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Latest Updates

Lady Wray - Piece Of Me - New Album - Available for Pre-order

Details of 'Piece Of Me'. a new album from Lady Wray, available from today (19th Oct 2021) for pre-order from Big Crown Records. Due out January 28th.
Big Crown Records is proud to present Piece of Me, the sophomore full length offering from Lady Wray. This is something of a homecoming for Nicole. Where her 2016 solo debut Queen Alone leaned more towards Soul and R&B with tinges of hip-hop, this record changes the mixture. It’s still R&B with the textures of analog Soul, but there is a heavy Hip Hop influence that brings the sum of Nicole’s career together in a new sound that will define her future. Boom-bap drums and chunky bass lines are front-and-center creating a perfect head-nodding backdrop for Lady Wray to take on the good, the bad, the difficult, and the joyful on her most personal collection of songs to date.
 
The title track, “Piece of Me,” which has already become a classic since it’s 2019 release is about the people in your life who need more than you are willing to give. This tune and the B side of the 7” “Come On In” were the first songs put to tape for this album and they were recorded with Nicole sitting in a chair 8 months pregnant with her daughter. Her voice is so powerful, so raw, so thorough on these initial songs—it’s wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take. Long time collaborator and producer Leon Michels keeps the musical backing restrained and expertly executed, setting up Lady Wray for the full spotlight and setting the tone for the rest of the album.
 
While the upbeat energies of “Under The Sun” and “Through It All” are sure to become hits that reconnect Lady Wray with her 90s R&B fanbase, “Where Were You” offers a behind the scenes look at what those days of stardom in her youth were really like. Nicole takes on the racial tension in America with her poetic and powerful “Beauty In The Fire” and leans heavy into her faith and church upbringing on the showstopper, “Thank You”. She gushes about the profound love she’s come to know for her daughter on “Melody” and celebrates life’s ups and downs on “Joy & Pain”. In 2021 it is rare to hear a varied yet cohesive album with no “skippers”, but that is what you have here in spades. The tried and true chemistry between Lady Wray and Leon Michels has undeniably found a higher level and this album stands as a testament to conviction and dedication for all of us to enjoy and be inspired by.
With this in mind, when talking about this record, for Lady Wray, it’s about a larger purpose. “My goal is always to help and to heal people with singing,” she explains. “Part of that is to try and bring back real music, real singing, so people can feel something again.” Now, she’s not dissing anyone here, to be clear. It’s just that Lady Wray cannot sing without tapping into something deeper, searching for that shared compassion between all of us. Perhaps it comes from her church upbringing, or maybe from her years of trials and tribulations in the music industry. Either way, Lady Wray is looking to bring that “Good Sound” back and the good feelings that come with it. She calls it “those inner hands,” and she always means to stir them up, grabbing your attention from within.
With past albums like the Lady project and Queen Alone, it’s hard to not acknowledge that Lady Wray plus Leon Michels production equals magic. But this magic is also coming from the fact that Lady Wray is now squarely herself, calling her shots, and singing to help heal first—everything else is secondary. “It’s a beautiful thing I’ve always wanted in my career, and now I have it,” Lady Wray says. “They encourage me to be me all day long.” This is Lady Wray at her finest, and she’s giving us all a piece of where she’s at these days.
Tracks
1.  I Do
2. Through It All
3. Piece Of Me
4. Come On In
5. Under The Sun
6. Where Were You
7. Beauty In The Fire feat. Kenneth Wray Sr.
8. Games People Play
9. Melody feat. Melody Bloom Bacote
10. Thank You
11. Joy & Pain
12. Storms
Store links
Pre-Order the Colored LP, LP & CD in the BCR Webstore
https://bigcrownrecords.com/store/piece-of-me/
Pre-Order / Stream here:
https://smarturl.it/Piece-Of-Me
 
 
 
By Mike in Source Archives ·

Out Now! Realside - When I See Your Smile - Epsilon Records Co EPS004

Out Now!
Epsilon Record Co.
Proudly presents its latest release: EPS004
Realside
A: WHEN I SEE YOUR SMILE 
B: WHEN I SEE YOUR SMILE (EXTENDED VERSION)
“When I See Your Smile” is a truly beautiful and elegant soulful song, which was recently recorded in Jackson Mississippi in March 2021 for Epsilon Record Co.
Listen:
 
 
Buy it:
https://www.epsilonrecord.com/
 
REALSIDE
Born in 1942 in Jackson Mississippi, Walter Johnson began his musical career as a singer in a doo wop group in 1958.
A true veteran in the music business.
He met bassist Greg Smith in 1974 in class at Jackson State University in Jackson MS.
They started connecting  and discovered that their mothers knew each other. At this time, Walter was the leader of a group called Rock-Bottom.
He asked Greg to play in the group.
They both moved to Kansas City in the early 1980s for work.
They formed a new group and called it Realside,
They just wanted to be real when writing their songs, music that touches you deep in your heart.
Walter was the lead singer at the time.
They wrote "Hang Loose" and “Flyin High” as well as "I got a Jones for you" on their own label called Walterhouse Records, all of which are extremely collectable these days.
Their records were well received locally and unknown  to them, “Flyin High” & “Hang Loose” were bootlegged in 1984 on SBR (Song Bird Records) records. They only recently found out via the internet.
Walter got in trouble in the mid-80s and that was the end of Realdside.
Greg and Walter separated for almost 35 years but never forgot that they always loved music.
After living in Dallas, Texas for a few years, Walter returned home to Jackson Mississippi.
He found out that Greg was still living there and talked to him about getting him into another group.
They teamed up with a singer by the name of Tommy Johnson who they now work with almost every weekend.
Walter is now almost 80 years old and Greg 10 years younger. They decided to make music until they die.
They hope people will love “When I See Your Smile” and have many more songs to share with soul music lovers.
This is REALSIDE
 
By Yann V in Source Archives ·

The McClintons - 4 Track Disco 12 - Super Disco Edits

The McClintons Love Doctor' - 4 Track Disco 12 - 7th Galaxy
Super Disco Edits have a new 12 lined up for late October release, here's the labels blurb...
Welcome to our last instalment from Eryk and Antoinette McClinton. Brother and sister duo who recorded these demo tracks with Detroit legends Mike Theodore and Dennis Coffey. Recorded around 1979 these cuts were a spotlight on the duo's talents, hoping land them a record deal. Both had been active in the past with various recordings. Erik & the Vikings, and together as Eryke and Aronnette on Honey records.
Here we have Four cracking disco fused funky songs, "Love doctor" made it on to our record store day lp "Long Distance Love Affair" so you may have already heard this.
Accompanying this track are two more disco funk cuts. "Its all in your mind" & "Funky time Saturday night". Last and not least is the 2 step jam of "Recollections".
All four cuts included some tasty breakdowns.
 
The McClintons - Love Doctor unissued
 
The McClintons  - Funky Time Saturday Night
The McClintons - Recollections
The McClintons Its All In Your Mind unissued Disco 12 7th Galaxy
 
 
Pre-order etc via 
https://superdiscoedits.bigcartel.com/
 
By Mike in Source Archives ·

4 New Modern Soul Tunes Out Now on Liquid Soul

Hi Guys
Some great new Modern soul on my label Liquid Soul, all now available exclusively on www.sonicwaxrecords.com
 
JEFFRIES & EARLY - ILL GO 
WINNER WINNER CHICKEN DINNER , CLICK THE SOUND FILE... YOU'LL SEE THIS REWORKING OF THE FABULOUS RASHAN PATTERSON 'I'LL GO' IS GOING TO FLY , ITS GOT IT ALL MAN . PERFECT MODERN ROOM STEPPING BEAT , BRILLIANT INSTRUMENTATION GENTLY BUILDING IN THE BACKGROUND & WILL'S SEAMLESS VOCAL IS THE ICING ON THIS SLAB OF SOUL CAKE .
JEFFRIES & EARLY - YOUR LOVE KEEPS WORKING ON ME 
ORIGINALLY A CD ONLY RELEASE BY JOEY DIGGS BURIED AWAY ON AN ANIMATED MOVIE SOUNDTRACK , AS DISCOVERED & PLAYED BY THE HIGHLY RESPECTED MODERN SOUL SPINNERS TERRY JONES & LLOYD ATRILL BACK IN THE DAY. JEFFRIES & EARLY WITH THE SMOOTH VOCALS OF WILL BEE BRING THIS LITTLE KNOWN BANGING SOUL STEPPER BACK INTO LIGHT OF DAY ONCE MORE FOR THE PLEASURE OF ALL MODERN SOUL FANS.
JEFFRIES & EARLY - TREASURE MIND
MODERN SOUL FANS JUST CLICK THE SOUND FILE YOU'LL BE HOOKED, JEFFRIES & EARLY'S TAKE ON THE IMPOSSIBLY RARE TRACE OF SMOKE'S TREASURE MIND ORIGINALLY A B SIDE ON BJ RECORDS FROM 1978. FABULOUS INSTRUMENTATION & SHARP, TIGHT PRODUCTION FROM THE BOYS BUT WAIT UNTIL THE VOCAL HITS YOU. TICKS ALL THE BOXES, WE ARE SURE YOU'LL AGREE.
JEFFRIES & EARLY - SOMEBODY KNOWS HOW YOU FEEL
LIQUID SOUL 006; JEFFRIES & EARLY DJ FRIENDLY EDIT OF THE ORIGINALLY CD ONLY SUPER COOL MODERN SOUL BOUNCER FIRST PLAYED AS A NEW RELEASE IN THE LEGENDARY MODERN ROOM AT CLEETHORPES WEEKENDERS BACK IN 1996, FEATURING THE SWEET, SWEET VOCALS OF OUR VERY OWN WILL BEE. CHECK THE SOUND FILE , YOU'LL BE RUNNING FOR THE NEAREST DANCE FLOOR.
Enjoy Lee
VISIT SONIC WAX
 




