Jump to content
View in the app

A better way to browse. Learn more.
Soul Source

A full-screen app on your home screen with push notifications, badges and more.

To install this app on iOS and iPadOS
  1. Tap the Share icon in Safari
  2. Scroll the menu and tap Add to Home Screen.
  3. Tap Add in the top-right corner.
To install this app on Android
  1. Tap the 3-dot menu (⋮) in the top-right corner of the browser.
  2. Tap Add to Home screen or Install app.
  3. Confirm by tapping Install.

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.

Latest Updates

Out Of Sights - Released This Week - Big Man Records BMR 1004

WE ARE PLEASED AND PROUD TO ANNOUNCE BMR 1004 THE OUT OF SIGHTS - 'FOR THE REST OF MY LIFE' B/W 'A WOMAN'S LOVE" BMR 1004 WILL BE RELEASED THIS WEEK, STOCK HAS BEEN SHIPPED TO US AND SUBJECT TO CUSTOMS CLEARANCE SHOULD BE HERE ON FRIDAY 12TH FEBRUARY. SARU RECORDS OUT OF CLEVELAND, OHIO PRODUCED THIS PRIME SOUL 45 SERVED RARE ON THE ORIGINAL CERTAINLY ONE OF THE HOLY GRAIL COLLECTABLES AND ALMOST IMPOSSIBLE TO FIND 'FOR THE REST OF MY LIFE' IS PRETTY MUCH AS GOOD AS IT GETS BACKED WITH THE VERY TASTY 'A WOMAN'S LOVE' FAR EASIER TO GET ON SARU THAN THE FLIP HERE BUT EQUAL IN QUALITY.
ALL PRE ORDERS AND WHOLESALE ACCOUNTS WILL BE SHIPPED AS SOON AS ORDERS ARE PROCESSED, UNDER LICENCE FROM NUMERO GROUP, COMES IN BLACK CARD SLEEVE, STICKER IDENT, COLLECTORS CARD IN A HIGH GRADE POLY SLEEVE.
£20.00 EACH PLUS £4.00 UK POST & £9.00 REST OF THE WORLD, PAY PAL AS FAMILY AND FRIENDS TO AVOID FEES INCLUDE ADDRESS PLEASE PAY PAL bicknellmark@aol.com 
WE HAVE SOME EXCITING NEW RELEASES TO FOLLOW THIS YEAR, BMR 1005 THE SENSATIONS - 'DEMANDING MAN' B/W JESSE FISHER - 'YOU'RE NOT LOVING A BEGINNER' FIRST OFFICIAL REISSUE FOR THESE TWO DYNAMITE RECORDINGS VIA WAY OUT RECORDS UNDER LICENCE FROM NUMERO GROUP FROM BEAUTIFULLY REMASTERED TAPES SOUNDING SUBLIME, WILL COME IN A RED CARD SLEEVE, STICKER IDENT, COLLECTORS CARD IN HIGH GRADE POLY SLEEVE, THIS RELEASE
QUIK_20201008_131950.mp4 QUIK_20201008_131950.mp4 SHOULD BE AVAILABLE LATE SPRING/EARLY SUMMER 2021.
WE WOULD LIKE TO TAKE THIS OPPORTUNITY TO THANK EVERYONE WHO SUPPORTS OUR RELEASES, AS WITH ALL THE OTHER REISSUE AND INDEPENDENT LABELS CURRENTLY PUTTING OUT QUALITY SOUL WE ALL DO IT WITH PASSION, ATTENTION TO DETAIL AND MOST IMPORTANTLY PAYING OUR DUES FOR LICENCES ETC. OFTEN SUCH PROJECTS ARE A LABOUR OF LOVE SO HATS OFF TO ALL INDEPENDENTS MUCH RESPECT.
 
TO PRE ORDER/WHOLESALE INFORMATION EMAIL bicknellmark@aol.com OR PM HERE.
 
MARK BICKNELL.










By Mark Bicknell in Source Archives ·

Out Now! The Kopestetics / Don't Put Offa Day - Epsilon Records 45

Out Now! The Kopestetics / Don't Put Offa Day - Epsilon Records 45
Limited Edition 7” Previously Unissued / Epsilon Records Co. ESP002
Catchy & Uplifting Previously Unissued Soulful Tunes from 1979
A Must-Have in your record box!
Listen & Watch:
 
Buy It Now: (order will be despatched from Tuesday)
https://www.epsilonrecord.com
 
 
The Kopestetics / Paterson New Jersey
Interview with Leon Moses:
I come from a great musical family back ground.
My dad was a Gospel music promoter who discover groups like the Mighty Cloud of Joy. He was also Sam Cook's road manager. I did music my all life. I could talk to you all day about music.
The Kopestetics started in high school, EastSide High School in the early 70’s in Paterson New Jersey.
You might know the famous movie called "Lean on Me", that's where it took place.
The group really consisted of my family, my brothers, my nephews, my cousins, basically people that I grew with.
We were was a family group!
We started under the director of William Butler. We’ve started playing in lots of clubs across New Jersey in the early 70’s.
We were doing lots of talent shows across NJ.
I recall one day we got beat out by a guy that we’ve previously won in a different talent show at the Apollo Theatre.
We didn’t know who he was at the time, his name was Luther Vandross.
We were named the number one band in NJ from I would say 1975 till 1982.
We were tutted by a really famous deejay called BK Kirkland, he’s a really famous person in the music business, BK replaced radio legend Frankie Crocker at WBLS in 1976. He was the deejay and we were the band!
We’ve end up opening acts like the Funkadelic, working along side of Sister Sledge, they were friend of ours from Philadelphia. We’ve also worked with Sammy Turner also from Paterson.
We’ve auditioned with Jackie Wilson at Brunswick Records. We were opening act for Melvin & the Blue Notes, Teddy Pendergrass, The Manhattans... We were like the openings acts for so many bands.
We’ve also played in all the major colleagues across the united states at this time.
As some point we’ve changed the spelling of our from the Copestetics to Kopestetics with a K.
I had a solo act from CBS associated Records Catawba, records called She’s too Serious by Leon Moses, Jimmy Castor from Jimmy Castor Bunch was my producer.
All my life was surrounded by music, I am actually one of the last guy from the group who is still singing. I do a live stream at my church every Sunday.
This particular two songs never came out on vinyl back in the days.
We are all really excited about this project!
At the time of those recordings in 1979 those people were in the Studio West Orange New Jersey.
Produced and arranged by my good friend Ronald Foster.
Vocals:
Chucky Pinchom
Joseph (Fuzzy) Stevens
Leon (Farmer) Moses
Larry Cox
Music:
Bass: Sam Mack
Guitar: Kenny ((Satch) Pearce
Guitar: June Moses
Drums: Joey Moss
Congas: Charles Byrd
Keyboard: Ron Foster


