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The Bright Side of LIFE - Vel Lewis

Around 1968, a Philly vocal group, the Naturals, were looking for a fresh bunch of musicians to back them up on live shows. A local band found out about this and made contact with the singers. Thus the Soul Crusaders and the Naturals teamed up to form an 11 strong ensemble. There were already a number of recording groups using the name the Naturals and so their managers came up with an appropriate new name for them; the FUTURES. Life & their career progressed for the Futures & after 4 years, the group were signed up by Gamble & Huff. Now Gamble & Huff had the use of the best musicians in the land in 1972 and so the musicians section of the group was now surplus to requirements (the guys had all played on the group's earlier Amjo / Avalanche tracks). So they went off and found useful employment backing the Delfonics on live shows.
But this didn't fully satisfy the guys, so they went into the recording studio in their own right and cut a song they had developed in their section of earlier live performances. A deal was struck and soon after the Reprise 45 "Tell Me Why" hit the record shop shelves -- this record being credited to LIFE. The 45 got lost in the shuffle in late 73 / early 74 coz so much other great soul music was around at the time. Disheartened, a member of the group drifted off to find other work, the remaining members relocating to LA to find their fortune. Time passed & the guy left behind began to miss his old life. So in 1978 he too 'went west' and teamed up once more with his old bandmates. Live work kept THE LIFE GROUP busy and as their reputation grew, they came to the notice of some figures in authority. As a result of this, they were signed up by the United Services Organisation (the corporation that sourced entertainment for US military personnel based overseas). LIFE were signed up and undertook a trip to Asia in 1983 where they played Korean US military bases, undertaking 21 shows in all. The group impressed all their audiences and not long after they returned to the US, the Department Of Defence booked them yet again (this time to play bases in Germany, Austria & Italy).
Back from these tours, the group felt ready to go into the recording studio once again. Their line-up had evolved since 1973 as they had added a female lead singer -- Juanita Dickens. The result of their studio work was enough decent tracks to fill an album. But by 1983, record companies were dealing with a different world.  They were now turning out product to please a whole slew of musical genres for which charts were compiled; rock. adult contemporary, disco, black, latin, jazz, blues, gospel, country. The type of music LIFE had made was the style that could feature on the adult contemporary chart, the disco chart and the black chart. But major labels execs were totally confused about what product to license for release at the time but by then, those majors just about monopolised what was being played on black radio stations. With product from independents standing little chance of being heard over the airways, potential exposure & sales were limited unless a major put out your stuff. All the majors passed on LIFE's efforts and the group's future instantly got less promising.
Things moved on and LIFE member Vel Lewis wanted to stay in the music biz, so he adapted to suit current circumstances. Being a versatile keyboard player he found session work in both the soul and jazz worlds. He participated on a number of other artists recording sessions and was generally kept busy. He even toured the UK as a backing musician with Dionne Warwick. In 2005, under the name of Shady Grady, he stepped back into the spotlight and put out an album of his own. Tracks on this album reflected both his current work and past work. He took one of the 'unissued' LIFE GROUP tracks ("Let It Ride") and cut a new version of the song. His album was well received and led to him getting enough exposure to enable a new chapter of his musical career to blossom. He relocated again and eventually found himself living and working in Houston. He kept cutting & releasing new recordings but also became aware of the 'life' his old 1973 recording had taken on. Taking advantage of the opportunity the popularity of "Tell Me Why" had attained to travelling to Vegas to perform the song for those soulies assembled there for Soul Trip 2018.
Still finding live work at venues such as the 'House of Blues' Vel's career was still ticking away. He couldn't help wonder what he might have achieved in earlier times if the 'chips had fallen differently'. A Brit made contact with him (me) to obtain the full facts on his long musical career in order to write an article about him. During the exchange of information, that Brit (me) sent him an e=-mail titled 'AN OBVIOUS QUESTION'. The obvious question was of course .. had the master tapes of the 'unissued' 1983 album survived. Vel didn't know but set about finding out the answer. He contacted other members of his old group and a search was undertaken. Weeks passed but eventually digital copies of those tapes were unearthed. Feelers were put out and some interest was forthcoming from soulies with involvement in releasing 45's that (through no fault of their own) remained unissued back in the day. Lots of steps still have to be taken and negotiations started and concluded. BUT HOPEFULLY, a good outcome will result for Vel and his old colleagues in LIFE.          
 








By Roburt in Artists ·

LaTasha Lee's Debut Soul 45! Killer & Ready To Deliver!

LaTasha Lee from Corpus Christi, Texas, first broke the hearts of Rare Soul collectors with her acoustic porch performance of "I Regret It" on YouTube! Although "I Regret It" on YouTube only has an acoustic guitar, some spring, one backing harmony and LaTasha Lee's lead, it's enough to break hearts on sight!
Although LaTasha Lee regularly hits millions of views on YouTube on her own, Industry Music Group offers her the production and growth that will remain timeless and appropriate for such a soulful delivery compared to her previous retro recordings. The Rare Soul collector's scene can offer her the market and room to express herself soulfully in a way only Oldies fans can cherish.
LaTasha Lee’s debut 45 is a modern take of sought after “I Don't Want You” by The Lovations on the elusive Cap City label that's authentic and straight from the heart!
 

TITLE / ARTIST: I Don’t Want You - LaTasha Lee
UPC: 197644467037

LABEL: Industry Music Group

CATALOG NUMBER: IMG-1038

GENRE: R&B/Soul, Low-rider Oldies, Souldies, Texas

IN STORES: Fri 5/05/23

FORMAT: 7” 45 R.P.M. Single Black Vinyl, 

KEY MARKETS: Bay Area, Los Angeles, UK, Texas

US Distribution: razadelsoul@gmail.com

UK Distribution: jmsoul@musicconnex.co.uk 

Press & Booking: djcazel@industrymusicgroup.com

EPK & MP3's: Click Here for EPK & MP3's!
01 - I Don't Want You - LaTasha Lee.mp3

 
 
By razadelsoul in Articles - Archives ·

Sidney Hall of Shrine Talks to Andy Rix

To help celebrate the purchase of The Shrine label by Kent Records and the release of the new Shrine Northern Soul Lp, here is a treat for Soul Music lovers. It is an audio from Sidney Hall that Sidney sent to Andy Rix when Andy was putting together the Shrine Story. 30 minutes long with one side of his Shrine 45 at the beginning and the end.
 
By Chalky in Articles - Archives ·

OUT NOW! Brand new album- Get It Right - Claire Davis - LRK Records

TORONTO'S CLAIRE DAVIS SHARES HER SMASHING DEBUT LP "GET IT RIGHT"
OUT TODAY!
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 instrumentalj azz/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.
Order here in all formats: https://lrkrecords.bandcamp.com/album/get-it-right
https://lrkrecords.bandcamp.com/album/get-it-right
Get It Right by Claire Davis
 

 


By LRK in Articles - Archives ·

BMR 1014 Jimmy Radcliffe -The Thrill Of Loving You / You Made A Man Of Me - New Release Due May 2023

