Northern Soul & Rare Soul Music News, Reviews & Features

Explore a wide range of soul music articles, from breaking news to in-depth features on Northern Soul, Motown, Funk and Soul Music.

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

books

By Mike in Source Archives · March 22, 20232 yr

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

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

By Mike in Source Archives · March 21, 20232 yr

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

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

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

By Mike in Source Archives · March 21, 20232 yr

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

By Mike in Source Archives · March 19, 20232 yr

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

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

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

By Mike in Source Archives · March 17, 20232 yr

Latest issue is now out and about details follow below

SOUL UP NORTH - issue 115

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

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

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

VEL LEWIS’S MUSICAL JOURNEY
John Smith

THE LADIES CHOICE – COLLECTING RARE SOUL
Julie Molloy

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

CHUCK JACKSON DEATH
HFE

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

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

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

THE RARE SOUL SEARCHER
Mark ‘Hitman’ Hanson

CLASSICAL SOUL
Richard Edwards

SOUL IN A DIGITAL AGE
John Farrar

LITTLE SILVER DISCS
HFE

208 FABULOUS RECORDS (BOOK REVIEW)
HFE

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

COMPILATIONS BRAZIL
David Sheldon

COLLECTING BRITISH
Lord Snooty

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

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

Cover

By Mike in Source Archives · March 13, 20232 yr

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

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

history

By Keithg in Northern Soul History · March 9, 20232 yr

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

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

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

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

Releases May 26, 2023

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

By LRK in Source Archives · March 8, 20232 yr

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

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

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

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

By Lawman in Source Archives · March 1, 20232 yr

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

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

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

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

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

By Mike in Source Archives · February 25, 20232 yr

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

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

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

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

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

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

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

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

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

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

artists

By Joel E Turner in Soul Music Features · February 24, 20232 yr

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

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

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

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

By Mike in Source Archives · February 23, 20232 yr

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

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

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

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

By Dewsburyborn in Source Archives · February 18, 20232 yr

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

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

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

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

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

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

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

By Billy Jo Jim Bob in Soul Music Features · February 17, 20232 yr

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

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

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

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

By Mike in Source Archives · February 17, 20232 yr

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

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

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

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

By Alexsubinas in Source Archives · February 13, 20232 yr

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

Both sides...

By Mike in Source Archives · February 12, 20232 yr

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

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

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

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

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

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

By Mike in Source Archives · February 6, 20232 yr

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

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

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

Keep the Faith . Cool Notes.

added by site, video of the Northern Soul Segment

By Coolnotes in Source Archives · February 2, 20232 yr

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

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

The Intruders - You're My One & Only Baby

The Intruders - I've Got Love For You

By Mike in Source Archives · January 31, 20232 yr

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

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

By Mike in Source Archives · January 27, 20232 yr

New Album - Spring Revisited - Various Artists - Out Now

Mike · 50 minutes ago50 min

Long time coming, 'Spring Revisited' has now been released, complete with a flurry of social links and words, the vast majority you can view and use below Release Notes and Links Spring Revisited - out now! The series breathing new life into soul, funk, and disco with a bold house touch. Now, the wait is over - the album is finally here! Launched in March 2025, this ambitious project invites leading house producers and DJs to rework the original master tapes from New York's legendary 1970 label,
Weekly Soul Event Map Shout - 24-26 Oct 2025

Mike · 23 hours ago23 hr

Weekends almost here and so here's our weekly 'Soul Event Map' shout Screenshot taken from our Event Guide, you need to visit the Event Index page to zoom in and out... s Event Guide Index - Just visit and then tap the Red Link for our dynamic event map to pop up View Soul Source Soul Event Guide Index For more deliberate soul event searching you can use our 'Events Near Me- Local Soul' Feature Explore Our 'Events Near Me - Local Soul' Feature
New Album - Riker Up - Charly Records - Adventures in AI Land

Mike · Monday at 12:003 days

Details of a new upcoming album release from Charly Records, currently a pre-order, shipping on December 12th. And as with all things AI nowadays, there’s no doubt that this latest development in this ‘controversial’ genre will be of interest to both those for and against 'this sort of thing'. Charly Records release notes follow below... Riker Up! - Northern Soul Reborn RIK-LP 101 / RIK-CD 101 UK release date: 12th December 2025 US release date: 19th December 2025 "Riker Up! is the world’s first
New Book - High on Sou!: Tell Me it's Just a Rumor Berry - Al Abrams
New Book - High on Sou!: Tell Me it's Just a Rumor Berry - Al Abrams

Mike · Tuesday at 16:092 days

The follow up to the 2011 Al Abrams book 'Hype & Sou!: Behind the Scenes At Motown' was published recently. Titled 'High on Sou!: Tell Me it's Just a Rumor, Berry', this time around the focus is on Al Abrams' experience, starting from his teenage years in 1959 when he was hired at Motown, to his role as Motown's Press Officer. Already picking up good reviews, release notes follows below Release notes High on Sou!: Tell Me it's Just a Rumor, Berry Al Abrams was Detroit Motown Family Grit; No
- books
- motown
New Album - Soul Jamaica - Various Artists - Soul Jazz Records
New Album - Soul Jamaica - Various Artists - Soul Jazz Records

Mike · October 16Oct 16

Soul Jamaica -Various Artists - Soul Jazz Records Featuring Alton Ellis, Jackie Mittoo, The Heptones, Sound Dimension and more! New album from Soul Jazz Records, available in vinyl, cd and download formats Release notes Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of reggae funk and soul tracks from the legendary Studio One stable, featuring a stellar line-up of artists including Jackie Mittoo, The Heptones, The Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric
- releases

Sign In (use email)

Advert via Google

Configure browser push notifications

Chrome (Android)

Chrome (Desktop)

Safari (iOS 16.4+)

Safari (macOS)

Edge (Android)

Edge (Desktop)

Firefox (Android)

Firefox (Desktop)