By perux in Source Archives ·

Daptone Super Soul Revue Live At the Apollo - Full digital album and 3xLPs

Daptone celebrates 20 years of soulful music with the release of The Daptone Super Soul Revue "LIVE at the Apollo".
Full digital album and 3xLP available now!
'Performed and recorded over three nights in front of a sold-out crowd at The World Famous Theater in Harlem, NY (December 4th - 6th, 2014), this album brings the electrifying performances that helped put Daptone on the map directly to your living room!
Featuring live sets from Sharon Jones and the Dap-Kings, Charles Bradley and his Extraordinaires, Naomi Shelton and the Gospel Queens, Antibalas, The Budos Band, Menahan Street Band, Saun & Starr, The Sugarman 3, as well as our em-cee, Binky Griptite.
This album is lovingly dedicated to the memory of our dear friends Sharon, Charles, Naomi, and Cliff.'
The Daptone Super Soul Revue - Live at the Apollo (Trailer)
 
Photobook Preview
 
Tracklist:
Side One:
1. Introduction by Binky Griptite - The Dap-Kings
2. Hot Shot - Saun & Starr
3. Confess It - Saun & Starr
4. In the Night - Saun & Starr
5. Witch's Boogaloo - The Sugarman 3
6. Love Went Away - The Sugarman 3
Side Two:
1. Thank You Lord - Naomi Shelton and the Gospel Queens
2. Stranger - Naomi Shelton and the Gospel Queens
3. Higher Ground - Naomi Shelton and the Gospel Queens
4. Make the Road by Walking - Menahan Street Band
5. Out of the Wilderness - The Como Mamas
Side Three:
1. Heartaches and Pain - Charles Bradley (And His Extraordinaires)
2. The World (Is Going Up In Flames) - Charles Bradley (And His Extraordinaires)
3. Lovin' You Baby - Charles Bradley (And His Extraordinaires)
4. Slip Away - Charles Bradley (And His Extraordinaires)
5. How Long - Charles Bradley (Featuring the Menahan Street Band)
Side Four:
1. Let Love Stand A. Chance - Charles Bradley (And His Extraordinaires)
2. The Sticks - The Budos Band
3. Ain't It A Sin - Charles Bradley (Featuring the Budos Band)
4. Sáré Kon Kon Pt. 1 - Antibalas
Side Five:
1. Sáré Kon Kon Pt. 2 – Antibalas
2. Miss Sharon Jones' Intro - The Dap-Kings
3. He Said I Can - Sharon Jones & the Dap-Kings
4. If You Call - Sharon Jones & the Dap-Kings
5. Tell Me - Sharon Jones & the Dap-Kings
6. Get Up And Get Out - Sharon Jones & the Dap-Kings
Side Six:
1. Making Up And Breaking Up (And Making Up And Breaking Up Over Again) - Sharon Jones & the Dap-Kings
2. I'm Not Gonna Cry - Sharon Jones & the Dap-Kings
3. Calamity - Sharon Jones & the Dap-Kings
4. Every Beat Of My Heart - Sharon Jones & the Dap-Kings
5. There Was A Time - Sharon Jones & the Dap-Kings (And Friends)
6. Family Affair / Outro - Sharon Jones & the Dap-Kings
Availability
Buy/Download/Stream via
https://daptone.ffm.to/dssr
 



By Mike in Source Archives ·

Epsilon Record Co. Proudly presents its latest release: EPS007

Out Now!
Epsilon Record Co.
Proudly presents its latest release: EPS007
Ira Raibon
Shake it off (Live) / You’re my dream (Live)
2 Sophisticated Modern Soul winners live performances that have never been released on a 45.
(limited to 300 copies only)
Listen:
 
 
Buy it now:
https://www.epsilonrecord.com/
 
Ira Raibon..." Is the musical genius behind the "Indiana Funk" sound that was heard throughout the world.
He shares songwriting credits with Gene Rogalski (Brady Bunch theme writer) for the 'Nursery Rhyme Song recorded by 70's teen idol/T.V. series 'Seattle', Bobby Sherman as well as songwriting credits with Freeman King, from the original "Sonny and Cher Show" for the "Vanguards" hit, "Gotta Have Love".
Ira is also the writer, singer, and saxophonist for the "Fabulous Souls" hit, "Take Me". The song and group credited for starting the"Digital Underground" (music on the internet).
For years historians and archivists believed he was from Indiana but the truth of the matter is Ira Raibon is from San Diego's North County, Oceanside.
Ira started playing instruments and singing at a very early age.
My mom said, I was singing at 2 months and she could put me down and I would just sing myself to sleep. At 3-5 years old, I remember listening to the old wringer washing machine and making up songs to the different rhythms it would be throwing out.
At 6-7 I rode a bus to school with high schoolers and I remember blowing their minds making up songs on the bus as we went to school. I started my instrumental study at 7.5 years with the clarinet although I had taken piano lessons from my mom prior to this.
I remember I could already play and didn't understand why I had to learn how to read music. So I threw all my books away and that had ended the piano lessons.
Today Ira performs and plays 40 instruments and performs all instruments on his recordings.
 
 
By Yann V in Source Archives ·

Big Man Records Bmr 1008 New Release Announcement

WE ARE PLEASED TO ANNOUNCE OUR NEXT BIG MAN RECORDS RELEASE BMR 1008 JESSE JOHNSON - LEFT OUT B/W YVONNE AND THE VIOLETS - CROSS MY HEART BOTH RECORDED BACK IN 1966 FOR OLD TOWN & BARRY RECORDS, UNDER LICENCE FROM EMBASSY MUSIC CORPORATION (BMI) TO BIG MAN RECORDS, THIS RELEASE WILL COME IN A CUSTOM SLEEVE,  COLLECTORS CARD IN A POLY SLEEVE. TAKEN FROM OLD TOWN/BARRY MASTER FILES. 
LEAD TIMES ACROSS THE INDUSTRY ARE STILL A LITTLE CRAZY BUT THIS RELEASE IS NOW IN PRODUCTION AND WILL BE RELEASED EARLY 2022, JESSE JOHNSON HAS BEEN A TOP DANCE FLOOR WINNER FOR MANY YEARS REMAINING HARD TO FIND ON THE OLD TOWN ORIGINAL, 'CROSS MY HEART' IS PURE GIRL GROUP DRAMA BIG HAIR, SPARKLY DRESSES AND SLING BACKS THIS BARRY RARITY STILL HAS THAT SOMETHING SPECIAL, FIRST TIME UK 45 OFFICIAL RELEASE FOR BOTH RECORDINGS.
PRE ORDERS SECURES A COPY, PM HERE FOR FURTHER DETAILS, EMAIL bicknellmark@aol.com 
BMR 1008 - JESSE JOHNSON - LEFT OUT B/W YVONNE AND THE VIOLETS - CROSS MY HEART






 
Video Promos
QUIK_20210902_152401.mp4 QUIK_20210902_152718.mp4.f29ba984c55d9fc381f3cebd58cc16be.mp4