WE ARE THRILLED TO ANNOUNCE THE RELEASE OF BMR 1014 JIMMY RADCLIFFE- 'THE THRILL OF LOVING YOU' B/W 'YOU MADE A MAN OF ME' DUE OUT FIRST WEEK IN MAY 2023, TWO PREVIOUSLY UNISSUED TRACKS REMASTERED, SLEEVE NOTES BY ANDY RIX, COMES IN A CUSTOM CARD PICTURE SLEEVE, A6 COLLECTORS CARD IN A POLY OUTER SLEEVE.
TWO SUBLIME RECORDINGS FROM JIMMY RADCLIFFE, TOP SIDE IS A FABULOUS DOWN TO MID TEMPO MASTER CLASS IN THE BIG CITY SOUL STYLE WITH AN OUT AND OUT SLAB OF NORTHERN SOUL ON THE FLIP. ORIGINALLY ANDY RIX FOUND TWO STUDIO ACETATES ON A RECORD HUNTING TRIP TO THE STATES WHICH HE STILL HOLDS IN HIS COLLECTION TODAY. DETAILED NOTES FROM ANDY TELLS THE WHOLE STORY OF THESE TWO REMARKABLE RECORDINGS WHICH WE ARE EXTREMELY GRATEFUL FOR ANDY'S CONTRIBUTION TO THIS RELEASE. FULL CREDIT TO HIM FOR FINDING THE TRACKS IN THE FIRST PLACE. 
THIS RELEASE IS THE FINAL JIMMY RADCLIFFE RELATED RELEASE IN A SERIES OF THREE FROM BIG MAN RECORDS BMR 1012 - 'BIG CITY BLUES' B/W 'YOU CAN'T LOSE SOMETHING YOU NEVER HAD' AND BMR 1013 - JIMMY RADCLIFFE/BARBARA JEAN ENGLISH - 'TASTE SOUR DON'T IT' (2 VERSIONS) WHICH CEMENTS THE IMMENSE TALENT OF A MAN WHO WAS ACTIVE MUSICALLY FROM 1959 TO 1973 WHEN HE SADLY PASSED AWAY, SINGER, WRITER, MUSICIAN THE MAN WAS A GENIUS.
AVAILABLE NOW TO PRE ORDER DEMO £30.00 (LIMITED NUMBER AVAILABLE) ISSUE £20.00 PLUS £4.00 UK POSTAGE & £10.00 REST OF THE WORLD, PM MARK BICKNELL EMAIL bicknellmark@aol.com OR bigmanrecords1@gmail.com 
THIS RELEASE WILL BE FOLLOWED BY BMR 1015 THE FALCONS - 'LOVE LOOK IN HER EYES' B/W LOVE YOU LIKE YOU NEVER BEEN LOVED' REMASTED SOUNDING FABULOUS DUE FOR RELEASE EARLY SUMMER 2023 RESERVE/PRE ORDER IS NOW OPEN FOR THIS RELEASE BMR 1016 IS ALSO IN DEVELOPMENT WITH A PLANNED RELEASE DATE OF LATE SUMMER 2023 WHICH WE WILL BE ANNOUNCING IN DUE COURSE.










Video Jimmy Radcliffe - The Thrill Of Loving You
 
 
Video Jimmy Radcliffe - You Made A Man Of Me
 
By Mark Bicknell in Articles - Archives ·

Detroit A Go Go 2022 By Dave Clements

Just had a message from Dave Clements on his latest blog entry...
My Blog story: Detroit A Go Go 2022.  It is an End of an Era documentation of performances of recording artists from Detroit.  Produced out of England, this event may be the last.
The world’s largest office building, as of 1921, was the massively stamped General Motors Corporation. Opposite of that is the Hotel St. Regis, which was the venue for the Fourth Detroit A Go Go. Three nights of live Detroit recording and performing artists from the 1960’s era.
Tap below for words and photos...

https://www.davidclementsproductions.com/detroit-a-go-go-2022/
By Mike in Articles - Archives ·

Alfreda Brockington - More Previously Unreleased Soul from MD Records Group

Well here we are quarter of the way through 2023 and MD are proud to bring you our first release of the year we have been busy working away on various things which will pan out through the coming months. But back to this release and what a way to kick of the year with a standout pair of tracks never before available on vinyl.
All the way out of Philly comes Alfreda Brockington, a well known and much loved artist with a catalogue of releases that span from the sweet soul and gospel through thundering northern soul monsters to absolute bombs of sister funk.
Here we have on the A side a stunning piece of funky crossover magic that pounds along. Written by Howard Ravitsky off Lash records fame and Bunny Sigler - who needs no introduction. Flip it over for a sweet and smooth soul sound that just oozes along powered by Alfreda's yearning anguished vocal beautifully supported by the backing singers and a backing that has more than a nod to the fabulous southern soul greats of the era.
So don't delay, turn the volume up and hit play on the sound clips.
All the best the MD collective.
 
Alfreda Brockington A.mp4   Alfreda Brockington A_1.mp4  
 
By Northernjordan12 in Articles - Archives ·

Terri Walker - My Love Story - New Album

Terri Walker has just released her vicennial album ‘My Love Story’
Details and audio follow below
Release Blurb
The British singer is a natural, bringing a deeply jazzy sensibility to songs that would sit comfortably beside those of Erykah Badu and Jill Scott. There's an audible effervescence here, no matter which genre she touches—whether it's UK garage, deep house, or retro-leaning popcorn soul—and a kind of irrepressible hopefulness. But more than that, listening to this woman sing just makes you happy. 
 
Terri Walker #3 - I Remember
 
Streams
MY LOVE STORY by Terri Walker
By Mike in Articles - Archives ·

Do I Love You ? A brand new play by John Godber

Thanks to Dave Nowell, here's news about a play touring this autumn
Do  I Love You ? A brand new play by John Godber
 
Here's the Company blurb ...
'Touring this autumn…
This hilarious new dance fuelled comedy follows burger bar employees, Natalie and Kyle, as they fall in love with Northern Soul. Trouble is Natalie and Kyle are not that soulful!
But long after a weekender in Skegness our star-crossed lovers can’t wait for the next all nighter in Blackpool.  Out on the floor they are in a world of their own, far away from egg muffins and deep fried chicken. But as the north levels up Natalie and Kyle’s life takes a downturn, and they find themselves steered by music which was a failure the first time round, where has it come from and what does it mean?
It’s all about living for now, as Nat and Kyle realise that Time Will Pass You By! So spread the talc and polish your brogues, we are staying up all weekend! 
Multi award winning playwright John Godber has been a fan of Northern Soul since 1972. Here the author of the iconic Bouncers helps keep the faith with a nod to Frank Wilson!
Do I love you; indeed I do! '
More info via  https://www.thejohngodbercompany.co.uk/do-i-love-you
 

By Mike in Articles - Archives ·

New 45 - The Kevin Fingier Collective ft. Diane Ward - I Really Care

Details of a new 45 from The Kevin Fingier Collective on Acid Jazz imprint Fingier Records. 45 due out on 28th April 2023. Digital version available now (see link below)
Release notes, info  and audio follow right below...
Release Notes
'The Kevin Fingier Collective is back with a brand new 7" single release, featuring Diane Ward, on our group label Fingier Records. An explosive side for the club dance floor, 'I Really Care' is a hybrid of R&B and Northern Soul with funky guitar, driving piano and killer horns.
The B-side, 'The Great Akerman', is exclusive to the 7" - a flute and organ flavoured Bossa/Mod Jazz instrumental, with the Fingier signature touch. Another dynamite release from Latin America produced by Kevin Fingier, offering shades of what is to come from a full album due later this year, hot-on-the-heels of the recent comp 'El Sonido de Fingier Records'. '
Video Preview
 
Digital Streaming Link 
https://pias.ffm.to/d5omdq6
 
Info
Artist: The Kevin Fingier Collective
Title: I Really Care / The Great Akerman
Cat No: AJX736S
Format: 7”
Release Date: 28th April 2023
By Mike in Articles - Archives ·

Soul On The Real Side #15 - New Cd from Outta Sight Records

New Spring 2023 Cd release from Outta Sight Records, label release notes below..
Real Side Records Presents SOUL ON THE REAL SIDE #15
NEW FROM OUTTA SIGHT 'Soul On The Real Side Volume 15'. The architects of soul are back with a stunning new 16-track Spring 2023 collection. 
Once again we uncover the building blocks of modern soul with a play list of mid-tempo Northern and Crossover Soul – classics and rarities.
This fifteenth anniversary edition is brought to you from the West Midlands – the stomping ground of Real Side Records founder member Mr Tee – and we salute the regions varied architecture courtesy of Tom Podmore’s stunning photograph of The Library of Birmingham sited in Centenary Square (opposite).
Volume 15 is packed with modern soul gems all culled from the incredible Captiol Records soul legacy. They need little introduction to the UK rare soul scene, but here is a snapshot of a few highlights.
OSCD065 £13.99
 
Tracks
Cornelius Brothers & Sister Rose – Big Time Lover
Brown Sugar – The Game Is Over  (What’s The Matter With You)
Tavares – Too Late
George Soule – Get Involved
Bettye Swann – (My Heart Is) Closed For The Season
Corey Blake – How Can I Go On Without You
The Rance Allen Group – Reason To Survive
Leon Haywood – Consider The Source
Freddie Terrell & Blue Rhythm Band – You Had It Made
Charles Williams – Standing In The Way
Peabo Bryson – Why Don’t You Make Up Your Mind
Enchantment – Thank You Girl For Loving Me
Mark Capanni – I Believe In Miracles
Marian Love – Can’t Forget About You Baby
C.M. Lord – Oh Mama  (Your Daughter’s A Woman Tonight)
Z.Z. Hill – That Ain’t The Way You Make Love
https://outtasight.co.uk/Real-Side-Records-Presents-SOUL-ON-THE-REAL-SIDE-15-p544234147
 
 
 

By Mike in Articles - Archives ·

Book - Clean Living Under Difficult Circumstances - Eddie Piller

Clean Living Under Difficult Circumstances: A Life In Mod – From the Revival to Acid Jazz by Eddie Piller
Just published, available in hardback, Kindle (preview below) and Audiobook editions, a new book written by Eddie Piller.
Release notes follow below...
This is the memoir of a teenage mod from the East End of London.