By Yann V in Source Archives ·

Summer of Soul - Film Premiere at Sundance Festival

‘Summer of Soul (…Or, When the Revolution Could Not Be Televised)
Summer of Soul (subtitled 'When the Revolution Could Not Be Televised') is a new documentary film directed by Ahmir “Questlove” Thompson that has just premiered at the Sundance Film Festival.
Concerning itself with a 1969 event titled the Harlem Cultural Festival which was held over six weekends in the summer of 1969. The documentary takes a relevant look at the concerts and the social background in which they were held.
The actual event showcased over 60 acts including the likes of Nina Simone, Stevie Wonder, David Ruffin, Max Roach and Abbey Lincoln, B.B. King, Gladys Knight and the Pips, The Staple Singers, Sly and the Family Stone. With over 300k attending and the whole shows was provided free of charge.
Nearly Almost two-hours long, the Summer of Soul film is looking like a must catch once out on release. While 39 songs are listed as on the soundtrack, as Gladys Knight says in the film, “It wasn’t just about the music”,
Thompson and Pearson's fluent interweaving of the concert performances and the social backdrop reaches a sublime peak in a sequence that combines the Staples' "It's Been a Change" with festivalgoers' reactions, for a local news report, to the moon landing, which coincided with the fest's third weekend. Song and sound bites alike signal a grassroots awakening. 
Hollywood Reporter review quote (link below)
Release details to follow
Reviews
https://www.hollywoodreporter.com/news/summer-of-soul-film-review-sundance-2021
https://www.latimes.com/entertainment-arts/music/story/2021-01-28/summer-of-soul-questlove-documentary-mavis-staples-mahalia-jackson
Imdb
Summer Of Soul (...Or, When The Revolution Could Not Be Televised) is a feature documentary about the legendary 1969 Harlem Cultural Festival which celebrated African American music and culture and promoted Black pride and unity.
https://www.imdb.com/title/tt11422728/
By Mike in Source Archives ·

First release from new label Ramrock Retro - Gladys Knight

A new label is born – RAMROCK RETRO with the strap line ‘Yesterday’s Sounds Today’.
I'm incredibly proud to present the stunning debut release – Gladys Knight and the Pips and their legendary Northern Soul stomper ‘Stop and get a hold of myself’ flipped with the mid-tempo monster ‘Tell her you’re mine’, all lovingly remastered to the highest audio quality by Darren Morris at North Street West Studios for your ultimate listening pleasure. Release date for the vinyl is February 5th, 2021.
After having left the group in 1962 to marry jazz musician Jimmy Newman and becoming a mum, Gladys Knight reunited with The Pips in 1964 and, along with her brother Merald ‘Bubba’ Knight and cousins William Guest and Edward Patten, formed the iconic ‘dream team’ of Gladys Knight & the Pips and signed to Larry Maxwell’s New York MAXX label. With Gladys + the guys back together, it didn’t take them long to unleash the 1965 soul stormer ‘Stop and get a hold of myself’, penned by Van McCoy on Maxx 334, swiftly followed by the wonderful ‘Tell her you’re mine’ on Maxx 335 co-written by Gladys herself and ERA label boss, Herb Wiseman.
The vinyl is super limited to 500 copies worldwide. 
Available now on Ramrock Bandcamp and via your favourite vinyl retailers. https://ramrock.bandcamp.com/album/rret001-gladys-knight-the-pips-stop-and-get-a-hold-of-myself-c-w-tell-her-youre-mine
There is a myriad of amazing double siders already licensed via Good Times Music and destined for release on Ramrock Retro ranging from Rare Groove, Mod Jazz, 60’s RnB + previously unreleased disco gems. Follow Ramrock on Bandcamp to receive release alerts….
Thank you for your support – exciting times!
Jo xx
Ramrock Records


By Vinylvixen in Source Archives ·

Dean Parrish - It's Time - Purple Mountain Majesty - Acid Jazz 45

Out on 5th February 2021 and available for pre-order, Acid Jazz has It's Time - Purple Mountain Majesty by Dean Parrish all set to go.
Details and listens below...
"10 years since we released his last magnificent northern soul classic the legend (and there’s not really many people who deserve that epithet) Dean Parrish is back with possible the best record of his career.  Controversial I admit, but listen to it first before you disagree with me!”
Eddie Piller
Dean Parrish’s astounding slice of psychedelic soul to be released on Acid Jazz.
After a decade gap, northern soul legend Dean Parrish has once more hooked up with Acid Jazz Records to release a new single. ‘It’s Time - Purple Mountain Majesty’ is a towering slice of psychedelic soul, that references the work of Norman Whitfield and like those records, comes with a powerful message.
Released on limited edition 7-inch on the 5th of February it is an incredible new chapter in a remarkable life.
Known predominately in the UK as ‘the Northern Soul star that sold over one million records’, Dean is an esoteric musician who has worked with the likes of Jimi Hendrix, Santana, Herbie Mann and Bob Marley. All whilst following a career as an actor too, appearing in hit US TV series  The Sopranos.

Born next to the rhythmic beat of the train tracks in Brooklyn, New York. Dean, who’s birth name is Phil Anastasi, was raised in Little Italy by his Italian and Spanish parents during the 1940s. He began his recording career in 1964 by signing a recording contract with the Laurie record label. During this period of Parrish’s life, he would achieve some success with his soul singles ‘I'm On My Way’, ‘Tell Her’ and ‘Bricks, Broken Bottles and Sticks’. He toured extensively and even appeared on a Motown bill with The Supremes.

Parrish’s singing career began to fade and in 1967 he would revert back to his original name, slipping into the world of acting. However, on the other side of the Atlantic the Northern Soul scene was reaching its peak popularity. Soul clubs were popping up in virtually every major town in the North West of England & Midlands. Rare American soul music was all the rage and unbeknownst to Dean his track ‘I’m On My Way’ was one of the biggest tracks. Russ Winstanley, DJ at the Wigan Casino had begun playing the record elevating it to cult status as one of the “3 before 8” records - meaning it would be played before the closing of the club in the early hours.

The iconic status of these records means that Dean has always been welcome in the UK, and in the noughties, he released records with Acid Jazz and was the subject of a Radio 2 documentary by the late and much missed Pete Mitchell.

Now 79, Dean has not stopped writing & recording. This latest single presents us with a stunning return to form. 
credits
releases February 5, 2021
Written by Dean Parrish
Produced by Dean Parrish
Mastered by Nick Robbins at Sound Mastering
Listen
 It's Time - Purple Mountain Majesty by Dean Parrish
By Andybellwood in Source Archives ·

The Sound Of Indianapolis - The Words Of Wisdom And Truth Review - Cannonball Records