By Mark Bicknell in Source Archives ·

Pee Wee Ellis

Pee Wee Ellis, best known for his ground breaking work with James Brown, had worked as Esther Phillips' bandleader back in the 1970's; in an interview in (I believe) The Wire back in 1995 or so, he said he had some beautiful live show tapes which he would have liked to see released as a tribute to her. 
Esther has always been one of my favorite female vocalists; I produced and annotated the 1984 Savoy Jazz "Complete EP Savoy Sessions" set (originally a double LP - one LP of early 1950's Johnny Otis Band sessions, the second covering her 1956 and 1959 solo works); it's still around as a CD through all of the subsequent Savoy changes of ownership.  I contacted Ellis through his management and eventually arranged to meet with him while he was in New York (touring with Van Morrison).  I had spoken with a couple of labels I had done work for (including Joe Fields' High Note label, successor to Muse which had put out my EP project during the time they owned Savoy)  and there was definite interest in a CD.
We met at his hotel and I listened to a cassette he'd brought; beautiful soundboard quality and lovely performances of some EP classics ("And I Love Him", "Whisper To A Scream", etc., and a 20 minute version of "What A Difference A Day Makes" with long instrumental solos; nice material but not enough there for a CD.  I asked if there was more, and he said he had more tapes "back in Vegas". 
So we left it there; I tried to hook up with him again several times, but unfortunately the wheels fell of the car on this project.  I'm sure those tapes are gone now, what a shame !! 
Esther, to my mind, was at her best "live", and there are some lovely performances floating around on Youtube....         
By Daniel Nooger in Source Archives ·

New Kent Cd - Soul Superman / With A Dab Of Soul - VA (Pied Piper)

Another new soul cd release from Kent Records out this week. 
Soul Superman / With A Dab Of Soul - VA (Pied Piper) CDKEND 505
The cd is actually two classic Detroit soul Pied Piper connected lps served up via the one cd.
The release notes from Ady Croasdell tell the story...
The rare soul scene is overwhelmingly a 7” record-collecting world but there are a few notable exceptions. 1967 saw two Detroit-recorded LPs issued from one of the most admired production teams in the city – Pied Piper Productions.
Motown musician Jack Ashford and his business partner Shelley Haims assembled the cream of Motown’s Funk Brothers musicians for the sessions and supplied classic sophisticated soul songs for the diverse artists who were to be given a shot at the album market.
Cleveland group the Hesitations had hit with their debut 45 ‘Soul Superman’ and this success gave them a chance to expand into the album market.
Detroit singer Freddy Butler’s more sophisticated ballad-singing was seen as ripe for an LP by the team....
...songs of Jack Ashford, Lorraine Chandler, Joe Hunter, Mike Terry and Herbie Williams – coupled with the best Detroit soul arrangers and musicians – mean this really is a case of dropping the needle anywhere and finding a gem.
 
With such high-quality music, it was inevitable the records’ prices would rise dramatically; originals are three-figure items. Here they are remastered from tape on one easily affordable CD.
 
The full release notes. purchase options and more can be found on Ace Records site https://acerecords.co.uk/soul-superman-with-a-dab-of-soul
Booklet Preview
A glossy 20 page booklet featuring images and detailed info as per below


 
Tracks
01   She Won't Come Back - The Hesitations
02   You'll Never Know - The Hesitations
03   You Can't Bypass Love - The Hesitations
04   I Believe To My Soul - The Hesitations
05   That's What Love Is - The Hesitations
06   Soul Superman - The Hesitations
07   Soul Kind Of Love - The Hesitations
08   I'm Not Built That Way - The Hesitations
09   I'll Be Right There - The Hesitations
10   Wait A Minute - The Hesitations
11   Soul Superman #2 - The Hesitations
12   Clap Your Hands - The Hesitations

13   There Was A Time - Freddy Butler
14   That's When I Need You - Freddy Butler
15   I Like Your Style - Freddy Butler
16   I Fell In Love (I Can't Help It) - Freddy Butler
17   Never Let Love Go - Freddy Butler
18   They Say I'm Afraid (Of Losing You) - Freddy Butler
19   This Thing! - Freddy Butler
20   Just Because You've Been Hurt - Freddy Butler
21   You'd Better Get Hip Girl - Freddy Butler
22   Give Me Lots Of Lovin' - Freddy Butler
23   She's Foolin' You - Freddy Butler
24   Deserted - Freddy Butler
 
Availability 
Available now at all your usual soul stockist including your own Source Store here...
https://www.soul-source.co.uk/store/product/418-soul-superman-with-a-dab-of-soul-va-pied-piper-kent-records-cd/
 
By Mike in Source Archives ·

New Kent Cd - Can I Be A Witness - Stax Southern Groove - Out Today

Can I Be A Witness - Stax Southern Groove - Various Artists (Stax) Kent CD 507
Out today from Kent
A brand-new collection gathered from the Stax catalogue of southern-flavoured dancers, from soul to funk and in between.
Can I Be A Witness offers 20 tracks in total, 11 being previously unreleased.
The release notes from Kent tell the story better.
“Can I Be A Witness: Stax Southern Groove” features 11 previously unreleased tracks from such illustrious names as the Soul Children, Little Milton, the Emotions, the Sweet Inspirations, the Nightingales and Frederick Knight, amongst others.
 
The other nine tracks from artists such as Eddie Floyd, R.B. Hudmon, the Rance Allen Group and Eric Mercury delve deep into the archive, bringing you B-sides, obscure album cuts, dancefloor favourites and originally unissued tracks.
Full info including images and purchase options can be had via https://acerecords.co.uk/can-i-be-a-witness-stax-southern-groove

Booklet Preview
The booklet is well illustrated and comes with an in-depth essay from compiler Dean Rudland.

 

 

Tracks
01   Bad Water - Little Milton
02   Can We Talk This Over - Eddie Floyd
03   How Can I Be A Witness - R.B. Hudmon
04   Love Is Taking Over - Eric Mercury
05   Burning On Both Ends - The Nightingales
06   Forever And A Day - Mel & Tim
07   I Wanna Make Up (Before We Break Up) - Major Lance
08   You Ain't Playing With No Toy - The Soul Children
09   I Got To Be Myself - The Rance Allen Group
10   Passing Thru/World Keeps Turning - Frederick Knight
11   Ain't Enough Hours - The Emotions
12   Changes - Jeanne & The Darlings
13   Slow Down - The Nightingales
14   Soul Groove - Art Jerry Miller
15   Don't Fight The Feeling - The Sweet Inspirations
16   Three's A Crowd - The Temprees
17   Helping Man - Jean Knight
18   True Love Don't Grow On Trees (Demo) - Veda Brown
19   The Natural You - Ollie & The Nightingales
20   Leaning On Your Undying Love - Shack
 
Availability 
Available now at all your usual soul stockist including your own Source Store here...
https://www.soul-source.co.uk/store/product/419-can-i-be-a-witness-stax-southern-groove-va-kent-records-cd/
 
By Mike in Source Archives ·

Magnus Carlson Goes Latin - New Single - Play To Win

A recent release, Magnus Carlson teaming up with Kevin Fingier to offer 'Play To Win', the official details follow below...
Magnus Carlson Goes Latin!
PLAY TO WIN – THE NEW SINGLE FROM MAGNUS CARLSON
Blue eyed soul meets latin on the new single by platinum selling Swedish artist Magnus Carlson. When Magnus Carlson releases solo material outside his band Weeping Willows, he usually tries to seek out unexpected and surprising collaborations. On his new single “Play To Win” he has hooked up with Argentinian producer Kevin Fingier and his collective of the same name. Magnus had - like so many other soul and jazz aficionados - been completely blown away by Fingier’s rather edgy and tough, but yet very groovy latin sound and wanted a part of that for his next release. They wrote “Play To Win” on opposite sides of the planet and recording sessions and mixes was then sent back and forth between Kevin’s studio in Buenos Aires and the Cosmos Music Studio complex in Stockholm, until the right balance of latin, R&B and blue eyed soul had been struck.
The result is a cool, beat driven, no-nonsense, but soulful latin groove with Magnus' unmistakably warm and powerful vocals leading the charge.
 

Life is short
And my time is now 
Roll the dice 
Give the wheel a spin 
I’ve paid the price 
Now I Play To Win
Both Magnus and Kevin are passionate vinyl collectors and DJ’s. They share a passion for danceable live music with a strong sixties flavour - and a sound that is best enjoyed on the dance floor. They are both recording artists and songwriters in their own rights, but will surely work together again going forward. And even though they are based over twelve thousands miles apart, there is a palpable presence in this, their first collaboration.
"Play To Win” with Magnus Carlson feat. The Kevin Fingier Collective is released through Amigo/Cosmos  with a Swedish language version called “Här Och Nu” as a second track.
More tracks from this project..
 