A journey of discovery for a schoolboy dabbling with punk, funk, record shops, discos and clothes, and then... WHAAAM! An unstoppable wave of like-minded kids fall headlong in love with 60s mod culture, revived and reformatted for the 70s and 80s generation.

Eddie Piller was one such kid. His life was changed forever. Written with humour, passion and attention to detail, CLEAN LIVING UNDER DIFFICULT CIRCUMSTANCES is perhaps the ultimate mod memoir, taking us from meeting the Small Faces as a toddler, to the 1979 Mod revival, through the more purist 1980s mod scene and eventually to Acid Jazz.

A born storyteller, Eddie takes us evocatively into a world of scooters, clothes, and music. We run with the crowd to decaying seaside towns, East End backstreet boozers and sweaty teenage gigs, all fizzing with an uncontainable excitement and often exploding into violence.

Once mod touched your soul it changed the way you looked at life, unexpectedly broadening your horizons. In Eddie it awakens a can-do attitude that sees him setting up a fanzine, putting on club nights, hustling jobs in the music industry, and eventually setting up a record label. It even takes him to Ireland at the height of the troubles and to Australia where the local mods take him on a military exercise...

Visceral and always entertaining, CLEAN LIVING UNDER DIFFICULT CIRCUMSTANCES is a stand-out memoir that relives the thrill of the 70s and 80s, and the movement that helped make mod the most enduring and successful British youth culture of all time.
Cover

Publishers Image

By Mike in Articles - Archives ·

Soul Junction SJ550 The Peterson's - Just What I've Been Looking For b/w What's It Gonna Be

Press Release:   The Petersons   “Just What I’ve Been Looking For/What’s It Gonna Be”   SJ550
Release Date Monday April 24th 2023

 
‘The Petersons’ were a vocal trio from Waycross, GA, their performing name came from their founder, lead vocalist and drummer Kenneth Peterson, along with Keyboard player Salem Chatman and vocalist/bassist Johnny Members. The trio regularly performed shows along America’s East Coast, and it was while working in Philadelphia during early 1973 that the group answered an advertisement in Billboard Magazine quote “Masters Turned Down? We Are Looking for New Acts to Sign, Contact Omega Sound Productions, Philadelphia, PA”.
Omega Sound was a fledgling independent Recording Company formed by Frank Fioravanti a budding songwriter and former Encyclopedia Britannica Salesman for the initial purpose of find some extra work for the musicians of The Philadelphia Orchestra who were looking to earn some side money. As a result of answering the Billboard advertisement ‘The Petersons’ found themselves booked into Frank Virtue’s recording studio to record two Fioravanti and the late Alan Felder penned songs, the up-tempo “What’s It Gonna Be” backed by the melodic “Just What I’ve Been Looking For” Mel Omega (1833).

With the release failing to make much noise, The Petersons returned to their native Georgia where they continuing to perform and record but under the group name of ‘Toll Darkness’.
Fast forward circa 30 years and a couple of copies of this obscure Mel Omega 45 was introduced into the UK by Soul Bowl’s John Anderson where they gained belated recognition initially at the Soul Essence Weekenders through resident DJ Steve Guarnori with “Just What I’ve Been Looking For” being his chosen side.

These initial copies had a paper sticker on them crediting the Artist as ‘Toll Darkness’ but the subsequent find of further copies with no sticker coverings, revealed the real artist to be ‘The Petersons’, intriguing? The reason behind the differing artist names is reputedly assumed to be that Ken Peterson took some copies of the Mel Omega 45 back to Georgia and pasted the ‘Toll Darkness’ group name stickers over the Petersons label credits to enable him to sell them at shows with his other ‘Toll Darkness’ 45 “Party/Love Makes Me Do Foolish Things on Alpha Records.

The up-tempo backing track of The Peterson’s “What’s It Gonna Be” was a Frank Virtue arrangement that he had great faith in, hence it’s usage on plethora of other Philly artists recordings, i.e. Fred Mark, Liza Mae, Michael Christian, Cody Michaels etc over different record labels, Melomega, Concept, Fox Century Plaza and Merben.  
Frank Fioravanti also founded the Sound Gems label which brought us the timeless classic “Your My Main Squeeze” recorded on the New Beford, MA group ‘Crystal Motion’. Omega Sound’s most notable achievement would be William DeVaughn’s 1974 hit “Be Thankful For What You Got”.
Words by: David Welding
 
For further information please contact Soul Junction at:
Tel: +44 (0) 121 602 8115 or E-mail: sales@souljunctionrecords.co.uk
To buy visit https://souljunctionrecords.co.uk/SJ550.html or your usual stockist or give Dave Welding a shout on here via @Louise
 
 
 
By Chalky in Articles - Archives ·

The Falcons New Release News From Big Man Records

WE ARE THRILLED TO ANNOUNCE BMR 1015 THE FALCONS - 'LOVE LOOK IN HER EYES' B/W 'LOVE YOU LIKE YOU NEVER BEEN LOVED' - BIG MAN RECORDS BMR 1015, DUE FOR RELEASE JUNE 2023, UNDER LICENCE FROM ROLLERCOASTER RECORDS TO BIG MAN RECORDS, REMASTERED BY BREED MEDIA, SOUNDS FABULOUS.
THE FALCONS (SECOND GROUP) HAD A HANDFUL OF RELEASES ON BIG WHEEL RECORDS ALL OF WHICH ARE PURE QUALITY RECORDINGS, 'STANDING ON GUARD,' 'GOOD GOOD FEELING'/'LOVE YOU LIKE YOU NEVER BEEN LOVED',  'LOVE LOOK IN HER EYES', '(I'M A  FOOL) I MUST LOVE YOU', THIS RELEASE WE HAVE PAIRED THE TWO HIGHLY COLLECTABLE 'LOVE LOOK IN HER EYES' AND THE SUBLIME 'LOVE YOU LIKE YOU NEVER BEEN LOVED' THE FLIP OF COURSE TO 'GOOD GOOD FEELING' WHICH NOW CHANGES HANDS ON THE BIG WHEEL ORIGINAL FOR A FEW HUNDRED POUNDS AS DOES 'LOVE LOOK IN HER EYES'. BOTH TRACKS HAVE THAT SOMETHING VERY SPECIAL ABOUT THEM, FIRST CLASS MALE VOCAL GROUP
VIDEO : 'Love Look In Her Eyes' 
QUIK_20230321_153256.mp4
VIDEO : 'Love You Like You Never Been Loved'
QUIK_20230321_153204.mp4  
 
 PERFECTION. AS GOOD AS IT GETS, SUBLIME SIMPLY SUBLIME. THE VOCAL TALENTS OF JOHNNY ALVIN, ALTON HOLLOWELL, JAMES GIBSON, CARLIS "SONNY" MONROE HIT THE SPOT CREATING SUCH A GOOD, GOOD FEELING WITH A HANDFUL OF 45'S CUT OVER FIFTY YEARS AGO. THEIR LEGACY CONTINUES WITH THIS THE LATEST BIG MAN RELEASE.
THE RELEASE WILL COME IN A CUSTOM CARD PICTURE SLEEVE, A6 COLLECTORS CARD IN A POLY OUTER SLEEVE, LIMITED DEMOS WILL BE AVAILABLE AND STOCK/ISSUE COPIES, TO RESERVE/PRE ORDER PM MARK BICKNELL EMAIL bicknellmark@aol.com OR bigmanrecords1@gmail.com 
ALSO BMR 1014 IS CURRENTLY IN PRODUCTION AND WILL BE AVAILABLE IN MAY, FULL DETAILS AVAILABLE ON REQUEST AND WILL BE POSTED HERE SHORTLY.
MASSIVE THANKS TO EVERYONE WHO HAS SUPPORTED OUR RECENT RELEASES BMR 1012, BMR 1013 LONG MAY IT CONTINUE.
 