The Sound Of Indianapolis:  The Words Of Wisdom And Truth Review

Side A. Don't Need Your Love
Side B. What You Do To Me
7”/45 rpm Picture Sleeve - Core Black
OUT EARLY MARCH 2021
250 + 20 pressed
It all started when Herman “Butch” Slaughter at 12 years old asks his parents for a professional tape recording machine for Christmas. Butch’s technical training in music came from being First Chair/First Chair Baritone in a few school choirs. He started to write song poems and dreamed the day he would hear his songs on the radio. Butch had several attempts at putting a group together, eventually leading to the creation of The Words of Wisdom with Karen Slaughter, Robert “Buck” Vaughn, Rosa Lunderman and Mabel Heart. They started earning some good popularity at the crossing of the seventies and eighties although experienced some quick lineup changes until they disbanded in 1982 short after cutting these two belters. Stable artists at the legendary Lamp - the so called “Naptown’s Motown” - these guys were part of the sparkling funk soul scene of Indianapolis alongside the likes of The Vanguards and The Fabulous Souls just to name two. Writers, producers, studio owners involved in these recordings all passed away except Herman Slaughter, founder member of the band and a blasting dj still active on his scene. The recordings presented on this release went lost until 2 years ago. It’s been necessary a massive audio repair/restoration, hope you will appreciate the job we’ve done. Ah, why the Sex Pistols writing style? Just because,
FUNK WAS THE BLACK PUNK! - VIVA NAPTOWN!
Preorder a Standard Copy or a Test Pressing
https://cannonballsoul.com/cannonballstore/
 
Video Trailer
 
 
 




By Yann V in Source Archives ·

New Modern Soul 45 - D.C.R. - Positive Vibes/Positive Vibes (Instrumental) - LRK Records

LRK Records are delighted to be able to reveal they will be releasing D.C.R. - Positive Vibes for the first time ever on a limited edition 7" (LRK - 07)
As usual, only 300 are going to be pressed and they are already selling quick. (be quick!)
Official release day (TBC) but we are hoping for a summer release for this summer classic !
Pre-order here:
https://lrkrecords.bandcamp.com/album/positive-vibes-positive-vibes-inst

The Song was released back in 2019 and was a big hit on the modern soul scene, being played on some of the popular UK soul stations like Solar and Starpoint radio.
“Positive Vibes,” a song that recalls old school eighties-nineties U.K. soul (Soul II Soul, Brand New Heavies). The light synthesizer punches, electric piano drips and guitar underpinnings compliment D.C.R.’s powerful soulful injections and impressive backing vocals for this positive take on securing that strong man in the name of love. A jazzy synth solo caps off “Positive Vibes,” an enjoyable introduction to D.C.R., who embraces her devotion to the arts and drops a gentle, refreshing breath of soul music old and new school listeners can embrace. - "Soultracks"
Dawn was raised in the cool streets of London, but born in Manchester, better known by her stage name D.C.R. which is just an abbreviation of her full name Dawn Claudette Rose. This soulful RnB singer and songwriter was created. Her parents Jamaican background meant that she was constantly surrounded by music in her home, which included reggae, soul, gospel and Motown. The likes of Gladys Knight, Whitney Houston, Bob Marley and Janet Jackson, to name a few, had a massive influence on her ever growing love for music and entertainment. So the love of music was in her blood. Dawn started writing poetry at age 9, which then developed into songwriting. She would create songs and use other Artists instrumentals as a backing track, from the flip side of an LP and record her vocals over the top, using her dads Hi Fi system and plug in a microphone he had. She’d record all her vocals onto cassette tape. She would do this regularly in her spare time, as if it were her own recording studio. Then play the songs back to herself later. Keep an eye on her this is just the beginning…….
Pre-order here: https://lrkrecords.bandcamp.com/album/positive-vibes-positive-vibes-inst
 
 


By LRK in Source Archives ·

Northern Souls Classiest Rarities Volume 7 - Feb 2021 Release

Out at the end of the month, talked about on the forums and here's the release notes preview and details from Ace Records Website
Northern Soul's Classiest Rarities Volume 7 is due 26.02.2021 
This latest episode of the high-quality end of the Northern Soul world is as varied as the scene has become, featuring manic funk, Detroit grooves, doo wop-inspired ballads, neo-Motown and pure soul stompers.
Los Angeles features strongly throughout. As a taster of the pleasures to come over the next couple of years, the opening tracks by ex-Motowners Carolyn Crawford and Kim Weston, along with the Joe Buckner & Major IV number, are from Mickey Stevenson’s late 60s Los Angeles operation; and the Lovers’ acetate-only ‘She’s Supreme’ and John Wesley & the Four Tees’ stomping version of the Williams & Watson LP track ‘Love Is Such A Funny Thing’ were recorded under the aegis of the city’s great arranger Arthur Wright.
Researching the tape vaults during lockdown has proved fruitful. The first version of Claude Huey’s ‘Why Would You Blow It’ by the unknown Isaiah Smith was discovered among the Galaxy tapes, as was the Brothers Of Soul’s ‘I Need Your Love’ – any previously unheard track by this redoubtable outfit is big soul news. I had originally thought that Buck Ram’s group Two Cats & A Mouse would be 50s sounding, like most of his acts, but ‘Love In My Heart’ proved to be a classy cover of the Oracles’ 1967 rarity on OM.
From Milwaukee, the Badger State, we have two little-known 1963 recordings from the Cuca label. ‘You Don’t Care’ by the Esquires (aka Betty Moorer’s brothers’ group the Ambassadors)...
ADY CROASDELL 
more via
 https://acerecords.co.uk/northern-souls-classiest-rarities-volume-7
Track listing
01 Ready Or Not Here Comes Love - Carolyn Crawford
02 It Takes A Lotta Teardrops - Kim Weston
03 The Intruder - Melvin Hicks & The Versatiles
04 She's Supreme - The Lovers
05 Why Would You Blow It - Isaiah Smith
06 It's Not The End - Rocky Gil
07 It's Midnight - Harvey & Seven Sounds
08 You Said - Little Nicky Soul
09 You Don't Care - The Esquires
10 I Need Your Love - Brothers Of Soul
11 I Wish I Knew - Joe Buckner & Major IV
12 I'll Fly To Your Open Arms - The Family Brick
13 I Need A True Love - Ray Gant & Arabian Knights
14 Don't It Make You Feel Funky - Joe Hicks
15 Love Is Such A Funny Thing - John Wesley & The Four Tees
16 Soul Kind Of Love - The Hesitations
17 Crazy Things - Joe Douglas
18 Love In My Heart - Two Cats & A Mouse
19 Farewell Goodbye My Love (Edit) - The Performers
20 Girl, Come On Home - Major Lance
21 I've Got To Come In - Jean Battle
22 So Glad - The Lyrics
23 The Right To Cry - The Perfections
24 Under The Street Lamp - The Exits

By Mike in Source Archives ·

Qwest Tv - 66 New Concerts Added to Quincy Jones Channel / Service

Qwest Tv has recently added sixty-six concert films to its extensive lineup of live music concerts. Sourced from France’s national audio visual archive these sixty-six performances, ranging from the 1950s onwards, features many artists such as Duke Ellington, Ella Fitzgerald, Aretha Franklin, Nina Simone, James Brown, The Supremes and many more...
Qwest Tv (if not aware) is a streaming site and TV channel, founded in 2017 by Quincy Jones and the music producer Reza Ackbaraly.
Described as the first ever video streaming service dedicated to Jazz, Soul, Funk & World Music, it's billed as having thousands of unique concerts, archive footage, and documentaries handpicked by Quincy Jones & his team
It is a subscription service, but they do offer a 7 free day trial, and some free viewing of concerts.
The Qwest Tv Website can be viewed at https://qwest.tv/
Well worth the walk over, as it says above not only for the new concerts but also to clock the vast amount of the video content already up.
Also available via apps as well
 
 
 
By Mike in Source Archives ·

National Museum of African American Music opened in Nashville.

