anyone who has had the pleasure of seeing Vicky sing live knows she's one of the most talented singers in the game. Her presence and command on stage has the unique ability to make you feel like she's singing each and every note directly to you. Just being in her orbit for 30 min will have you walking away feeling like you've experienced something special. On this single Vicky flexes her range and writing chops with two deep, deep bluesy ballads of the highest caliber. "Love Don't Treat You Fair" is a tale of despair that creeps along like a long lost Little Willie John session for King. With "The Moment" Vicky delivers an incredibly soulful vocal (ala Etta James) that is so natural and classic its hard to imagine it wasn't recorded 50 years ago. If bluesy soul is what you're after...look no further! 
https://daptone.ffm.to/prs1019.GTQ
 
The Altons
The Altons turn up the heat with another platter produced by the Inland Empire's own, Bosco Mann. A soulful duet at its core, "Float" finds the group exploring new realms of  pop excellence. The sophisticated arrangement and instrumentation gives the tune a cinematic feel that builds to a crescendo of psychedelic, swirling strings - immersing the listener in a wash of Morricone-tinged euphoria.  A track that wouldn't be out of place in the next Double-O-Seven blockbuster. On the flip is "Cry for Me", a latin-tinged mover featuring Adriana Flores on lead vocal. Her pleading, soulful delivery gives the bouncy, hook-laden tune a seriousness that's simultaneously uplifting and heartbreaking.
 
Float
Altons_Float_Clip.wav
Cry For Me
Altons_Cry_For_Me_Clip.wav
https://daptone.ffm.to/prs1016.GTQ
 
Los Yesterdays
On the heels of their smash hit "Nobody's Clown," Los Yesterdays’ return with "Who Made You You?" - whose dark feel coupled with singer Victor Benavides' bell-like timbre makes for a dichotomy of vibes that makes for a sinister groover that's sure to get heads bobbing at discerning Dj nights around the globe.  Imagine Eddie Holman cutting a side for Fania and you're getting warm. On the other side of this future-classic you'll find quite possibly the best version of Richard Berry's classic "Louie Louie '' since the Kingsmen! Giving it the low and slow treatment, Los Yesterdays alters its DNA, creating a bonafide ballad banger poised to turn-on a whole new generation of folks to this R&B party fave. 
"Who Made You You?"
LY_Who_Made_Clip.wav
"Louie Louie ''
    LY_louie_louie_Clip.wav  
https://daptone.ffm.to/prs1015.GTQ
 
and making his Penrose debut...
Jonny Benavidez.
In collaboration with our good pals at Timmion Records we are pleased to present two slamming sides from Mr. “Tell Me That You Love Me” himself, Jonny Benavidez. Hailing from San Diego and currently residing in NYC, Jonny is a vocal group aficionado of the highest order who has sung and studied with the best of ’em. This is evident as soon as his sweet vocals drop in “Somebody Cares” – a mid-tempo mover sure to make waves on the WC scene. On the flip is “Slow Down Girl” , a refreshingly uptempo tune that’s sure to get your heart rate up. Stay tuned for more to come in 2023.
“Somebody Cares”
JBVD_Somebody_Cares_Clip.wav
https://daptone.ffm.to/prs1017.GTQ
 
 

 
By Mike in News Archives ·

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

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

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

Advert via Google