By Mark Bicknell in Articles - Archives ·

Home Run Soul Club - The Glamour of Manchester

Home Run Soul Club - The Glamour of Manchester
There was a time!!... 
…Gene Chandler enthusiastically announced, ‘when he used to dance’! Where that dancing took place was never specified, but it was probably Chicago, Illinois…
Industrial cities are often alike. They’re usually cold and wet, characterful, and steeped in culture; culture that is often formed around the city’s residents, and, in a circular way, their own relationship to that environment. In this regard, Manchester and Chicago are very much alike. These are also cities of soul and dance!
Manchester’s latest soulful city-centre offering is Home Run Soul Club. Launching on Saturday April 8th, Home Run Soul Club sits beneath the Grade II listed building of the  Refuge Bar and Kimpton Clocktower Hotel on Oxford Street (M60 7HA). Entering through its own private entrance, you drop down into the belly of the 132-year old building into a newly refurbished basement club with low ceilings, wooden dance floor and an impeccable bespoke sound system. There is even a little nook for sales boxes!
And if you want a little break, or somewhere to go beforehand, maybe try the public bar or winter garden.
    
Formerly the Palace Hotel, the home of the original Manchester European Soul Weekender (that lineup, that ballroom!) co-organised by Home Run residents, Liam Quinn, Gary Bratchford, are just one small part of the soulful connections that makes Home Run Soul Club a product of the city. Over the past 15 years the Home Run Soul Club Resident DJ’s have all had a hand to play in what the Manchester soul scene has sounded and looked like. Beat Boutique founder Liam Quinn, along with two of its residents, Mangas and Evans, helped oversee the growth and development of the Beat Boutique from progressive rare soul night to the city’s premier up-tempo / modern soul party, hosting NYC’s John Morales, Red Greg and Dimitri from Paris to name but a few. 

Not just a club night, the Home Run team will host a live, warm-up radio session with their guest Djs on the day of the main event from 1-3pm,  broadcast via Reform Radio and archived for future listens and downloads.

 
Photo credit: Hayley @readysetjet. 
Home Run Soul Club is the combination of all that of which has informed it. A quarterly soul night with companion radio show & website, Home Run Soul Club will mix the UK’s finest and Europe’s best in an offering that will keep the basement venue dancing from 8pm through till 2am. 



The Industries that give cities like Manchester (and Chicago) their identity, come and go, but they leave legacies. The same can be said for their respective music and club scenes. With a little touch of glamour and a lot of soul, Home Run Soul Club builds on these histories, and it all starts April 8th!
Tickets are available online at www.homerunsoulclub.com and on the door. 
The 2023 Programme:
June 3rd 2023 
Sept 9th 2023 
Nov 4th 2023 

Transport:
10 minutes walk from Piccadilly train station. 
0- mins Oxford Road Train station (the station is opposite the hotel).
5 minutes walk from St Peter’s Square Tram Stop.
Regular buses from Piccadilly Gardens straight to the door of the venue. Info here.  (little fact but possibly a myth,, Oxford Road is Europe’s most serviced bus route). 
Street parking free from 8pm (as well as on single yellow lines!) otherwise the Palace Park NCP is best -Palace, Whitworth Street, Manchester M1 6NE
Hotels:
If you want to make a night of it then you have:
The Kimpton Clocktower, an IHG Hotel - Guest Reservations
The Holiday Inn Express (opposite the Kimpton) Holiday Inn Express Manchester CC - Oxford Road, an IHG Hotel - Guest Reservations
Great John Street Hotel: a new definition of lifestyle in Manchester 2 mins walk away
Hotel Innside Manchester, modern hotel in Manchester | Melia.com 5 mins walk away
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By Homerunsoulclub in Articles - Archives ·

Northern Soul Connections #32 - Disciples of Soul

The latest Northern Connections episode #32 from Kenb
Northern Soul Connections #32 i.e. that is Disciples of Soul
Disciples of Soul-Phantom
The Disciples of Soul vocalists on 'Together' & 'That's The Way Love Goes' were Bill Ferrell, Steve McKeown, and Bud Rand. They were under the management of Jeff Reed (Rand & McKeown names you can find on the Phantom label & credits) and the sides were recorded in the summer of 1968 and released in Feb 1969.

Whenever I've listened to RI 2755 B-side 'Together' it has always sounded so close to the lead vocals of The Intruders release. That might be because both Rand & McKeown were in The Intruders, before the band grew larger (nine members i think) and changed its name to The Disciples of Soul.
 

 
Site info
You can check out all Kens other quality 31 Northern Connections and more via his 'activity' profile page, via the link below...
https://www.soul-source.co.uk/profile/37754-kenb/content/?type=cms_records5&change_section=1
Added by site
 

 
By Kenb in Soul Music Features ·

Pre-Order: Van McCoy - Sing Yeah, Sing / Wait Till I Get You In My Arms - (Soul Direction) SD016

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

Soul4Real New Releases - Annette Snell (S4R27) & Frederick Knight (S4R28)

𝗦𝗢𝗨𝗟4𝗥𝗘𝗔𝗟 𝗟𝗔𝗧𝗘𝗦𝗧 𝗥𝗘𝗟𝗘𝗔𝗦𝗘𝗦
------------------------------------
𝗔𝗡𝗡𝗘𝗧𝗧𝗘 𝗦𝗡𝗘𝗟𝗟 (S4R27)
I Think I´m Falling In Love / Tonight I Feel Like Dancing
𝗙𝗥𝗘𝗗𝗘𝗥𝗜𝗖𝗞 𝗞𝗡𝗜𝗚𝗛𝗧 (S4R28)
You´ve Never Really Lived / How, When Or Where
 
 
 
 
ANNETTE SNELL
The Sandersville, Georgia-born Annette ‘Slim’ Snell arrived at the Muscle Shoals Sound Studio in April 1977 at a time when the studio’s house band, nicknamed ‘The Swampers’, was firing on all cylinders. The thirty-two-year-old Snell was at the cusp of becoming a successful solo artist after more than a decade as a Miami backing vocalist and latterly in Nashville, where she cut for Buddy Killen’s Dial label. The Muscle Shoals session, which was produced by Jimmy Johnson and Roger Hawkins, resulted in four tracks but only two appeared at the time.
Annette Snell never got to hear the finished labours. She was killed when the plane in which she was returning to Atlanta crash-landed and caught fire near New Hope, Georgia. Soul music had lost a rising star.
These two cuts, co-written by pre-eminent songwriters including George Jackson and Philip Mitchell, have been languishing in the vaults for over forty years, a forgotten testament to what might have been.
𝗚𝗿𝗲𝗴 𝗕𝘂𝗿𝗴𝗲𝘀𝘀
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FREDERICK KNIGHT
One of the main figures in Alabama’s music scene, Frederick Knight arrived at Stax in 1972 and hit with the country soul of "I've Been Lonely For So Long", making number 8 on the R&B chart, and the subsequent album was a real milestone in his career.
Prior to this he played a significant part as a producer/writer at Neil Hemphill's Sound of Birmingham Studios where the Stax album was cut. Later that decade Knight would again achieve commercial success with his own record label, Juana, and the recordings of The Controllers and, most notably, Anita Ward.
These early 70s tracks have never surfaced on vinyl before, both of which were also recorded in Birmingham. The plaintive ballad "You've Never Really Lived" with its subtle tempo will have you hooked from the off, while "How, When Or Where" is a mid-tempo opus that will please the dancers out there.
Two utterly fabulous tunes.
𝗕𝗿𝗶𝗮𝗻 𝗚𝗼𝘂𝗰𝗵𝗲𝗿
-------------------------------------------------------------------------
Label design by Jordi Duró.
PRE-ORDER NOW FOR 14th MAY
15 euros + postage as it follows:
1 to 5 copies: 6,90 euros UK & Europe
1 to 5 copies: 3 euros Spain
1 to 5 copies: 10,45 euros USA & rest of the world
Payment by PAYPAL as friends & family:
soul4realrecordlabel@gmail.com