Today (Martin Luther King Day) finally saw  the  long over due opening of the National Museum of African American Music   (NMAAM )  in Nashville.  What might have been a star studded gala night was reduced to an official ribbon cutting and presentation of a $1million donation from Amazon . It opens to the public next week. 
The NMAAM (commonly pronounced Nyaam)  is a visual and aural celebration of  the history and achievement of Black American music. Visitors begin their journey in the Roots Theatre with  an introductory film presentation  focussing on the influence of West and Central African cultures and slavery which shaped so much of the music that was to come.  You are then  invited to explore the five separate galleries which detail the evolution of Black music.

 
The Crossroads room is devoted to the origins of the Blues  in the 19th Century. Detailing its growth in the Delta states and its migration to the Northern cities where it became a key ingredient for the emergence of Rock and Roll and inspired so many of the British beat legends . A Wade in the Water room charts whats described as ‘ golden age of gospel music”  and its role in the development of Soul music.
Jazz music is acknowledged in ‘Love Supreme’ which explores the emergence of the music around New Orleans and its subsequent genres such as Dixieland, Swing, Bebop, Fusion and its expanse into a world wide phononomon all of its own.  One Nation Under a Groove pulls all these threads together to detail the emergence of Soul and RnB . ( RnB having long since replaced the term Soul Music in the US ) This room has the unenviable  task of detailing the history of labels such as Motown, Stax  and Philadelphia International , and hopefully many of their tributaries  and legacies. As well as Funk, Disco, and modern dance music. This will include Disco, House , and the emergence of Hip Hop which also gets its own room. The Message , a room which charts Hip Hop’s  New York origins and influencers and growth into the dominant force it has become in todays Black music. These five rooms are all linked by a central corridor labelled The Rivers of Rhythm , which reinforces how so much of these genre’s inspired and influenced each other as well as reflecting the social and political issues which both influenced and inspired them using an animated timeline and interactive touch screens.

 
NMAAM suggests allowing at least 90 minutes for your visit, with accompanied  bookable guided tours available   , but you are welcome to take longer and given an entrance fee of just short of $25  you would probably want to .Now there are many of us in the UK who could easily fill 90 minutes  on  Berry Gordy - Saint or Sinner.  The prospect of trying to encompass the whole history a music that we are so passionate about into the time allowed for Colchester to beat Crewe seems nothing short of an anathema.  Clearly  this is not a project  primarily aimed at us , but it deserves our attention and support. It serves to celebrate the history of all forms of Black music and its pervasive cultural legacy and impact .   It acknowledges , albeit often as an introduction, the breadth of its reach and the huge social and political hurdles it had to overcome. The Black Lives Matter campaigns add further resonance to continuing struggles.
NMAAM is very much embedded in celebrating contemporary artists , which may prove its bread and butter , as well as feeding a local educational need.This will include educational workshops for local schools . The venue is also likely to host live concerts and hospitality events and is expected to provide a much needed boost to Nashvilles share of the tourist and hospitality market.NMAAM  social  media platforms   will promote the museums facilities and  celebrate both historical and contemporary figures in Black American history, including a number of Nashville based artistes .(Sadly no mention of Nashville legends Bobby Hebb and Robert Knight )There  are frequent sound bite  Facebook tributes to the past ( Queens of 80’s Hip Hop, Issac Hayes, Larry Graham.)Trivia Tuesday provides  music history snap shots in time .  Their You Tube channel features My Music Matters /Legends Gala provides profiles or interviews on artists such as Avery Sunshine, The Barkays , Kirk Franklin. Anita Pointer of the Pointer Sisters.
 

I   can’t deny my disappointment that their social media focus is overwhelmingly geared towards Hip Hop and modern RnB, with very limited acknowledgement of the the 60’s and 70’s which laid so many of the foundations for todays successful artists . You are feeling your age when a retro historical flash back takes you back to the eighties !   A You Tube tribute to David Porters career  allocated him 1 min 18 seconds.NMAAM ’s  convention and  family visitors will be  steered by parents   brought up on Hip Hop and RnB, whose children probably won’t be hooked by  Sam Dees and Gladys Knight. Lets give them some credit for just getting the place open.  please make a visit to their social media links  and make  your own minds up.
Cool Notes
Social Media Links  links to: 
https://www.facebook.com/theNMAAM
Website:  https://nmaam.org
 
https://www.cbsnews.com/video/first-look-inside-new-museum-that-celebrates-impact-and-influence-of-african-americans-on-music/#x
 
 
 

By Coolnotes in Source Archives ·

Tamla Motown Worldwide - Anthology Of Original LP Releases 1959 - 1971

Had news passed on to usall about a recent Motown related book that may be of interest.
'Tamla Motown Worldwide - Anthology of original LP Releases 1959 - 1971' 
Release blurb and images follow below...
'Much has been said and written about the legendary Northern Soul Label from Hitsville Detroit, USA that brought us records by The Supremes, Stevie Wonder, Marvin Gaye,The Jackson 5, The Temptations, Diana Ross and so many others, that made our hearts jump with Pride And Joy, that made us Stop! In The Name Of Love and which kept us Dancing In The Street!
Here My Dear Motown Fans, Friends and Freaks: TAMLA MOTOWN WORLDWIDE is the first and only book that gathers together all the original vinyl albums which the mighty MOTOWN corporation has released in the USA and other countries during the 1960s, that crucial and very important first decade of its existence. Immaculately researched and made with much love and care, TAMLA MOTOWN WORLDWIDE includes more than 1000 full colour pictures of LP covers and labels on 315 pages'
Hardbound with dust jacket 48 Euro
Written in English Published in November 2020 by MAUS OF MUSIC Books Hamburg, Germany ISBN 978-3-9817804-1-3 (MoM 018) Written and produced by Christoph Maus with thanks to Marc Janssen
 
Book Images

 

 

 

 

 
More info including purchase via...
 http://www.tamlamotown-worldwide.com/index.html
 
By Mike in Source Archives ·

Hot Damn Horns & The Soul Machine - Latest Album

Hot Damn Horns & The Soul Machine been in touch with news and info on their latest album
We are the “Hot Damn Horns & The Soul Machine“, an instrumental Funk & Soul band from Germany. Our first album, titled “Shake Your Leg” and released in November of 2020, appears on the Spotify editorial playlist “Instrumental Funk” with two tracks and on the Apple Music playlist “Jazz Soul Café“.
more info via their website
 
https://www.hot-damn-horns.com/
 
Spotify Listen
Login to spotify to listen to the below in full (free to join)
 
By Mike in Source Archives ·

Soul Junction New Release - Jesse James 'Clinton Park'

Press Release:    Jesse James  '(The Girl In) Clinton Park/Just As Long As We’re In Love'   SJ543
Release Date:   Monday 25th January 2021
Jesse James rides again! Rejoining the Soul Junction label to bring you his previously unreleased original version of the song “(The Girl In) Clinton Park”

The song is more widely known through the version recorded by the group Masterplan in 1974 as part of their trilogy of 45 releases on the West Coast Fos-Glo label, with this particular release being later picked up and released on The East Coast Delite label.
The story behind Jess’s solo version began 3 years earlier when following his first spell with the 20th Century label Jesse found himself without a label feeling a little disillusioned with major labels but undeterred in his own ability he decided to finance and record his own masters. Hence on 29th of April 1971, Jesse entered the Searra Sound Studio in Berkley C.A under the direction of producer and friend Willie Hoskins (Wilhos Productions, and the man who gave the world the Natural Four on Boola, Boola and ABC, prior to them joining Curtis Mayfield at Curtom). 