By Mike in Source Archives ·

This Is The Day: Breaking Out Of Obscurity With THE INMATES - Jon Kanis

Article found online about the group formed circa 1965 in San Diego and recorded "This Is The Day" on John B Kopit's" KOPIT label.
This is the Day: Breaking Out of Obscurity with THE INMATES
Jon Kanis sets the controls for San Diego, 1966.
The Inmates, 1966. L to R: John Poppe, Steve Phillips, Gale Kellogg, Jim Conder, Lloyd (Kenji) Kozuma, Tom Kruze. 
[Photo: Cecil Caufield) Ugly Things 

Have you heard the one about the garage band from Ocean Beach, California, who, after making one obscure 45 rpm record in 1966, disappeared off the face of the Earth, with their singular piece of plastic destined to become a prized collector's item, fetching hundreds of English pounds amongst the North­ern Soul cognoscenti in Britain? No? Then it's high time to get hip to the Inmates, one of the great, lost bands of San Diego music lore. 
The Roman candle trajectory of the Inmates is a classic American tale, paralleling thou­sands of fellow aspirants across the trashed-out teenscape of the post-apocalyptic early 1960s. After a futuristic-looking quartet from Liver­pool, England, magically shifted the cultural paradigm overnight via mass televisual hyp­nosis, the resultant aftermath touched off the seismic perception that any four guys could stand on stage, make their own kind of rhyth­mic racket, shake their heads and hips in uni­son, and the girls would summarily fall at their feet. From San Bernardino to Boston, a signifi­cant number of baby boomers, overwhelmed by their suddenly surging hormones, flashed on the notion of exploring their own creative potential-which was no doubt inspired by the phenom of witnessing 300 pubescent girls shrieking in unison. 
The Beatles provided proof positive that it was cool to be in a gang. And during their leather-jacketed, pill-popping, drunken ap­prenticeship in Hamburg, Germany, they were as "punk rock" as anyone-before or since. But by 1964, the media passed the rebellious aroma of "bad boys supreme" onto the Rolling Stones, whose contrived menace embodied the 'tude of "punk" until the entire idea was co-opted into some bastardized, fascist marketing campaign. The Beatles and the Stones: two sides of the same coin, establishing the contextual bench­mark of "cool" for the ages. 
And, really, who among us doesn't wish to strut their stuff and project an aura of "cool" to the world? Inspired by surf music, R&B, and the escalating wave of the British Invasion, a motley assortment of 18-year-olds, recently graduated from Point Loma High School, dis­covered exactly how "cool" it is to be in a band when they started informally jamming together. Their efforts eventually resulted in having their music played on the radio and performing to packed dance floors across San Diego County. 
 
Gale Kellogg: "We were all surfers and that's how I met [guitarist] Steve Phillips. He lived at the end of [4858] Pescadero Avenue, which was the surf spot down in OB. I've al­ways liked music and I always wanted to play the drums, but in elementary school they told me I had no aptitude for it: 'Take this clarinet, boy.' So I played clarinet and in junior high I played some sax. I tried trumpet, I tried a bunch of instruments, but they didn't really blow up my skirt. I wanted to play the drums, but my family couldn't afford it. 
"However, that all changed in June of '64 when we hosted a big graduation party at my house [4352 Niagara Avenue]. My dad had built a two-car garage and that's where we had this big bash, because my mom would buy the booze.'' When the Impalas were enlisted to provide entertainment, Kellogg suddenly found himself with a coveted set of skins. "The Impalas had been together for awhile," he ex­plains. "They were already playing high school dances. And after our graduation party, Scott Beamer left his drums in the garage. And me being me, I went out there and played 'em for about 12 hours a day. 
"Whenever the surf wasn't very good I would go down to Hazard Brick and Block in Mission Valley [now Hazard Construction 
Company] and work as a yard boy loading ce­ment bags and blocks for a buck and a quarter an hour, which was good money, and that en­abled me to rent a set of drums at Dave's Music on Fifth Avenue.'' Almost immediately, Kellogg began performing with some of his neighbor­hood pals: lead guitarist and background vocal­ist Steve Phillips, bassist Tom Kruse, rhythm guitarist John Poppe, and saxophonist Lloyd (Kenji) Kozuma. 
 
It's All in the Proximity 
Tom Kruse: "The Inmates evolved from par­ties around OB where a few of us were learning to play guitar. Gale and I lived across the street from one another and he had a garage that he converted into his bedroom and a gen­eral hangout place for friends. We learned a lot about booze and girls there. The Kelloggs also had another garage in the back that we used for practice. My stepfather often called the police to complain about the noise: especially the bass. He was an asshole." 
Steve Phillips: "I'm basically a long-time na­tive of the beach area and when I was eight­ years-old my mother asked me 'How would you like to learn some music?' We had an accordion studio across the street and I said 'Sure, I'll give it try' and started taking lessons. And I loved the music, but I didn't particularIy love the ac­cordion, so I made the switch to guitar a couple of years later. I think I got my first cheap elec­tric guitar at age 12 and eventually picked up a Fender Mustang. 
"The band came together as a typical garage band: we were all friends in the neighborhood. And Gale's mother would bring us beer when we practiced. We loved her, Ma Kellogg, as if she were our own mom. Her rules were: as long as you're in the back yard in the garage you can drink the beer-you're not taking it with you. And if you're too drunk to drive you sleep on the couch. And she'd set us up with cold ones. 
'As we started getting better, the next thing you know we were hiring out. As part of the City of San Diego's recreation program there were weekly community dances at various rec centers, and we played at every one. And they were always packed. This was before drugs, with everyone just having a great time natu­rally. Or they were slugging down a half-pint of vodka in the parking lot, and then walking inside, and as soon as the music hit 'em they'd get that rush, and whoosh, away they went. In the early days at least one fight would break out at every gig. But it wasn't like today: people fought and then it was over. A guy didn't go out to his car, grab a gun, and kill somebody. 
"The odd thing about those days: San Diego was a much smaller place. There were very few places to play and there were very few bands. There was a whole youth scene that doesn't ex­ist anymore and it hasn't for years. Remember, this was the leading edge of the baby boom, so there was a Jot of kids, and they all loved music. We were doing two, often three gigs a week, playing for enormous audiences, and we were getting paid very well. The going rate for a three-to-four hour dance gig would be between 350 and 500 dollars-in 1965-66 money." 
 
What's In a Name? 
Kruse: "The fact that many of the guys in the band had been detained at one point or an­other by the local police led to the name the Inmates. To the best of my knowledge no one had ever served time. But in those days, that would have been a badge of honor. 
"We started off playing instrumentals like 64 'Perfidia' and 'Wipe Out,' since none of us could sing. Lloyd's younger sister Gerry sang a few slow numbers like Angel Baby' for us, but that was about it. Our first gig was an adult social for Sacred Heart Church on a harbor tour boat. We played for free but took donations and were surprised when people actually put cash into the kitty. Then we got a few gigs with middle school dances. I remember one in Chula Vista where the kids wouldn't dance at first, which is real scary when you're playing and everyone stares at you in silence. Eventually a teacher got a few students to dance and then everyone got into it. By the time we finished, they were asking for our autographs." 
"But we needed a singer, and finally found one in Jim Conder [Point Loma High School, class of '63]. That enabled us to expand our song list, and we played a lot of Rolling Stones (but not Beatles) songs. Jim considered himself the reincarnation of Mick Jagger-even down to copying his mannerisms." 
Phillips: "Oh, I really loved the Beatles, but to us they were kind of a candy pop group. We were huge Stones fans and we were more like them. We were grubby-counterculture-street kids. The Beatles were clean, the vocals were pretty, their lyrics were outstanding and I loved them-I think we all loved them. But we nev­er played their music. We were into a grittier sound. 
"There was really only one person in the group who was a 'stand above' incredible tal­ent and whom I had dealings with later on in music after the Inmates and that's Jim Conder. He was also a very gifted keyboardist, but he did not play keyboards in our group. He was the front man." 
 
Jerry Herrera's Battle of the Bands 
If ever there was a notorious figure within the San Diego music scene, it is club owner and promoter Jerry Herrera. Known primar­ily for operating the Spirit Club from 1975 to 1995 (now occupied by Brick-by-Brick), Her­rera also ran three other significant San Diego nightspots before that: the Palace, JJs, and the Powerhouse in El Cajon, where the Inmates performed frequently. Phillips: "Jerry Herrera runs all through our history. He was the first one to go out and start up these teen night­clubs, and a big thing back in those days was the Battle of the Bands. We competed, and lost, to their house band who were called the Impulses." Kellogg: "That was where Herrera snaked us. We thought we should have won." Phillips adds that "Jerry had some detractors, but I would have much rather hitched my wagon to his bumper than the other guy, but that's the way it goes." 