By Alexsubinas in Articles - Archives ·

Greg Wilson’s Discotheque Archives - Extended Hardback Version (2023)

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


 
TO KNOW THE FUTURE, FIRST YOU MUST KNOW THE PAST

By nature of the scene, dance music is very forward-looking: DJs always pursuing the next record to break, venues pushing the boundaries with sound and lighting techniques, label's seeking out the latest artist to emerge and musicians/producers continually moving the sound forward in new directions. The past is of course constantly referenced and drawn from, but this hasn't been enough to prevent the scene often disconnecting from its roots. 
Through a series of concise articles, which first appeared in a monthly DJ Mag column, Discotheque Archives explores the pre-rave era of dance music. Placing focus on classic DJs, venues, records and labels to celebrate the giants of dance culture and illuminate its forgotten characters.
Written from the personal perspective of Greg Wilson, with countless first-hand experiences within the developments of the scene, the story begins, in the 1960s, over a decade before he took to the decks, where the foundations were laid by a series of trailblazers. With the scene set, most of the book focuses on the following decades, as mixing took root with the DJ community, initially in '70s New York, whilst advancing technology plateaued with an explosion of underground electronic experimentation in the '80s, the narrative finishing up just ahead of the much-told story about the rave explosion
 
greg-wilson.mp4
 
By Mike in Articles - Archives ·

Shrine - the Rarest Soul Label Vol 2 Sleeve Notes by Andy Rix 2000

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

Assembling the team
Eddie Singleton, Raynoma ‘Miss Ray’ Gordy and, her half-brother, Stanley 'Mike' Ossman were the nucleus of the company. It was always their intention to surround themselves with individuals who had the potential, and talent to achieve, if given the opportunity. These gifted souls were to become the backbone of Shrine Records.
Harold E Bass was already an established member of the team moving down to D C with Mike in the spring of 1965. Harry had grown up in New York and met Eddie whilst singing in a group called The Toreadors. Impressed with their vocal talent, Eddie signed the group, to his new enterprise, Keith Records in 1962, where they released two singles as The Matadors. Fellow group member Richard Tenryck was to become one of the most respected arrangers in New York; as Richard Tee, his name was to be associated with many of the greats over the next four decades.
With Eddie to guide him, Harry started to learn about other aspects of the music industry and began writing songs. It was during this period that Miss Ray arrived in New York to open Motown’s publishing arm, the Jobete office. The relationship that subsequently developed between Eddie and Miss Ray saw Eddie take the uncharacteristic step of publishing some of his songs through Jobete, as opposed to using his own company. Harry took full advantage of the Motown connection, becoming friends with George Kerr, Sidney Barnes, Timothy Wilson and the future Mrs Wilson, Alice Ossman. It was with Alice that Harry co-wrote the bitter-sweet 'Right Now' for Sammy Turner, (Motown 1055), released in the February of 1964. This was to be one of only two New York acts that were accepted by Motown and like The Serenaders, they secured just the one release. Harry continued to sing with the Matadors who provided vocal back-up for Jackie Wilson on 'She's All Right', (Brunswick 55273), in August 1964 and for a short spell became a member of Ray Pollard’s group The Wanderers. His role within the company would focus on writing, producing, finding new talent, mentoring the new recruits and helping Mike to run the company when Eddie and Miss Ray were absent.
The first batch of new recruits arrived together, just as the first wave of releases were hitting the streets. They were all local guys who had known each other for a number of years. Sidney Hall had been born in Virginia moving to D C in 1960, where he performed as a solo act in the local clubs and it was here that he first became acquainted with Keni Lewis.
Keni formed his first group, The V-J's, whilst still attending Washington’s Cardozo High School. Modelling themselves on The Spaniels and The Dells, they started entering local talent shows with Keni composing original songs; one of which, 'Bad Detective' (Atco 6300), was eventually recorded by The Coasters in December 1963. A succession of group names and personnel changes followed and as The Lovebeats, whose line-up included Tommy Monteir and Gerald Richardson, they had an uncle drive them to New York's famous Apollo Theatre for amateur night, where they secured second place. In 1962 Keni was once again on the look out for new group members and by chance met up with Sidney, who, at a loose end, agreed to audition at Keni's house. The final member was Carl Lomax Kidd, who was originally from Charleston, West Virginia. He was an old friend of Keni's and had just returned from a tour of duty in Germany with the Services. The new group called themselves The Surgeons and performed with their own band, which included future Shrine session man Charles 'Skip' Pitts. In the early part of 1963 the band split away and another name change saw the group become The Enjoyables. The line up remained fluid with Gerald Richardson, James Johnson and William Britton all spending brief periods with the group; by the fall of 1963 Keni, Maxx and Sidney had become a trio.
Their work in the clubs had brought them into contact with many of the top artists of the day and they became quite friendly with Smokey Robinson. At his suggestion they went to New York in early 1964, to audition for Miss Ray, but her recommendation for Motown to sign the group was rejected. Their next stop was at Capitol Records where they arrived without an appointment, but managed to get Robert Bateman to audition them, only because as Sidney recalled; he thought the group waiting in the lobby "were broads". Nevertheless Bateman signed them on the spot and had them in the recording studio within the week. They cut around half-a-dozen tracks and in April 1964 released their only single for the label, ‘Push a little harder’ / ‘We'll make a way’, (Capitol 5321). Despite the record deal the group didn't appear to be making any significant impression, so they returned to D C where they disbanded, choosing to concentrate on new projects which included writing new material.
By then the arrival of Shrine was already creating interest across Washington, when Miss Ray, remembering the trio from their Motown audition, contacted Maxx and invited them to come down to the Shrine building. They duly arrived to see exactly what was on offer and liking what they saw, all signed contracts; Sidney as a solo artist, Keni and Maxx as songwriters, producers and recording group leaders.
The last of the key players to arrive was the legendary Dale Ossman Warren. Dale was a true family member as his mother, Ines, was Miss Ray's sister. Dale was an accomplished violin player, classically trained and able to write and arrange for strings. He had been recruited by his aunt as an arranger for Motown in 1961 and Miss Ray felt these talents were exactly what Shrine needed to create a sound all of their own. A single phone call was made and Dale arrived three weeks later, ready for the challenge. Eddie felt that the team was now strong enough to start work on the second wave of Shrine product and so the creative juices began to flow
The Back Room Boys
The musicians who played on the Shrine sessions were all local guys, some of them being as young as 16. They formed a fairly stable outfit that was occasionally supplemented by personnel from the local Air Force bands and musicians who would drop in. The regular musicians were Otis McCoy (drummer), Maurice Gaskins (guitarist); Dewey C.. Holloway Jr (tenor & baritone sax), Donald "Duck" Rankin (trombonist); Waymond Harding (tenor sax); Carter R. Jefferson Jr.(tenor sax); Wornell Jones (bass), Fritz.......(bass); Donald Tillery (trumpet), Bobby Allen (trumpet) and Charles 'Skip' Pitts (guitar). After Shrine these guys continued to work in the industry, with many of them still playing to this very day. Additionally Freddie Perrin and Fonce Mizell were employed to write lead sheets for Shrine. This started their careers and they later moved on to Brunswick, Capcity and then to international success as part of the Motown songwriting group known as 'The Corporation', composing million sellers like 'ABC ' and 'I Want You Back' for The Jackson 5.  
The 45's
100    LINDA & THE VISTAS - BAD APPLE / SHE WENT AWAY 
Linda Tate heralded from Rochelle, New Jersey, was half-Indian and according to Eddie Singleton, had "a voice like a bird". She had met Eddie whilst going out with Billy Brown, a future member of The Moments, who knew Eddie from their home-town of Asbury Park. Her first recording, ‘Believe me’ / ‘It's not my will’ (Assault 1879), was written, produced and arranged by Eddie and credited to Linda & The Pretenders. Eddie believed that Linda had the talent required to make it big, so never wanting to miss a beat, he had taken her into the studio to cut her next single. The top side which was co-written by Harry Bass, was a bouncy girl group item which belonged to another era; sounding totally out of place as a Shrine 45. The flip was the tender, yet mournful, ballad, which provided such a perfect showcase for Linda's unique voice. The song had been inspired by the assassination of John F. Kennedy of whom Eddie was a great admirer. Sitting at his piano he composed the lyric "He went away and left me crying, He went away and left me blue"; the song, when finished, became 'She Went Away'. The plan to release the new recordings as a follow-up to the Assault single were shelved, as the deal fell through, but Eddie, believing the song to be worthy of release, decided to save it for a rainy day. When Shrine opened for business Eddie wanted to get some product out immediately and it seemed only fitting, given the circumstances of the song's inspiration, that it should become the first release on the label. After all, its very name reflected Eddie's admiration for the murdered President: literally a shrine to the memory of JFK. The single was pressed in early 1965 at the Custom Matrix plant on Long Island and it received some airplay, selling a few copies locally, but more importantly it served as an announcement that Shrine had arrived.
101     LEROY TAYLOR & THE FOUR KAYS - TAKIN' MY TIME / I'LL UNDERSTAND
As the Linda & The Vistas 45 was hitting the streets, Eddie was already arranging for the next batch of songs to be recorded. Leroy Taylor was one of the first local acts to arrive and having had records released on H&H and Columbia, had no objection to being taken straight into the studio to put his vocals on top of some tracks that Eddie had already prepared. Leroy, who hailed from Baltimore, had his own band, The Four Kays. These musicians included Richard Spencer, who would go on to have a million seller in 1969 with 'Color Him Father', (Metromedia 117), as a member of The Winstons. Leroy made his final record in August 1967, cutting ‘Oh Linda’ / ‘Nobody can love you’ (Brunswick 55345), before leaving the music industry for good 
102    JIMMY ARMSTRONG- I'M ABOUT TO SAY GOODBYE / MYSTERY
Jimmy was a prolific recording artist cutting songs for Stop, Enjoy, Brothers 3 and Jet Set. He was based in New York and had been enticed to D C by Eddie in July 1965 as an already established recording artist. He recorded a number of tracks and bagged the first release on the new, improved, label design. The top side is a mournful ballad which sounds very dated for it’s time, but that didn't stop it being re-recorded as the flip of his later Jet Set 45, interestingly enough sounding much better. As a contrast 'Mystery' is a frantic uptempo dance track, featuring some great whooping girl back-ups, which suited Jimmy's soul-shouting vocal perfectly.