 
Jesse recorded a five song session, with one particular song being the Stanley Lippett composition “(The Girl In) Clinton Park”. Lippett who prior to becoming part of  the Wilhos Productions team sang with the early 60’s group The Five Brooks before recording two very sought after Northern Soul 45’s “The Stran” and “Outta Sight Loving” for Dick Vance’s Out Of Site Label. Stanley later joined Marvin Holmes & The Uptights Band. It had been Marvin Holmes (he of Brown Door Records fame) who introduced Stanley to Willie Hoskins with Stanley subsequently joining Boola Boola Records and Wilhos Productions. Stanley repaid Marvin for this introduction by composing a song based on Marvin’s 3 year daughter, she being the actual girl from Clinton Park!
Returning to Jesse James, two other songs from this session, a cover version of Etta James “At Last” and “I Know I’ll Never Find Another” did gain a release at the time on the Zay label.
We’ve known about Jesse’s version of this song for many years now but the tape was nowhere to be found and even without hearing it, just knowing the song and that Jesse was a great singer I always promised him that one day I’d put it out. But if there is some good to come out of this pandemic then it was during Jesse’s lock down in Richmond and while browsing through his possessions he luckily found the missing tape, bingo we’re in business!

For this release we have coupled “(The Girl In) Clinton Park” with Jesse’s oh so soulful cover version of the Terry Callier/Larry Wade composition “ Just As Long As We’re In Love” (also recorded by Callier himself and The Mighty Dells), previously issued by Soul Junction on Jesse’s 2012 album “Let Me Show You” (SJLP 5005), enjoy.
 
Soul Junction Website page
http://www.souljunctionrecords.co.uk/SJ543.html
For further information please contact: Soul Junction at:
Tel: +44 (0) 121 602 8115 or E-mail: sales@souljunctionrecords.co.uk
 
 
          
By Chalky in Source Archives ·

Aaron Frazer Introducing... New Album & Single Out Now

Aaron Frazer (of Durand Jones & The Indications) is pleased to announce his debut album, Introducing..., out January 8th, 2021 via Dead Oceans and Easy Eye Sound, alongside lead single, “Over You,” and its accompanying video. A testament to his wide-ranging influence and deep gratitude for his musical community, Introducing... is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent. Working with producer Dan Auerbach of The Black Keys, Frazer expertly calibrates consciousness-raising, as previewed by early single “Bad News,” and the desire to be enveloped by love. Where previous songs were written in a partial state of turmoil, Frazer’s debut LP shows maturation and range.

Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Frazer possesses a unique voice that’s both contemporary and timeless. The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as the drummer and co-lead singer for Durand Jones & The Indications. He’s certainly created a community through his work with the Indications, gospel-soul project The Flying Stars of Brooklyn, and countless side shows in Bloomington and New York. Throughout, Frazer has used music to call attention to issues of inequity and injustice, while highlighting the work of organizations like the Poor People’s Campaign. “It’s important ethically to try to use music for good. If you have something to say politically, don’t hide it until it’s asked about,” he says, adding that Introducing... balances songs of happiness with more political messages.

The 12 songs on Introducing... combine ‘70s soul with Auerbach’s particular sensibilities, and include songs with a message in the key of Gil Scott-Heron, as well as uplifting tales of love told through a blend of disco, gospel, and doo-wop. The album was recorded in a week at Auerbach’s antique and ephemera-laden studio in Nashville following a rapid and prolific songwriting session. “Dan likes to have this writing process where you just let go and embrace the kind of pressure cooker environment that comes with extreme time limitation,” Aaron says, adding that the writing sessions pushed him creatively. Dan brought in legendary songwriters such as L. Russell Brown, who wrote hits for fellow falsetto Frankie Valli and co-wrote the album’s opening track, “You Don’t Wanna Be My Baby”. Dan adds: “As soon as Aaron started singing, Russell looked at me and his eyes lit up. He instantly understood Aaron; it was a perfect, effortless way to start the record.”

New single “Over You” is telling of the collaboration between Frazer and Auerbach. “‘Over You’ is inspired by the legendary northern soul 45s that electrified dance floors across the UK in the 1960s,” says Aaron. “Breakneck speeds and breakbeat drums challenged even the best dancers to pull out all the stops. Lyrically, ‘Over You’ captures a moment of despair in the darkest hour of a breakup. But sometimes to feel better, you just gotta shake your ass.” The accompanying video, directed by Marc Parroquin, visualizes this spirit, with a psychedelic color scheme, a slick car, and a smoky dancefloor.
 
Tracklist
1. You Don’t Wanna Be My Baby
2. If I Got It (Your Love Brought It)
3. Can’t Leave It Alone
4. Bad News
5. Have Mercy
6. Done Lyin’
7. Lover Girl
8. Ride with Me
9. Girl on the Phone
10. Love Is
11. Over You
12. Leaning’ On Your Everlasting Love
 
 
 
 
By Mike in Source Archives ·

Larry Payton - Chicago Soul

LARRY PAYTON, CHICAGO.
This post is an incomplete file with which I have two choices; leave it to gather dust no doubt never to see the light of day again or to share it as it stands with you guys in the Soul community. I can’t envisage receiving any more relevant information unless this post prompts some memories from out there. 
Larry Payton first came to my attention while researching the life and times of Jerry Murray aka Jerry O for my book about him published last year. Due to Larry clearly being pivotal in Jerry’s early career I spent many weeks trying to gain information on him but my efforts were endlessly side-tracked by references to his more famous name sake who was in Brass Construction and also Lawrence Payton of the Four Tops, all three of whom have now sadly passed away. I was able however to piece some limited information together mainly from US record industry publications but it could hardly be described as thorough; sketchy would be more fitting. This is all a great shame as it appeared that Larry was an unsung hero, integral in shaping the early Chicago Soul scene.
As is often the case with a book on any new topic, following the publication of the Jerry O book it triggered responses that would have been so useful had it surfaced earlier; in the case of Jerry Murray his half-sister and cousin came to light stating among other things that he was from Arcola, Mississippi where in 2017, at the town’s annual carnival they celebrated his life and he still has family there. One young relative bearing the surname also from Arcola spoke to his father who was friends with Jerry and he confirmed that Jerry’s fatal car crash was indeed near Arcola around ‘74. As far as Larry Payton is concerned the same thing happened but in his case it was his son, Shawn who contacted me. His situation was similar to one I encountered in a previous book, Groovesville USA where Detroit record man Mike Hanks’ daughter Uarda contacted me as she knew little about her late father and sought information on his life. As you will see in Shawn’s case he was shielded from his father’s work on the city’s music scene by his mother hence the void.
In the early 60s Larry entered the music business running a record store in the South Loop neighbourhood of Chicago, very near Chess Records who were on South Michigan Ave. When the record store closed for the day he would go to a nearby recording studio he used where he pursued his record production work. According to Shawn’s mother, Larry was renowned for being able to identify a record title from a customer’s humming or whistling scraps of a song they were looking for.  His wife helped run the family beauty salon, she did not however approve of the music business in the city, knowing it to be a rough and tough world, especially Larry’s facet, the record distribution side. She always said that Larry was too nice to be mixing with many of the shady characters involved and that it was a good thing that he was a big guy (and presumably able to take care of himself). She therefore understandably totally distanced herself and the young Shawn from Larry’s work life which, from a research point of view is unfortunate as she only has limited memories of those days. For example she vaguely recalls Art Morton’s Soulville Record Store on the West Side in which Larry was involved where important stuff happened regarding Tom & Jerrio, Jerry O, Maurice Jackson and that rogue Motown track etc. but sadly she can’t remember the name of Larry’s own store. There were hundreds of record stores in Chicago in the 60s and I have yet to find anyone who recalls either of the stores in question. One memory she does have however is of a close girlfriend who dated Jerry Murray.
    