The Inmates land in Jail 
After establishing themselves on the San Di­ego music scene for nearly a year, Phillips was approached by a young entrepreneur by the name of John Kopit. Inspired by Herrera's success, Kopit convinced the Inmates that he could take the band to a higher level of success, and commenced with building his own youth club in Encinitas, 25 miles to the north of San Diego. 
Phillips: "I was the bandleader, but my work was with the guys, and that took up all my time. Although we had more jobs than we could handle due to word of mouth, I didn't have any energy left to do additional promo­tion and Kopit sold himself to me-he was a very energetic businessman, a Jewish lad from St Louis who had already established and lost a newspaper before he was 26." The first thing Kopit did was rent a building next door to the La Paloma Theatre in Encinitas, where the In­mates were installed as the house band. In a punning masterstroke of branding, Kopit chris­tened the place the Jail. 
Phillips: "John's first move was to find a place where we could play, and since he lived in Del Mar, the location was convenient for him. He utilized our young backs to help build the Jail: in other words we were free labor. We tore out the counter, built a huge dance floor and a professional stage with the help of some craftsmen." The finishing touch to the overall theme was to take faux-black wooden dowel bars and stick them in the windows: the perfect pleasure prison for teenagers. 
"It was what you would call a youth club," says Phillips. "No alcohol, just food and soda pop: real wholesome. On opening night, you could see the lights going by on the 101, be­cause the Interstate 5 hadn't been built yet. We're on the main route, the onlyroute between San Diego and LA. We're sitting there looking outside and as the headlights went by we can see all these people gathering: there must have been 500 kids out there, going in both direc­tions. The place reached the fire marshal's limit and we had to cut 'em off. 
"We lit off on our sets and we're seeing a sea of heads dancing [laughs], with silhouettes 
"The last night The Jail was open we were there playing on stage and all of a sudden they shut off the power. 
The door fly open and in come the pf, putting everybody up against the wall." 
in the window, and an equal number of heads bopping up and down and dancing on the side­walk. That attracted attention, and not good at­tention. Encinitas is kind of a hip place now. Back then it was a Cowtown, and the locals were frightened of us. But we just went ahead packing the place." 
When asked what the locals were so con­cerned about, Phillips lets out a deep sigh. "I think they were afraid that we were going to have sex with their daughters: which we cer­tainly wanted to do. [laughs] And we were going to corrupt the kids, playing 'the devil's music.' 
"When Elvis would come to town, all the lo­cal churches would have alternative events to keep the kids away from seeing him bring his 'black' music and his thrusting hips to town-it was that kind of thing. It's hard to believe that I'm old enough to remember that mentality. In fact, they were so eager to shut us down, that one of the angles they came at us with was an old statute prohibiting Asians from participat­ing in mass gatherings that had been on the books since the railroads had finished and North County was hit by a big influx of Chinese immigrants. And we had a Japanese sax player. This is how ugly it got. It was not the pretext for shutting us down, but it was mentioned. Unbe­lievable, huh?" 
After three months of packing in the au­diences and raising the ire of the local au­thorities, the doors to the Jail were suddenly slammed shut. 
Phillips: "The last night the Jail was open we were there playing on stage and all of a sudden 'booodoop'-the whole stage goes dead: they had shut off the power. The doors fly open and in come the cops, putting everybody up against the wall. They ushered all the kids outside, all the patrons. They took us off stage and sepa­rated us, asking us questions about everything: 'What drugs had we taken?' 'What type of stuff were we on?' They didn't have breathalyzers yet, but they were looking to see if maybe we were drunk, because we were all under 21. They didn't arrest anybody, but they taped the door shut and closed the place down-the long story short is that Ko pit lost the Jail. The locals were honest about it from the very start: the public sentiment was that we weren't welcome in Encinitas. So we left." 
 
This Is the Day: enter June Jackson 
Phillips: "Somewhere along the line Kopit became convinced that we should make a record, because we were getting to be a pretty damn good band. Even though we were all in­termediates at our instruments, you get to the point where you just know what each other is thinking, by virtue of growing up together. Our sound was seamless, tighter than a gnat's ass, and that really came across. But for some rea­son Kopit decided it would be best not to re­cord any of the original material that the group had worked up, which was a big mistake. We had a couple of originals, but Kopit hired song­writer June Jackson, who was out of the Mo­town school, and it was totally wrong for the Inmates. 
"Then June insisted on bringing in his sing­ers, Rita and Cathy, who called themselves the Crispy Twins. And the three of them lived and performed together, which was unusual in those days, because June was black and the girls were white. And I liked them as people, they were great, but the material was just to­tally wrong. I would have loved to hear us lay into something like "Sweet Little Lisa" or one of the old Chuck Berry songs. But just the same, the record became very popular locally." 
According to Kellogg, it was Jackson who was responsible for setting up the Inmates one and only recording session. "June Jackson was as big a hype-crook as John Kopit: they were two peas in a pod. And they were trying to outdo each other. Kopit didn't have that kind of money to pay for studio time and June Jack­son just wanted to record, so he could then take that product to Capitol or A&M or whoever and use it to sell his songs." 
Whoever arranged for the studio, all six of the Inmates piled into Phillips' Plymouth Val­iant station wagon in January of '66 and headed north to Johnny Otis' El Dorado Studios in Bur­bank to record two of Jackson's compositions: "This Is the Day" and "Gypsy Heart." 
Phillips: "El Dorado was an enormous place-every instrument that you could think of was in this room. It took us a while to get the instrumental tracks down so that they were pretty much error-free. We were well rehearsed, but we had never worked with a sound engineer before, so he had to take 20-30 minutes with each person, getting their tone and levels-a lot of stuff before you even start tracking. We recorded on a two-track machine: first we recorded the instrumental tracks and then the vocals, all live in one take, mixed down to mono. 
"It was a long day. I still remember coming down the 101 and on the radio was Lou Chris­tie's 'Lightning Strikes.' And we're all cracking up 'cause we thought it was such shit. If that stuff's making it, maybe there's hope for us af­ter all!" 
In retrospect it is easy to understand how "This Is the Day" became a later-day North­ern Soul favorite: the record has an irresistible beat and grooves with the best of the dance floor favorites then coming out of Motown. But once the record was pressed up on the generic looking KOPIT label (which was distributed by CIRCA: the Consolidated International Record Company of America based out of Hollywood), the real challenge began of how to get their mu­sic played on the radio. 
Phillips: "I didn't know how the recording industry worked in those days, because it was very, very hard to get into the main markets. But we did get some airplay. One of the big­gest kicks of my life was hearing that the record had cracked the Top 20 in Escondido. And here kicking-ass again this week from San Diego, California: the Inmates!' Some of the outlying stations would play the record in Oceanside, El Centro. We ended up with a following of like­minded people and having a little brush with fame. We signed autographs-I had girls com­ing up to me crying, offering me their skirts to sign. In El Centro we played a teen nightclub called Poncho's. We were in the Top 10 out there and we were well known in that little community: Brawley, Calexico, El Centro. Once again, blacks were not allowed in the club: they had to enjoy the music outside in a similar situ­ation to the Jail. There's just a sea of these kids pressed up against the stage, and it's like 'Wow, my little taste of what it's like to be a star.' But the big thing again was through the window, these silhouettes; I could see all these black kids just rocking out on the sidewalk. [laughs] And there was no trouble at all, it was such a nice night, everybody was really cool. 
"But nowadays, I'm so glad that we have those recordings, because otherwise we'd have nothing." 
 
I Ain't A-Marching Anymore 
After recording their debut single, the In­mates believed it was the beginning of a prolonged recording career. But all that changed on February 8, 1966, when Kellogg was absconded by the US Army. "I was the first one to get drafted out of the band," says Kel­logg. 'And Paul Bleifuss took my place [Point Loma High School, class of '65]. Paul was an excellent drummer and actually became quite famous as an innovative drum maker." Bliefuss had a distinguished career as an artesian before succumbing to cancer on September 5, 2007. 
"There was all this talk about our 'next re­cord,' that this was just the beginning for the Inmates," says Phillips. "It turned out not to be the case. By this time we were really feeling our oats, I think the biggest gig we ever played was at the Balboa Park Organ Pavilion in the first part of '67-the year that Vietnam wiped us out and we were all in uniform. Kenji and Poppe were drafted at the same time. Tom Kruse saw it coming, got in the Peace Corp and went to Venezuela. I was able to hold off with a hard­ship deferment until they got me. Jim Conder was the lucky one: he had been a member of the National Guard Unit before Vietnam got re­ally hot. The most dangerous thing he did was put on a uniform and go to the '65 Watts riots." He pauses and laughs: 'A lot of history there." 
"Let me tell you about the breakup with Kopit, because that's pretty important. We were decimated by the Vietnam draft: we just couldn't go on. Kopit and I had a meeting and he saw the end coming. And he basically said, 'I spent a lot of money on you guys, you guys are letting me down through no fault of your own, but I need to be repaid for my invest­ment.' And I said, 'We're poor kids, we don't have any money.' And he said, 'Well, I want your equipment.' And I said, 'Fuck, no.' So we got into a bit of a 'toe-to-toe.' And I came back and said, 'No, John, no. We're keeping our gear. I'm sorry you lost money, but that's it, it's over.' But he still had all those records ... 
"I wish we could have met the right person, because we were very young and unsophis­ticated. We didn't know anything about the business; we were just playing our music. We needed someone to handle us properly." The Inmates tale smacks of familiarity, with more than a passing resemblance to the film That Thing You Do. 'Actually,'' says Kruse, "I think the movie The Commitments is the best story of a band coming together, having a few brief mo­ments of fame, and then falling apart. I see a lot of similarities with our band in it.'' Regarding Kopit, Kruse remembers him being "an asshole, and a creepy one at that: the perfect personality for a manager. I never liked him personally but he did force us to become more professional." 
 