103    RAY POLLARD - NO MORE LIKE ME / THIS TIME (I'm Gonna Be True)
Considered by many to be the jewel in Shrine's crown, this awesome double-sider ranks as one of the finest examples of 60's soul music. Ray was the biggest name on the label, having been lead singer with The Wanderers since the early 1950's. The group recorded for a multitude of labels including Savoy, Orbit, MGM, Cub and United Artists, making the R&B charts on several occasions. Ray decided he wanted to develop a solo career and called Eddie, telling him of his intention. Eddie was a great admirer of Ray's, describing him as "One of the voices of our time", so when the opportunity arose, Eddie wasted no time in getting Ray into the studio. On a three day visit to Washington Ray cut two tracks and helped on a few back-ups. The resulting single has contributed to the elevation of Ray to icon status among soul fans and many who saw him perform in England in 1991 describe it as the best show they've ever witnessed. Whilst Ray could not even remember the songs prior to his visit, having never owned a copy, Eddie cited it as one of his greatest achievements: "It was probably the most exhilarating mix I ever did", he recalls, "I remember being moved to tears with the excitement".  The beautiful ballad 'No More Like Me' was one of many songs Eddie wrote as a direct result of his relationship with Miss Ray and they often reflected its turbulent, emotionally charged nature; Eddie recalls writing most of them after various marital disagreements. The Shrine tracks were cut almost exclusively at the Edgewood Studio, but Ray's visit clashed with some essential maintenance work, so the Rodeo Studio, in Georgetown was used for the session. The 45 sold locally but didn't provide Ray with the big push that Eddie had hoped for. Ray continued to record until the early 1970's securing releases on United Artists, Decca and Omnipotent before he shifted his focus towards a career in acting, which he is still pursuing in Las Vegas to this day.
104    THE CAUTIONS - WATCH YOUR STEP  /  IS IT RIGHT 
The passage of time has resulted in everybody concerned forgetting the names of the teenagers who were better known as The Cautions. Given the group’s longevity at Shrine, this state of affairs has always puzzled me, as has the inability to track down one single group member. The best we can manage is; Nick, Joe Clyburn, Clooney and AB. The group were all local singers that Harry Bass had talent spotted and recalled them as being "tall and slender. They were good dancers who were really into the Temptations". Their release, in June 1965, proved to be a hit in Baltimore and Washington, even making it onto the local charts and thus helping to justify Shrine’s policy of using local talent. Dale Warren described them as being "our bread and butter group. They sold a lot of records and helped the money come in"
105    JIMMY ARMSTRONG - I BELIEVE I'LL LOVE ON / IT'S GONNA TAKE LOVE 
This 45 was scheduled for release but never issued; with no vinyl copies ever being pressed. However the identity of the missing number is now known. Eddie had pencilled this in for release, with a provisional date of September 1965, but when Jackie Wilson said he wanted ‘I Believe I’ll Love On’ for himself, the release was cancelled and the catalogue number never reassigned. Jimmy may not have been too pleased, but the money that came in from the Brunswick deal certainly helped Shrine to keep moving forward. As a point of interest the proposed flip side was another of Eddie's 'marriage' songs.
106    THE EPSILONS - MAD AT THE WORLD / I'M SO DEVOTED 
This recording marked the second wave of Shrine releases, reflecting the changes that had taken place within the company. A new distribution deal / financial investment was in place from the Jet Set connection and the introduction of Keni, Maxx, Harry and Dale as the main players in the recording studio was established. The Epsilons had been spotted by Al Fox of The Wisemen, who had taken them along to the studio to audition. James Duvall, who played guitar on the session, Ronald Williams and Gregory Thomas impressed all present and they were offered a recording contract. Miss Ray then gave the group their name, deriving it from the fifth letter of the Greek alphabet. It was released at the beginning of the summer of 1966 and it became the label’s best seller, even requiring a second pressing to meet the demand generated from airplay in the Tri-state area. Whilst this 'hit' appeared to herald an upturn in the commercial success of Shrine, it was to become their last moment of achievement in the market place.
107    D.C. BLOSSOMS - I KNOW ABOUT HER / HEY BOY
In 1958 a quartet of girls christened themselves The Tropicals and began to perform in the local clubs. Their repertoire consisted of many of the hit tunes of the day and old favourites that would get the audience up on their feet. The group, all hailing from the D.C. area, consisted of sisters Jacqui & Vicki Burton and their long-time friends Jeanette Talley and Roberta Miller. What the girls wanted more than anything was to get a recording deal and become stars, but their first break was a long time coming. In 1962 they were seen by Clyde Otis, who offered them his services as their manager and secured a contract for them with Okeh Records. Before their first visit to a studio, in August 1962 a change of name was required, so the girls became The Blossoms. Vicki recalled that they subsequently cut "enough tracks for an album", but all of their efforts only produced one solitary release the following month; ‘I'm In Love’/’What Makes Love’ (Okeh 7162), which failed to make any impression and the girls were released from their contract. Despite their immense disappointment, they continued to tread the boards and upon hearing about Shrine Jacqui recalled, "We rushed down there to get ourselves a piece of the action". The girls signed as a trio, with Roberta having retired from the group due to ill health which left her unable to perform and immediately went into the studio to start rehearsing. Another change of name was required to distinguish them from Darlene Love's West Coast group, so the girls became the D. C. Blossoms. Their record, the first to be picked up by the UK’s Northern Soul dance scene, became the first casualty of the label’s decline. It is almost certain that it never even got into the shops; as was probably the case with every one of the eleven releases stockpiled in readiness for the anticipated breakthrough that never happened.
108    J.D. BRYANT - I WON'T BE COMING BACK / WALK ON IN     
J D was originally from South Carolina, but had been a fixture on the New York music scene for a number of years. He had recorded R&B records for a whole host of labels including Enjoy, Alfa and Josie. Eddie had written ‘I Won't Be Coming Back’ with the intention of giving it to Ben E. King. To present the song Eddie needed a demo and when his A&R man, Matt Parsons, suggested they use his half-brother, who had a vocal style similar to that of Ben E. King, Eddie agreed. The session was set up at Herb Abramson's A1 Sound Studio at 234 W. 56th St NYC, sometime in the middle of 1964. Eddie, wishing for the demo to sound as good as a finished master, made sure some of his usual session players were available, including the drummer Gary Chester. He was so thrilled with the finished track that he decided to keep it and release it himself, while hastily arranged for a 'B' side to be recorded. New York veteran producer Teacho Wiltshire stepped in to arrange ‘Walk On In’ in a style that J.D. was more familiar with. However Eddie's plan to issue the 45 was shelved, as his time became increasingly occupied with planning the move to D C. Whilst Eddie thinks J.D. may have visited Washington at some point and would have been given a copy of his record; the chances are he has no knowledge of the song’s release, let alone of the current popularity that the track enjoys on the international 60s soul scene.
109    SIDNEY HALL - THE WEEKEND / I'M A LOVER 
Sidney's only solo 45 proved he had a gift. The top side, which is a snappy uptempo number with vocal back up provided by Harry Bass, captures the feeling of a specific point in time, never to be recaptured. It is about the celebration of a weekend of high living, including drinking, dancing and "driving a Cadillac to match my mohair suit" which portrays Sidney as a man about town. The flip side is an epic beat ballad that allows Sidney to show off his vocal skills. After Shrine closed Sidney joined The Flamingos for a while before leaving the business and moving to Springfield, Mass. His lead vocal can be heard on 'Itty Bitty Baby' (Philips 40413) a song composed by former Enjoyable Keni Lewis.
110    SHIRLEY EDWARDS - IT'S YOUR LOVE / DREAM, MY HEART 
Shirley was a Washington native who had originally signed for Shrine as a group member with her cousins Sylvia Hampton and Marietta Anderson. As Shirley became a solo act they secured positions as backing singers. Shirley came from a musically rich background and her relatives included Billy Stewart, Jimmy & David Ruffin, Grace Ruffin of the Four Jewels and Little Richard. Like so many others this proved to be her only solo appearance on record, although she did work for a short time doing back ups for Dale Warren at Stax. Her biggest opportunity for a break came when Dale offered her the chance to try for a film theme he had a ten day option on, but Shirley's husband was opposed to her having to go out of town for the audition. As it transpired another singer got the deal when her company put up the money for the production costs The other singer was Shirley Bassey and the film was Goldfinger 
111    THE CAIROS - DON'T FIGHT IT / STOP OVERLOOKING ME 
Keni Lewis had started his career as a singer and, in addition to writing and producing, still wanted to continue performing and making records. Calling up some of his old friends he quickly assembled a new group who needed little practice to achieve their tight vocal harmony. Keni was joined by Famon Johnson, who sang lead on 'Stop Overlooking Me', Gerald Richardson, Tommy Monteir, whose distinctive bass propels Keni's lead vocal on 'Don't Fight It' and another of Shirley Edwards’ cousins,  Wilford 'Dough Boy' Ruffin.
112    EDDIE DAYE & 4 BARS - GUESS WHO LOVES YOU / WHAT AM I GONNA DO
By the time they signed to Shrine the 4 Bars were already vocal group veterans. Originally formed in 1953, as The Four Bars of Rhythm, the group line-up changed regularly with Eddie Daye and Melvin Butler being the only permanent members. Their recordings for Joz, IPS, Cadillac, Len, Dayco, Time, Flying Hawk, Shelley and Falew have won them a legion of admirers from the world of R&B/Vocal Group collectors, but many consider the Shrine 45 as their finest moment on vinyl. The 1965 group consisted of Eddie Daye, Melvin Butler, Elsworth Grimes and Betty Wilson who all hailed from the D.C. area. The group continued to record in Washington, on Eddie's resurrected Dayco label, until 1975 when they formally disbanded.
113    BILL DENNIS - I'LL NEVER LET YOU GET AWAY / POOR LITTLE FOOL
Little is known about Bill other than he was a Baltimore resident who had always wanted to be a singer and had spent many hours rehearsing trying to improve his vocal before auditioning for Shrine. As Eddie recalled Bill was "just this fellow who walked in one day and I liked what he was about". With Harry feeling the same way, Bill got to realise his ambition. It is believed he went on to become a DJ for WHUR, Howard University Radio and the Voice of America network.
  