Apart from distributing, promoting and producing records Larry launched his own Larry O label in February 1964 with `You Conquored Me` (sic) by Charles `Plookie` McCline and to confirm Larry’s connections with Murray the identical recording was released simultaneously on a look alike label, Jerry O but billed as Willie Logan & the Plaids. Larry also presided over Payton Publishing which features regularly on many of Murray’s early sides and recordings by others associated with him. Larry clearly assisted Murray’s career in various ways in those early days.  The only other known Larry O release came in ’68 which is detailed further on.
   
Crucially, Larry’s name appears on the B side of `I Was Wrong` by Maurice Jackson on Soulville Records, `It’s To Late` (sic) as both publisher and producer.  Recorded in September 1964 it had a Motown backing track that had surreptitiously found its way to Chicago without the company’s approval. The fascinating story of this record and the others Larry was involved with are all documented in `Jerry O, On the Record – Off the Wall` published in 2019. His most famous name check came on `Boo-Ga-Loo` by Tom & Jerrio on ABC – Paramount records, this being the national release of another song atop the Motown backing track. He did however have to share the limelight with Chi-Sound Music who muscled in being the favoured R&B publishers on the label. Larry was fortunate not to get sucked into the subsequent legal action that Motown took against ABC as the record was also issued on the Jerry O label with Payton being billed as the sole publisher.

 Larry remained involved with Jerry Murray on and off throughout the 60s even when Sammy Kaplan and Murray became partners in Boo Ga Loo Records in Detroit promoting all of Jerry’s 45s on the label and beyond even when LA’s White Whale label took on Murray’s contract. His name as a promoter also crops up on many other Midwest Soul releases. He was also getting more involved in wider Pop promotion work and was an important factor in Vee Jay’s Beatles’ releases in ’66 and their US tour in the same year.  Among others Larry worked for Royal Disc Distributers and Garmisa Distributing Co.
    
 
Virtually all of Shawn’s limited knowledge about his father’s work came from other family members but his first personal memory was meeting Jerry Murray around ’68 in a studio when he was only three and recalls his `Funky Four Corners` being played. He also recalls his father promoting the Jacksons who had recorded `Big Boy` in Chicago at One-Derful Records, a version of which was issued on Steeltown Records from Indiana. Shawn also remembers his father’s regular meetings with Chicago’s premier DJ, Herb Kent. 1968 also saw the Larry O label surface for its second release by Johnny Moore, `Let’s Get it Together` but strangely Larry’s name does not appear on the label and I would suggest that he simply facilitated its release which had Four Brothers / Fairshake connections. His name does however appear that year as producer on Harold Curington’s 45 on the Tad label, `African Twist` / `One Day Girl`. Incidentally the ownership of Tad Recording Co is one of Soul’s many unsolved mysteries; it had a second release in ’68 by the Contributors of Soul and a third a year later by the Notations but beyond that little if anything is known. There were Tad labels based in Hollywood in ‘59 and NYC in ’62 but had no connection. 
By ‘69 Larry was also involved in tape and record promotion for ABC / Ampex as well as his own freelance work and was a major force behind pushing the film sound track album,` Savage Seven` that Dick Clark had produced for Atco. Such was Larry’s influence that Clark presented him with a jewellery box; hand engraved with “Thanks for breaking the Savage Seven theme” signed Dick Clark. From that era Shawn also recalls his father and Don Cornelius doing promotion work together, Don had a road show that played local record hops called Soul Train that eventually went live on national TV in ’71. Once again research into any connection Larry had with Soul Train is blurred by one Walter Payton who was heavily involved in the show.

Shawn related that sadly during this late 60s period Larry developed MS but it went undiagnosed for two years until it was discovered in 1970 when the effects began taking their toll. Larry was eventually hospitalised leading to his untimely death in 1972. Such was the severity of the MS in its later stages that a bewildered five year old Shawn recalled that he was unable to comprehend what was happening to his dad.
Larry’s mother later moved to Texas where she still lives, Shawn remained in Chicago where he has a successful career in the media business.
Keith Rylatt
 
By Funky 4 Corners in Artists ·

Motown in The Brill Building - Keith Hughes & Andy Rix

There's been a bit of talk around the Norma Jenkins version of 'Try Love'. Thought it might be timely to share this article Keith Hughes wrote 25 years ago with a bit of assistance from myself.
Published in the 'Yesterday-Today-Forever' fanzine, issue 21 March 1996
Obviously 25 years have passed and more songs out of NY have come to our attention in that time but, as I said, this article is 25 years old so we didn't do too badly
Welcome comments on other NY recordings e.g. Carol Moore - Forever And A Day,  or if anyone can supply scans of Timiko, Tamala Lewis or Sparkels etc ... or what Sid Barnes wrote about those days in his autobiography...
Site note - The below text has been ocr'd from the scans of the articles.
 