Breaking Up That 0Id Gang of Mine 
Phillips: 'After the Inmates broke up we all went our separate ways and then came back and settled down after the war. I went to school and became an urban planner, engineer, and architect. So that took me away from music for a spell. I had just finished college when I was approached by Jim Conder in 1979 about rep­resenting a group that he had called the Roost­ers, and I managed them for a couple of years. They were a three-piece and they were freakin' awesome.'' (For the record, an entirely different San Diego Roosters recorded a single for A&M in 1967: "Shake a Tail Feather" b/w "Rooster Walk.") These days Phillips can be heard per­forming with his group the Pescadero Pickers and has this to say about his music: 'As long as I've said my piece the way I want it said, the people who are tuned into my approximate fre­quency will find it. And that's what's reward­ing for me. It could be one person or it could be a thousand, but to make that connection is a real turn-on for those of us who create mu­sic like this. I could write the best song in the world, and there's still going to be people that would rather go down and stand in line and get Taylor Swift's latest album,'' he says laughing. 'And there's nothing I can do about that.'' 
After getting out of the army in '68, Gale Kel­logg spent several years gigging with bassist Greg Willis (Iron Butterfly, Glory) and guitar­ist Dave Dorn. It was during this period that he claims psychedelics taught him how to play music. "It opened my mind up," he says. "I'm not the world's best drummer-I'm not a tech­nician. I play from the seat of my pants and the music tells me what to play; that's the best way I can put it.'' After touring for almost a decade, including a stint backing up Al Wilson ("Show and Tell"), he found himself living on the street for 15 years. Eventually, he cleaned up his act and worked for a dozen years for the Veterans Administration until his retirement a few years ago. These days, Kellogg is back behind the drums, playing several times a week all over town. "Music is my life right now, this is what I live for,'' he says. "This is what's keeping me going. And that's why I play every chance I get.'' 
Phillips: "I heard through a mutual acquain­tance that Jim Conder died in Florida (on June 19, 2014) due to cirrhosis of the liver. And none of us know what became of John Poppe.'' 
As for the other Inmates, saxophonist Lloyd Kozuma owned and operated a successful den­tal laboratory until his retirement a decade ago. He still lives in San Diego. After finishing college in 1969, and joining the Peace Corps in Venezuela, bassist Tom Kruse enjoyed a ca­reer for over 20 years as a corporate executive at Reynolds Metals Company in Richmond, Virginia, until a buyout from Alcoa caused his early retirement in 2000. He explains via email: "My wife retired in 2011, and all seven of our children were grown up, so we sold our house and most of our belongings and set off to see the world. What we do is rent an apart­ment somewhere for 3-12 months and just live there. So far we have done this in La Paz, Mexico; Monterey, California; Salem, Oregon; Plymouth, Massachusetts; St Augustine, Flori­da; Valencia, Spain; and now Bordeaux, France. The next stop is unknown but we are checking into Italy and Portugal. We feel it is a more in­teresting way of spending our retirement years than sitting on the stoop watching your neigh­bor water his lawn. 
"Today my wife was doing some checking on Google. Apparently this group of collectors in Northern England is still going strong and an original copy of "This Is the Day" by the In­mates can fetch very high prices. A few years ago I saw one cited on eBay for 1,500 English pounds! Another entry lists it for £400.I did get a thrill when my son found it on the Internet about three years ago, because I had told my kids about my band days and they didn't be­lieve me. So the hype is not fictional. 
"Not bad for a garage band from O.B.'' 
 
Copyright (c) 2016 by Jon Kanis. Reprinted here on Soul Source with authors permission
"This Is the Day: Breaking Out of Obscurity with the Inmates" by Jon Kanis first appeared in Ugly Things issue #43, Winter, 2016/2017.
It was subsequently re-printed in the San Diego Troubadour for Vol. 16 No. 1 October, 2016. For more information please visit http://ugly-things.com/ or https://sandiegotroubadour.com/
"This Is the Day" is now available on the compact disc Look Out! The San Diego Scene 1958–1973, which is available through Relampago-go Records, out of National City, California. That is Andy Rasmussen's label, who produced the compilation. The liner notes are written by Mike Stax, the publisher of Ugly Things.
----------------------------------------------
 
The Inmates
Guitarist Steve Phillips grew up in Ocean Beach, and entered the local music scene in the mid-1960s with his group the Inmates, one of a handful of bands that played San Diego’s large dance venues popular at that time; the War Memorial Building in Balboa Park, San Diego State College, UCSD Elliot, OB and Santa Clara Rec. Centers, and others. The band also included drummer Gale Kellogg (later of Useless Rhetoric) and bassist Tom Kruse.
Often considered a Northern Soul group, the Inmates teamed with songwriter June Jackson and recorded at Johnny Otis' studio in Burbank, CA in 1967-68. Their single “This is the Day” (written by Jackson) on the Kopit label made local top-40 charts in many outlying markets. The Vietnam draft effectively put an end to the Inmates in 1968-69. All members of the band survived the war, but never played together again.
 
 
Site note the full articles can be read via
YESTERDAY AND TODAY
This Is the Day: Breaking Out of Obscurity with the Inmates
By Jon Kanis, October 2016
https://sandiegotroubadour.com/this-is-the-day-breaking-out-of-obscurity-with-the-inmates/
and
https://www.sandiegoreader.com/bands/inmates/
 

By Chalky in Soul Music Features ·

The Summits - P's and Q's - New Soul Direction 45

Hot on the heels of the hugely successful Decisions "We're In Love/I Love You" Soul Direction release, come for me a track that should have made a 45 release before now and after a conversation with Numero they agreed so here we are.
Release date end of September with TP's going out to the radio shows for pre release plays.
The Summits - P's and Q's / Instrumental version
These 2 tracks were part of the groups recordings with DC International and did not see the light until Numero released a EP of the groups best songs.Soul-Direction Records have
secured the only 7" vinyl release of "P's and Q's and the instrumental version. We hope you enjoy them as much as we have bringing them to you.
This quartet from Washington DC. formed While students at Francis Cardoza High they used to sing there sweet soul style around the school corridors, honing their craft until a faculty member spotted them. 
Baritone Willie “Sherman” Flannagan and alto Alvin “Lumberjack” Middleton supported tenors Sanders and Hawkins, with second tenor Sidney Smith replacing Sanders in 1971. 
The Summits founders Andre Sanders and Juan Hawkins spent a lot of time on the 16th Street bus, a route that begins at the D.C.’s center and runs due north for a few miles.
Discussions of starting a band began during this long commute, which was most often taken to visit a pair of uptown girlfriends. The bus displayed the name of the last northbound stop, in this case, Summit Hill. A casual nod to their municipal transport, the Summits seemed a fitting title for the group.
The group soon fell under the tutelage of Joe Tate, who maintained a stable of musicians, among them national recording artists the Fuzz, the Choice Four, and the Blendells. 
The Summits’ “I Can’t Get Over Losing You” would appear on Tate’s Dontee label in 1970, but limited distribution and radio play didn’t give the group much fame or fortune. 
The Summits would not get a second recording until Tate’s other recordings and business deals were completed, and it wasn’t until Tate paired the Summits with staff songwriter Joe Phillips that things began to take shape.
Phillips would write half a dozen songs for the Summits, four of which were released as singles on Stan Bethel’s D.C. International label. 
While the records generated a respectable local buzz, it never translated into the wealth their fellow chart-toppers achieved. 
They never left their day jobs and, with girlfriends and soon growing young families, their tried-and-true tour routes became something they made the decision not to continue.
While Joe Tate’s model worked out for a few lucky groups, the Summits decided that the musical journey had sadly come to an end.
Band Members:
Andre Sanders
Juan Hawkins
Willie “Sherman” Flannagan
Alvin “Lumberjack” Middleton
Sidney Smith replaced Andre Sanders in 1971.
Alan Kitchener (Soul-Direction Records)
Licensed courtesy of The Numero Group
https://soul-direction.co.uk/
 