114    LES CHANSONETTES - DEEPER /  DON'T LET HIM HURT YOU 
Harry Bass took charge of this trio of Baltimore high school girls who he thought were probably sisters. "They had never been in a studio before and were a little nervous. I remember their mother used to drive them in and acted as a sort of chaperone. I spent hours rehearsing them to build their confidence. One of them was called Delores, I don't recall the names of the others". The songs chosen for the girl’s debut had been written a few years previously, in New York and were published by T M Music which was owned by Bobby Darin. Fully titled, Trinity Music, the company had an office located down the hall from Jobete in the Brill Building and Rudy Clark, the only black songwriter at T M, had composed a song called 'Deeper'. He cut a demo of it and then took it to Miss Ray in the hope that she could place it with either The Vandellas or The Marvelettes. Harry, who was friendly with Rudy, then composed a song called 'Don't Let Him Hurt You', which had a similar feel and placed it with T.M. for publishing. When the move to Washington was made Harry took the acetates with him deciding to use both of the tracks for his nervous, but enthusiastic, girls. They managed one more release, on the Mon'ca label before fading into obscurity.
115    THE CAUTIONS - NO OTHER WAY / POOR LOSER 
The only group to manage two releases on Shrine returned with a floorshaker of a recording that would test even the most energetic of dancers. The flip featured an early version of a synthesiser called an Ondioline, which featured on a number of Shrine recordings and demonstrated the willingness to innovate and experiment in the studio.
116    THE PROPHETS - HUH BABY / IF I HAD (One Gold Piece) 
These were another talented group of local youngsters who were given to Maxx to work with in the studio. The resulting record was a stunning double header, which reflected the growing musical maturity of the company with its sophisticated arrangements and increasing diversity of musical styles. The group consisted of Raymond Davis, Tommy Brooks, Harry Courtney, David Budd, Preston Booze and George Kirksey. This was one of the last Shrine 45s to surface with its existence not being confirmed until 1991. Up to this point it was assumed that the tracks were unissued. David Budd was given the main lead vocal on 'If I Had', which was complimented by Raymond's earthier tones delivered in a call-and-response style. Raymond recalled that the group cut versions of 'Shame' and 'I'll Take You Back' whilst at Shrine; a recollection supported by Tommy and Preston.    
117    THE COUNTS - PEACHES BABY / MY ONLY LOVE 
Yet more local youngsters, whose average age was 16 meaning they had to have their parents sign the Shrine contract. The group consisted of Richard Collins, Clarence 'Money' Munroe, Jimmy Faison, Lamont Wash and Stanley Minor. This was another record whose existence was not established until 1991; again up to this point we assumed the tracks were unissued. When Eddie and Ady Croasdell first catalogued the surviving master tapes in 1989 'My only love' was there as a finished track but 'Peaches Baby' was simply a backing track woefully missing vocals. The first copy to surface came from Richard Collins who, in addition to his remaining copy, had found another in his aunt’s basement. At this point he trashed the first copy, as it looked a little worn and entrusted his mother with sending the second over to the UK. She completed his request but failed to protect the disc, treating it as if it was simply a letter. The disc duly arrived in six pieces and until another copy surfaced, some seven years later, the only way to hear the vocal version required calling Stanley Minor and asking him to sing it over the phone. Thankfully Lew Stanley, a highly respected USA record dealer, provided us with a dub of the track from a single he turned up years later, thus enabling us to include it on this compilation. The group continued to work with Maxx Kidd recording 'So Frustrated'/'Should've Been Satisfied', released locally on Spooky 10001 before going national on Chess 2116, as Five Miles High and also 'Come on, Fall In Line'/'Problem Child' (Calla 169) as 4 Miles High.   
   