Motown In The Brill Building By Keith Hughes
The first Motown office outside Detroit was in the Brill Building on 49th and Broadway, in New York City. Just how it came to be set up is unclear: Raynoma Liles Gordy, Berry's second wife, who headed up the organisation, gives the impression in her book 'Berry. Me And Motown' that Berry just announced that this was going to happen at a routine Monday morning meeting, and it happened: but Berry in his book To Be Loved makes it quite clear that it was Miss Ray's own idea. Perhaps we should not delve too deeply into this domestic disagreement: In view of the eventual outcome it's not too surprising that no-one wants to take the blame. Suffice it to say that Miss Ray seemed to have been there by the Spring of 1963. about the time Marvin Gaye's ·'Pride And Joy· and Mary Wells 'Laughing Boy' were beginning to climb the national chart.
The only account that we have of what followed is Miss Ray's. He quickly signed up songwriters George Kerr and Sidney Barnes, who, together with Tim (Andre) Wilson made up a vocal group called the Serenaders. Motown liked the Serenaders, and released a single on them to launch the VIP label in January 1964. but it was not an auspicious debut for the label as the record bombed. Miss Ray also recruited a number of session musicians, although it's not clear what they were used for apart from demos. Despite meeting and dating many exciting people (including Lloyd Price, George Clinton, and her future husband Eddie Singleton), Miss Ray managed to get only one more of her signings - Sammy Turner - adopted by Motown (again without noticeable success), and with insufficient cash coming in, she was forced to turn to Berry for help. But Berry was evidently not prepared to sink any more into the operation. 
In April of 1964 Miss Ray, in desperation, decided to press 5000 bootleg copies of Mary Wells' 'My Guy', then riding high in the charts, and sell them to distributors at 50 cents apiece. Berry found out and had her arrested and thrown into jail. The price of her freedom was a signed release from Motown, giving her a flat sum in settlement of all future income from the company she helped Berry to found. The New York office was closed down. The whole operation from start to finish lasted about fifteen months.
********************
Although from Miss Ray's account you might suppose that, apart from the Serenaders, her stay in New York was entirely unproductive, this wouldn't be an altogether fair assessment. A small number of records on a variety of labels appeared during late 1963 and early 1964, carrying Jobete-published (and usually Kerr-Barnes written) songs, and it is reasonable to assume that these got placed as a result of Miss Ray's hard work and network of acquaintances.
The records turn up from time to time in Soul and Northern sale lists, although some very high price tags are seen on many of them nowadays. A few are available on CD, which is definitely the way I'd recommend acquiring them; I don't think that these often pleasant, but seldom soul-shattering, discs are all worth the £40+ figures they're quoted at. However, I hope the following brief summary may offer some guidance to those ruining their eyesight on the appallingly small print which is such a feature of the 'Set Sale' syndrome.
       
First off, it's only fair to notice the Serenaders' own single. 'If Your Heart Says Yes' has recently been remastered as a 'bonus' track on the Year-By-Year CD for 1964 - its first appearance since that year - so it's reasonable to assume readers are familiar with it. But it's the B-side,' I'll Cry Tomorrow', which is preferred by many collectors: a sizzling piece of 50's
Doo-wop, full of outer limits harmonies and tempo-defying scat singing in the true Moonglows tradition, doubtless representative of the kind of work the Serenaders had been presenting to their public since their first disc on Chock Records back in 1957. A worthy climax to such a career. Please can we have that one on CD, Candace Bond?
Sammy Turner joined the Twisters as lead tenor in 1959 and had one single with them on the Big Top label; subsequently he went solo and scored three successive crossover hits on the same label with production guided by Leiber & Stoller, the biggest being 'Lavender Blue' which reached Number 3. By 1964 his career had been in the doldrums for some time, and 'Right Now', a slow ballad written by Harry Bass and Alice Ossman (Miss Ray's sister) and produced by Kerr and Barnes with lush orchestral and choral backing, was not the track to rescue him, though it is preferable to the flip, a remake in similar. style to the Platters 'Only You', and once more a Kerr-Barnes production. Turner is reported to have cut an album's worth of material for Motown; the only track that has surfaced on collectors' tapes is an Ivy Hunter-Mickey Stevenson song called 'All I Have Left Are Memories', which is similar to (perhaps marginally preferable to) 'Right Now'. By 1965, he was signed to 20th Century-Fox.
Turning to the non-Motown releases, the earliest to note is the Chiffons' 'A Love So Fine'. The Chiffons were red hot in 1963 and had made the Top 10 twice already that year with 'He's So Fine' and 'One Fine Day', under the careful guidance of New York veterans The Tokens. The Tokens got co-composer credits with Kerr and Barnes, and sole production credits, for this single,which reached Number 40 in the Billboard Hot 100 in September - thereby notching up the only hit that can be attributed in any sense to the Motown New York operation. It has to be admitted, though, that this is the weakest of the Chiffons' 'fine' records, lacking the strong hook that had pulled the others up into the Top 10. Still, Miss Ray had royalty cheques to bank on the strength of it, and good news to report back to Detroit.
Much better listening is afforded by Bobby Moore's 'I Carefully Checked Your Heart', one of two George Kerr-Jerry Harris compositions that appeared as a single on the tiny Kay-O label in late 1963. Bobby is clearly NOT the Alabama-based sax-playing Bobby Moore who scored a couple of years later on Chess with 'Searching For My Love', but a high pitched vocalist with a searing soul style: from the opening moments of the track, featuring a swirling organ and hard pounding piano riff, through to the much too quickly arriving fade, this is a must for the dance floor, and one worth watching out for.
Easier to find these days, thanks to a series of bootleg Compact Discs from the Continent which are titled 'Girls, Girls,Girls'' (Volume 2 is the one you need), is the Sparkels' mid- 1964 Old Town issue,•·Try Love (One More Time)''. This is a medium paced number with a catchy melody firmly rooted in minor chord changes; the lead voice is a little raw and the harmonies a little uh, uncertain at points, but the band are clearly having a good time, the drummer and the pianist competing fervently to plug the gaps. Kerr and Barnes are composer, but once again nothing more is known about the artists, and as with Bobby Moore and the next track, the producer is unknown.  Recommended, if you like the black girlgroup sound.
 
Also available on a Kent CD, apparently, but no catalogue number to hand, I'm afraid. Tamiko Jones' 'Don't laugh If I Cry (At Your Party)' is also happily available on 'Girls, Girls, Girls' (Volume 6 this time).This is a slab of pure popcorn, complete with telephone call intro ('Hello? Tamiko? This is George. Will you come to my party?'), and the hot butter just drips off it. Restrained horns, and an abundance of what John Lennon called that Motown chord (major seventh) so beloved by Smokey, make this the nearest thing to a Hitsville production to come out of the Brill Building year; I wouldn't be surprised to learn it was cut in Detroit. It may well have been her first single, too. Have a hanky handy.
The Lollipops had a run of four singles on RCA between 1963 and 1965, before moving first to Impact, then in 1969 to VIP for their splendid 'Cheating Is Telling On You'. 'Love Is The Only Answer', their second RCA single, was written by Lonie Levister (who arranged the Sammy Turner single) and Stanley Ossman (presumably another of Miss Ray's family), and published by Jobete. A crisp upbeat arrangement by Charlie Foxx, Inez And Charlie, with prominent drums and an easy-to-get-hooked-to horn line, make this an attractive little dance number, even if the girls do sound a trifle shrill as the tune wears on ... oi'll give it five, though, 'cos oi loike the backing (that's enough Janice Nicholls, thank you!).