By Manfromsoul45s in Source Archives ·

Shotgun Records New 45 -This Kind Of Love by Special Delivery (Long Version)

A heads up on the next upcoming 45 release from Shotgun Records plus other related 45 release news.
Out in a couple of weeks....
Special Delivery - This Kind Of Love (Long Version) -  SHOT 114 
It's the 'long' version (original LP version) of 'This Kind Of Love' by Special Delivery.
This cut features the male-female monologue section which was edited out of the US single.
Currently scheduled for a 1st Oct 2021 release
Can listen below to a cut preview of the release
 
Other related 45s release details follow below, release dates not firm yet but between November and January 2022 is likely
OSP 5008
Michelle David & The True-Tones - It's Gonna Be Alright (Vocal) / (Instrumental)

SHOT 115
The Fantastic Puzzles - Come Back (Part 1) / (Part 2)

SHOT 116
Randolph Brown & Company
It Ain't Like It Used To Be / You Can Be Cured

OSP 5009
The Freedom Affair
Give A Little Love / Searching (Find My Own Faith)
Also planned awaiting confirmation are two more early 2022 releases on One World, Watch out for them!
By Mike in Source Archives ·

Soul 4 Real New Release - Bettye Swann (S4R16)

Bettye Swann’s heart has been broken lots of times; we know this because we’ve heard it break on many of her records. Bettye’s voice captures these moments perfectly, her delivery is soft and sensitive, almost country, giving it a realness that you can almost touch.
The most exquisite mix of warmth and sweetness wraps around the vulnerable sound, whilst a gentle quiver in her throat amplifies the pain of heartbreak. It’s a wonderfully potent combination that has been felt by soul music lovers all over the world.
These two tracks were shamefully left discarded in a Nashville tape vault for over 40 years. Both sides showcase the magnificence of Bettye’s vocals, but also highlight the fact that, despite a catalogue of consistently brilliant recordings, she achieved only moderate success and was somehow denied the superstar status that such a voice should command. My heart breaks for anyone who has never had the joy of hearing her sing.
TATS TAYLOR
 
 
 
Presented in a beautiful picture cover laminated 7" designed by Jordi Duró. Liner notes by Tats Taylor.
𝗣𝗥𝗘 𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 for 24th September 2021
13 euros + postage as it follows:
1 to 5 copies: 6,80 euros UK & Europe
1 to 5 copies: 2,50 euros Spain
1 to 5 copies: 10,45 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 ·

Respect - Uk Opening Friday 10th September

The film 'Respect' is at long last out in the Uk this Friday 10 September 2021
Following the rise of Aretha Franklin's career from a child singing in her father's church's choir to her international superstardom, RESPECT is the remarkable true story of the music icon's journey to find her voice. 
Uk Showings/tickets
Cineworld has a ticket booking page, link below
https://www.cineworld.co.uk/films/respect/ho00007570#/buy-tickets-by-film?for-movie=ho00007570&view-mode=list
Google 'respect' also works well for uk showing details  - tap here
 
DIRECTED BY: Liesl Tommy WRITTEN BY: Tracey Scott Wilson PRODUCERS: Scott Bernstein, Harvey Mason Jr. EXECUTIVE PRODUCERS: Stacy Sher, Sue Baden-Powell, Aaron L. Gilbert and Jason Cloth CAST: Jennifer Hudson, Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, Saycon Sengbloh, Hailey Kilgore, Tate Donovan, Heather Headley, Skye Dakota Turner, and Mary J. Blige 
Running time: 145 minutes
By Mike in Source Archives ·

Soul Junction New 45 - Willie Williams Give It All I Got - Do You Understand SJ545

Press Release:    “Willie Williams   “Give It All I Got/Do You Understand”   SJ545
Release Date:   Monday 27th September 2021
 

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell).  The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.
Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.
The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie  then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out.  So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.
For Further information please contact Soul Junction at:
Tel: +44 (0) 121 602 8115 or E-mail:   sales@souljunctionrecords.co.uk
To buy visit SOUL JUNCTION RECORDS or the usual stockists
 
By Chalky in Source Archives ·

New Retro Soul 45 - Claire Davis - Thrive - Playground - LRK Records

A soulful soundtrack of heartbreak and love, Davis step into her own as an artist and performer, featuring her signature powerhouse vocals accompanied by airtight grooves. The collection of analog recorded songs bring ‘60s and ‘70s soul influences like Aretha Franklin and Al Green into the present; following in the musical footsteps of retro revivalists like Amy Winehouse.

Davis developed her love for soul and R&B early, learning to sing lead and background vocals in her high school’s 12-piece Motown R&B band in her hometown, Victoria, British Columbia. Moving to Toronto in 2008, Davis joined the renowned African roots choir “The Nathaniel Dett Chorale” and went on to pursue a Bachelor of Music Degree from Humber College. Carving out her reputation as a powerhouse frontwoman and background vocalist in the Toronto music scene, Davis joined seven-piece retro funk ensemble YUKA as their lead singer on full-length album releases From the Ancients (2015) and Dreamscape (2019) to critical acclaim. Davis also established herself as a go-to background vocalist for all things soul, performing with legends Martha Reeves (of Martha & the Vandellas), Sharon Jones & the Dap Kings, and Jully Black, top Toronto breakout artists Charlotte Day Wilson, Jessie Reyez, and Daniel Caesar. Stepping out on her own as a solo artist, Davis teamed up with producer and YUKA bandmate Scott McCannelll to write and record her debut EP Thrive. 
 
Pre-order here (under 90 copies left now so be quick!): https://lrkrecords.bandcamp.com/album/thrive-playgroud
Official release date: 31st Jan 2022 

 
 
PRE-ORDER HERE: https://lrkrecords.bandcamp.com/album/thrive-playgroud
Claire Davis's Facebook: https://www.facebook.com/clairedavismusic
Claire Davis's Instagram: https://www.instagram.com/clairedavismusic/?hl=en
Facebook: https://www.facebook.com/LRKrecords1
Instagram: https://www.instagram.com/lrk_records/?hl=en
Discogs: https://www.discogs.com/user/LRK_Records
Twitter:
 
 
By LRK in Source Archives ·

New Kent Cd - Psychedelic Soul - Produced By Norman Whitfield - VA

The latest new addition to Kent Records ongoing 'The Producer Series' has just been released 
'The Producer Series is an unofficial series of CDs spotlighting the studio output of visionaries who lived to bring the sounds in their heads to the grooves of a record'
Psychedelic Soul - Produced By Norman Whitfield 
A strong album taking what is said to be the 'first-ever compilation dedicated to the distinctive and influential productions of Norman Whitfield'
 A clip of the release notes clip follows below...
“Psychedelic Soul” is an illuminating cross-selection from Norman Whitfield’s exceptional career.
Whitfield started out at Motown and worked up to his instantly recognisable, dark, orchestrated sound. By the turn of the 70s he was the king of ‘psychedelic soul’, a genre that he basically invented, selling millions of records along the way. He was responsible for the Temptations’ second wave of hits, including party classic ‘Psychedelic Shack’. Whitfield concentrated on the Undisputed Truth, a group he put together and kept in his roster when he started his own Whitfield label in 1975.
Full release notes, images and purchase options can be had via Ace Records Website  https://acerecords.co.uk/psychedelic-soul-produced-by-norman-whitfield
Booklet Info
The Cd comes complete with a 20-page glossy leaflet/booklet, words by Bob Stanley, preview scans below.


 
Psychedelic Soul Listing
01 I Heard It Through The Grapevine - Marvin Gaye
02 The Look Of Love - Gladys Knight & The Pips
03 Psychedelic Shack (Single version with intro) - The Temptations
04 I Saw You When You Met Her - The Undisputed Truth
05 War - Edwin Starr
06 Ooh Boy - Rose Royce
07 It Should Have Been Me - Yvonne Fair
08 Me And Rock & Roll (Are Here To Stay) - David Ruffin
09 Papa Was A Rollin' Stone (Single version) - The Temptations
10 Good Lovin' (Album version) - Mammatapee
11 You + Me = Love (Single version) - The Undisputed Truth
12 Love Is What You Make It - Masterpiece
13 I've Been Waitin' (Single version) - Spyder Turner
14 And All Hell Broke Loose - Willie Hutch
15 Love Don't Live Here Anymore - Rose Royce
16 Wishing On A Star - Jr Walker
17 Just One Love - Stargard
18 Come With Me (Single version) - Rare Earth

 
Availability 
Available now at all your usual soul stockist including your own Source Store here...
 