118    THE ENJOYABLES - SHAME / I'LL TAKE YOU BACK 
Maxx felt the same way as Keni and formed a new version of the Enjoyables soon after joining the company. The new incarnation reunited former members, with Maxx, on lead, supported by James Johnson, William Britton and Gerald Richardson. The group had recorded their tracks in July 1965, during the first wave of sessions and James recalled that the group disbanded almost immediately after the songs were completed.
119    THE CAVALIERS - DO WHAT I WANT / TIGHTEN UP 
The last Shrine record to be found, finally allowing us to complete the discography. The master tapes contained rhythm tracks for both songs in a format that can only be described as being at the rehearsal stage. The two copies, currently known to exist, were both rescued from Maxx Kidd's basement and revealed one of the most bizarre tracks recorded for Shrine, featuring a harmonica as the lead instrument. Maxx recalled they wanted to use a harmonica as "Bob Dylan was very popular at the time and we wanted to try and capture some of that sound". As a point of interest it was the only Shrine track that saw Keni, Harry and Maxx working together as songwriters. Nothing is known about the group other than, once again, they were all local teenagers consisting of Steven Carey, Albert Carmichael, Alfred Duncan, David Duncan and Theotrice Gamble.                     
HEM 1003    THE EPSILONS - MIND IN A BIND /  IT'S ALL RIGHT 
Due to the popularity of 'Mad At The World' Eddie decided to cut a follow up and took the group into the studio to personally supervise the session. 'It's All Right' was simply a continuation of the story told in 'Mad At The World', with a very similar, easily recognisable, rhythm track. 'Mind In A Bind' was another one of Eddie's songs about his relationship with Miss Ray, on which he put her name as composer to get it published with Jobete. The tracks were issued in 1967 on a local independent label that had a distribution deal with Atlantic. It has to be assumed that the masters that Eddie had left at the Edgewood studios were simply grabbed by persons unknown, as neither Eddie or James Duvall had any knowledge that this had taken place.
 
The Unissued Songs
TIPPIE & THE WISEMEN - LET ME WALK AWAY / WAIT 'TIL I GET THERE / I WOULDN'T MIND CRYING / BYE BYE  
Like The 4 Bars the members of this group were also industry veterans by the time they arrived at Shrine. The Clovers, who hailed from the Washington area, had been recording since 1950; by 1961 the group had split and reformed as two, separate Clovers, one led by Harold Lucas the other by John Bailey. The line-up of the Lucas group was Robert Russel, James 'Toy' Walton, Al Fox and Eddie 'Tippie' Hubbard. On signing with Shrine in 1965 they became known as Tippie & The Wisemen, although they continued to perform as Tippie & The Clovers. Their first recording sessions took place in June 1965 and it is known they cut tracks in addition to those that have survived. Given the quality of the tracks, it is surprising that none of them were released, but as Al Fox explained; "None of our product was ever issued, the reason being that we had released a lot of records over the years and were happy for the younger, newer acts to get their records out first. We were content just to wait". In January 1966 Eddie took his tapes of 'I Wouldn't Mind Crying' and 'Bye Bye' to Brunswick, where he was head of A&R, with the intention of doing a deal, but when he walked out after a heated disagreement with Nat Tarnopol, the tapes were left behind. Whilst researching another project, Kent CD compiler Ady Croasdell noticed the tapes were logged into the vault and eventually managed to extract copies. On hearing the news Eddie was ecstatic as he viewed 'I Wouldn't Mind Crying', yet another of his marriage songs, as the best track he had ever recorded at Shrine. 
BOBBY REED - CALDONIA BROWN / BABY DON'T LEAVE ME
Bobby spent a few years as a recording artist cutting tunes for various labels including Brunswick, Clay Town, Bell and Loma. These tracks were recorded in January 1966, produced by Clay Roberts, with the arrangement being done by Freddie Perrin, under Eddie's supervision, while he was still at Shrine.  
LITTLE BOBBY PARKER-I WON'T BELIEVE IT 'TIL I SEE IT
Another local lad who did just one track before moving on. The tune is a powerhouse version of the Jimmy Armstrong song released on Jet Set.
TRACI - TAKE IT FROM ME 
A mystery girl; who cut just one song and then disappeared. Eddie used the song again for Barbara Long on Jet Set.
THE CAUTIONS - FALL GUY / TAKE A LOOK AT YOUR BABY / I WANT TO HOLD YOUR HAND  
Both 'Fall Guy' and 'Take A Look' were found by Ady Croasdell in the Scepter-Wand tape vaults in 1985 and were assumed to be Capcity recordngs. Further research established that they were Shrine tracks that Eddie had taken to Scepter, where he was head of A&R, in November 1966, in a last attempt to try and secure further funds for Shrine. They were probably the last songs recorded before Shrine closed. Yes the final track is the Beatles song being given a Shrine makeover. It's a personal favourite of Eddie's and he remembers thinking he was going to be a millionaire after he cut it. Reality dawned sometime later  
JIMMY ARMSTRONG - I BELIEVE I'LL LOVE ON / IT'S GONNA TAKE LOVE
The tracks scheduled for Shrine 105 that got pipped at the post by the Jackie Wilson deal. 'Love On' is an uptempo screamer whilst 'It's Gonna Take Love' is a powerful bluesy ballad. 
LEROY TAYLOR & FOUR KAYS - I AIN'T WORRIED ABOUT YOU
A complete change of style for Leroy as he hits a dance groove on this lively uptempo number; The Cautions can be clearly heard providing back-up.
THE FOUR KAYS - FUNKY MONKEY
Leroy's boys jamming to create a wild rhythm track
D. C. BLOSSOMS - THIS IS YOUR LAST CHANCE
The girls deliver another of Keni's love songs on a track that got overlooked during the cataloguing in 1989 and therefore came as a real bonus find when the tapes were reviewed
 Andrew Rix   2000 

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


 

 

 


 
By Andy Rix in Soul Music Features ·

Acid Jazz Presents: Billy Valentine and The Universal Truth

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

By Mike in Articles - Archives ·

Soul4Real Weekender Bilbao 19-22 October 2023

SOUL4REAL #28, BILBAO
19-20-21-22 OCTOBER 2023
𝗗𝗔𝗩𝗜𝗗 𝗦𝗘𝗔 and 𝗔𝗡𝗡 𝗦𝗘𝗫𝗧𝗢𝗡 LIVE!
 
The farewell party. Chapter 2
Yes, we know! Last year we already announced our farewell party…. But this time is 4 Real!
As we informed you a few months ago we are back by popular demand for one more final shot!
We still have the enthusiasm and the strength to throw one last party.... and what a party we have prepared for you.
Directly from Birmingham, Alabama we will be able to enjoy David Sea performing solo after many many years.
Be prepared to enjoy his incredible own repertory, be sure his voice will blow your mind.
What can we say about Ann Sexton, one of our favorite soul queens, what a voice and overwhelming talent.
So excited to have these two soul legends in an exclusive concert in Bilbao, a one and unique opportunity not to be missed!
Passes are still available, but do not sleep on this because they are selling really fast.
We still have some rooms available at the discounted price at the Hotel Silken Indautxu (the venue Hotel), but again they probably will be gone in the next coming weeks …so be quick.
Can´t wait to see you all!
Aitor, Javier, Alex
_______________________________________________________________________
Direct flights to Bilbao:
London (Easyjet, Vueling)
Manchester (Easyjet)
Bristol (Easyjet)
𝗪𝗲𝗲𝗸𝗲𝗻𝗱𝗲𝗿 𝗽𝗮𝘀𝘀𝗲𝘀:
FULL WEEKENDER PASS (all days)
70 euros
FRIDAY + SATURDAY PASS
55 euros
Payments via paypal as friends/family:
soul4realrecordlabel@gmail.com
𝗔𝗰𝗰𝗼𝗺𝗺𝗼𝗱𝗮𝘁𝗶𝗼𝗻:
Here are the hotel details for SOUL4REAL, as usual please contact us by facebook or soul4realrecordlabel@gmail.com for booking your room at this discount/special rate:
Double Room (twin beds): 138 euros including breakfast and taxes
Single Room: 128 euros including breakfast and taxes
HOTEL SILKEN INDAUTXU, 4 stars, walking distance to everywhere, same hotel than last year. It will host Thursday, Friday and Sunday Soul nights. Please remember that once you have reserved your room through us don´t need to do any payment in advance, it´s done at the hotel reception when doin´ the checkout.
More info / contact:
soul4realrecordlabel@gmail.com (Alex Subinas)

By Alexsubinas in Articles - Archives ·

Sly Stone - New Book Late 2023

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

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