 
By Mike in Source Archives ·

Eric Mercury 45 - Released This Week From Big Man Records BMR 1006

WE ARE PLEASED TO ANNOUNCE THE RELEASE THIS WEEK OF BMR 1006 - ERIC MERCURY AND THE SOUL SEARCHERS - LONELY GIRL PART 1 & 2, OFFICIAL RELEASE REMASTERED SOUNDING SUBLIME, UNDER LICENCE AND WITH KIND PERMISSION FROM ERIC MERCURY.
COMES IN A BLACK CARD SLEEVE, STICKER IDENT, PERSONALLY SIGNED A6 COLLECTORS CARD BY ERIC MERCURY IN A POLY SLEEVE, PRE ORDERS HAVE BEEN FANTASTIC ON THIS RELEASE SO MASSIVE THANKS TO EVERYONE BOTH RETAIL AND WHOLESALE CUSTOMERS FOR SUPPORTING THIS RELEASE,  COPIES AVAILABLE FROM bicknellmark@aol.com OR PM VIA FACEBOOK OR SOUL SOURCE.
ERIC MERCURY WILL BE DOING SOME RADIO INTERVIEWS OVER THE NEXT COUPLE OF WEEKS TELLING THE FASCINATING BACK STORY BEHIND THE RECORDING OF THE RECORD, HE IS THRILLED BY THE REISSUE OF THIS NORTHERN SOUL MONSTER AND FOR THE FIRST TIME IN DECADES SINCE IT'S INCEPTION AND RECORDING HE IS ACTUALLY GETTING SOME PAY BACK WHICH MAKES THE RELEASE EVEN MORE SPECIAL. 
FURTHER RELEASES FROM BIG MAN RECORDS ARE IN PRODUCTION AND PLANNING, FULL DETAILS ON BMR 1007 & BMR 1008 TO FOLLOW.







By Mark Bicknell in Source Archives ·

The Soulful Kinda Music Guide To The West Coast: A discography of West Coast Soul

The Soulful Kinda Music Guide To The West Coast: A discography of West Coast Soul
The West Coast, sunshine and Soul! Two cities dominate the book, Hollywood, and Los Angeles, and not surprisingly the same names keep appearing, either as label owners, or producers, or artists who label hopped. And the address that keeps appearing time and time again is the iconic Sunset Boulevard in Hollywood. So it’s no wonder there was such an interchange between the different labels really when a huge number of them were on the same street, no matter how long it is.
The same format is used in this book as previous ones, I’ve tried to feature as many little labels that only had a few releases as well as some of the majors who had hundreds. The same with the artists. Some like Ike Turner has a career that stretched over multiple labels, and decades of releases, whereas others might have managed only one or two releases.
Publisher ‏ : ‎ Independently published (9 Aug. 2021)
Language ‏ : ‎ English
Paperback ‏ : ‎ 296 pages
ISBN-10 ‏ : ‎ 1790841909
Available online via usual outlets including
https://www.soul-source.co.uk/forums/topic/422407-west-coast-discography-book-dave-rimmer-in-stock/
 
By Dave Rimmer in Source Archives ·

Good Good Feeling! More Motown Girls - New Ace Cd Out Now

This Friday gives us a new Motown connected release from Ace Records, Titled 'Good Good Feeling! More Motown Girls' we get for our money 25 Motown tracks all delivered by fabulous female motown artists
Many of the tracks were previously available only as digital downloads, and six are unreleased in any format.
The release notes on Ace Records website features the man behind the series Keith Hughes giving out some background details on those six exclusive unissued titles, a clip follows
After two singles on VIP, the Lewis Sisters’ recording career with Motown was effectively over, but they continued writing and cutting demos for the company; ‘My World Is Crumbling’ was their penultimate effort. Theirs is the original version of a track now known as a Brenda Holloway classic, thanks to the appearance of her recording on the popular “A Cellarful Of Motownǃ” CD series.
 
‘Good Good Feeling’ is possibly the last of Brenda Holloway’s 100-plus Motown recordings, about three quarters of which languished in the vaults until relatively recent times. It’s clearly unfinished – strings are shown on the recording sheet, yet are not present on the tape – but nonetheless Brenda gives it her best. Following some anguish over her tracks being passed over so many times, she left the company in 1968 to concentrate on married life.
 
Mississippi-born blues singer Hattie Littles recorded over 40 sides for Motown, almost all of which were unissued at the time. Although she had only one release, she was a fixture at the company between 1962 and 1964, touring with the Spinners and Marvin Gaye when not busy recording. ‘When I Was In School’ is from the pen of Earl Johnson....
Full release notes and purchase options can be had at the Ace Records Website, link below 
https://acerecords.co.uk/good-good-feeling-more-motown-girls 
 
As always the Cd comes complete with a glossy leaflet/booklet, the preview scans below give some idea to the detail and the quality of the booklet.
 
Leaflet Scans

 

 

 
Tracks
01 This Love I've Got - Martha & The Vandellas
02 Nothing But A Fool - Gladys Knight & The Pips
03 I'm In Love (And I Know It) (alternate lead vocal) - The Velvelettes
04 Good Good Feeling - Brenda Holloway
05 I'm So Helpless (When I'm With You) - Debbie Dean
06 Can't Figure It Out - The Lewis Sisters
07 A Love So Deep Inside - The Velvelettes
08 Show Me The Way - Gladys Knight & The Pips
09 Hold Me Oh My Darling - Ann Bogan
10 I Don't Want Your Promises - LaBrenda Ben
11 Drop In The Bucket - Kim Weston
12 Don't Be Too Long - Anita Knorl
13 It's Hard To Walk Away - Martha & The Vandellas
14 Stuck Up - Oma Heard
15 My Daddy Knows Best - Little Lisa
16 In Twenty Words Or Less - LaBrenda Ben
17 When I Was In School - Hattie Littles
18 Keep Me - Brenda Holloway
19 Never Trust A Man - Chris Clark
20 Watching A Plane In The Sky - Barbara McNair
21 In The Neighborhood - Connie Haines
22 My World Is Crumbling - The Lewis Sisters
23 Send Him To Me - Debbie Dean
24 Can't We Be Strangers Again - Blinky
25 All I Could Do Was Cry - Yvonne Fair
 
Availibilty
Available now from all the usual online stockists including our/your very own Source Store
Tap to visit
 

 
By Mike in Source Archives ·

Real Side Records Presents 'Soul On The Real Side #12' - New Cd

Latest release in the long running series
Real Side Records Presents "Soul On The Real Side #12"
Here's the release notes...
OUTTA SIGHT presents Soul On The Real Side Volume 12. The architects of soul are back with a stunning new 20-track Summer 2021 collection and, incredibly, almost half are NEW-TO-CD!
Our show opens with the first of our new-to-CD tracks, the seldom heard “I Need Love” by East Coast disco/funk band Daybreak. The sophisticated New Jersey 45 was originally played at Wigan Casino by Richard Searling shortly after release (covered up as “Search The World” and attributed to Tyrone Davis). It has since become one of the most cherished and in-demand of all Modern Soul records.
Track 2 sees the debut reissue of an obscure Philadelphia disc, “American Girl”, by Roscoe Thomas. Our sincere thanks go to label boss Frank Fioravanti, who provided this superb Latin-tinged crossover delight plus a further 5 Sound Gems. The rarest on the label is Billy Harner’s 1976 “I Got It From Heaven” (trk. 11), another Wigan Casino exclusive for DJ Richard Searling.
A special mention must go to Gean West’s Relatives, who make a guest appearance (trk. 5) with their emotive re-invention of the 1976 release “This World Is Moving Too Fast”. During recording Gean fell into a coma and passed away before the album was released, leaving us with this breathtaking and poignant legacy.
Our thanks also go to all at Mainstream Records, who, once again, supply a handful of class Seventies sides, including Sugar Billy’s original version of “Super Duper Love” (trk. 15), popularised by Joss Stone in more recent times, plus, of course, Almeta Lattimore’s timeless classic (trk. 7).
PEACE, LOVE, SOUL
TRACK LIST
Daybreak - I Need Love
Roscoe Thomas - American Girl
The Words Of Wisdom - You’re A Friend Of Mine (Vocal)
Spice feat. Bunny Davis - Sweet Norma Jones
The Relatives - This World Is Moving Too Fast (Goodbye World re-invention) (vocals Reverend Gean West)
The Falcons - You’ve Got The Power
Almeta Lattimore - These Memories
Ruby Winters - If This Is Our Last Time
Gloria Walker - Gift Of Love
Jimmy Norman - I Wanna Make Love To You
Billy Harner - I Got It From Heaven
Crystal Motion - You’re My Main Squeeze (Part 1)
Timeless Legend - I Was Born To Love You
Leo McCarty - I Fell In Love With Love
Here's the video
 
and the link...
https://www.outtasight.co.uk/#!/Real-Side-Records-Presents-SOUL-ON-THE-REAL-SIDE-12/p/383561367/category=4408549
 
By Mike in Source Archives ·

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