Now we come to the cream of the crop. Apparently 'Spend A Little Time', written by Eddie Singleton, was originally the A side of Barbara Lewis's follow-up to her double-sided R&B hit 'Snap Your Fingers'/'Puppy Love', but somehow this magnificent record didn't get the airplay when it appeared on Atlantic in April 1964. Singleton's story (told in an interview in Shades Of Soul) is that Motown's influence with the distributors played a part here. (British beat fans can be grateful. as flipping the record brought ·Someday We're Gonna Love Again' to the attention of the Searchers, who turned out a damn good second-best version of the tune.) 'Spend A Little Time' bears more than a passing resemblance to 'Hello Stranger', Barbara's first hit, and the arrangement by Riley Hampton (no strings, surprisingly for him) and production by Barbara's mentor and manager Ollie McLaughlin make the most of that similarity, but it's no stale remake. The vocal is beautifully controlled, and hangs in the air over a low-key organ, bass and drum track; a three or four voice male chorus (often singing unison) keep just the right distance, and the mix is magic. Fortunately fairly easy to obtain. and very well worth the investment.
Two other singles from early 1964 also deserve mention. though they were unfortunately not available for review at press time.
Richard Simmons cut a Kerr-Barnes song, 'You Might As Well Forget It', on Coral (probably as the B-side), and Billy Frazier cut a song he co-wrote with Eddie Singleton, 'The Ape', on Symbol. If you have a copy of either, please will you make me a tape!
********************
George Kerr and Sidney Barnes had over seventy songs published by Jobete; apart from the ones mentioned above, none made their first appearance on disc after 1964, and since the Serenaders folded after their Motown single, and both writers pursued separate careers, it's quite possible that all these songs date from the Brill Building period. This would be evidence of the operation's productivity; regardless of that, however, it's certainly astonishing that Motown stockpiled so many songs by these non Detroiters. The only comparable stacks of unreleased titles in the Jobete Catalogue belong to names like William 'Mickey' Stevenson, Smokey Robinson and Gordy himself.

A few of the tunes have leaked out on bootlegs and collectors' tapes. The Serenaders cut at least two more Kerr-Barnes songs for Motown, one of which, 'Tears, Nobody And A Smile', would have been a worthy follow-up if anyone could have been bothered to push it through the Monday morning selection sessions. 'Say Say Say'' by the Creations has appeared on two CDs, - including 'Detroit (Rare Tracks From)' Volume 3, (where the composition is attributed to 'Thomas'), and is a fairish up-tempo number, but nothing special: a touch repetitive, perhaps. 
An absolute stunner which would make any CD, bootleg or legit, a compulsory purchase, is the pounding 'Straight Jacket', probably by the Andantes. A demo version of 'Try Love', sometimes credited to LaBrenda Ben (though if it is her, the tape copy I heard must run at least 50% too fast!) with female group back-up, contains an infinitely superior vocal interpretation to the Sparkels' version, but the house band sound a little uninspired. And an unidentified vocalist (Shorty Long) attempts kick in on a version of 'I Found A Groove', but lacks conviction.
Other demos of Kerr Barnes material by Tim Wilson and Barnes himself are thought to exist, but there still remains a huge library of unheard songs.
********************
After the collapse of the New York operation, George Kerr collaborated with a number of writers to produce some excellent records, including The Dolls' 'This Is Our Day'', Sandra Phillips' 'World Without Sunshine', Linda Jones' terrific 'Fugitive From Love', and the fabulous 'You Hit Me Where It Hurt Me', recorded by Kim Weston in late 1966 but never released; the 1969 Alice Clark single cut is good enough, but only till you hear Kim's version. 
By 1968, Kerr was a staff producer at ABC in New York, and found himself assigned to work with Florence Ballard's first single. Their relationship doesn't seem to have worked out too well, although tapes for her unreleased album, 'You Don't Have To', contain a Kerr-Harris Jobete number, 'You Bring Out The Sweetness In Me'. 
Sidney Barnes had another shot at a performing career, with 'I Hurt On The Other Side', which came out on the Blue Cat label a couple of numbers before 'Fugitive Of Love'. Thereafter he seems to have teamed up with George Clinton, and a number of their compositions appeared on Golden World in late 1966/early 1967. 
Barnes had an album on the Parachute label in the 1970's.
Two other Singleton tunes from the New York period eventually found their way on to vinyl. 'Don't Bring Back Memories' appeared on the 'Four Tops Now!' album in 1969 (where composer credits are given to Miss Ray), and 'Mind In A Bind' came out on the Hem label, by the Epsilons, in 1967. Worth hunting down as a fair-to-good smooth soul single in its own right, this song also sheds further interesting light on this under-researched area, according to Singleton, it was written for and about Miss Ray and their relationship. 
And what happened to Miss Ray? Well, shaking the dust of the New York Police Department's hospitality from her shoes, she and Eddie left town, and headed south for Washington D.C., where they started a home, a family, and a new record label - Shrine. But that's another story ...

Keith Hughes
 
Discography

Laurie 3195 - The Chiffons - A Love So For me [Kerr-Barnes-The Tokens] 08/1963
Kay-0107 - Bobby Moore - I Carefully Checked Your Heart [Kerr-Harris] / Let's Prove Them Wrong [Jones-Harris-Kerr] 1963
VIP 25002 - The Serenaders -  If our Heart Says Yes [Kerr-Barnes] / I'll Cry Tomorrow [Kerr-Barnes] 01/1964
Motown 1055 - Sammy Turner -  Right Now[Ossman-Bass] /Only You [Ram-Rand] 01/1964
Atco 6298 - Tamiko Jones - Don't laugh If I Cry (At Your Party) [Kerr-Barnes] 03/1964
Atlantic 2227 - Barbara Lewis - Spend A Little Time [Singleton]  04/1964
RCA 8390 - The Lollipops - Love ls The Only Answer [Levister-Ossman] 04/1964
Symbol 929 - Billy Frazier - The Ape [Frazier-Singleton] 04/1964
Coral 62423 - Richard Simmons - You Might As Well Forget It [Kerr-Barnes] 1964
Old Town 1160 - The Sparkels - Try Love (One More Time) [Kerr-Barnes] 1964
With many thanks for valuable additional information to Andy Rix
 

The Brill Building
The Brill Building is famous for housing music industry offices and studios where some of the most popular American songs were written. It is considered to have been the center of the American music industry that dominated the pop charts in the early 1960s.
https://en.wikipedia.org/wiki/Brill_Building
 
Related Scans





 



By Andy Rix in Soul Music Features ·

New releases from Hit and Run - Don Bryant - Johnnie Mae Matthews - Jan 2021

New releases from Hit and Run - January 2021
HR 1523 DON BRYANT – Cloudy Days /  Just A Touch Of Your Hand
One of what will be occasional deep soul 45s on the label. In 1967 Detroit’s Wheelsville group of labels took some artists down to Willie Mitchell’s Royal Studio in Memphis. Willie had the Hi house band in, he produced and Don Bryant guided the Detroit artists with his vocals. Later the songs were cut on Jim Coleman and Al Gardner – but what we have here is classic era Memphis deep soul. Unreleased at the time, finally got a CD release in 2006 – and here for the first time on vinyl & 45. Take a listen.
HR 1524 JOHNNIE MAE MATTHEWS – I Have No Choice / My Destination
For our other release this time we’re entering classic territory. Simply an all-time iconic record which sounds as bright today as it ever did. For me, this is the best version of the wonderful Sharon McMahan song. The world-weary delivery from JM almost makes this a deepsoul wonder set at a mid-tempo dance pace.
Our flip here is a real raunchy 1963 r&b Mod dancer on the ‘Northern’ Detroit label, great side – unbelievable 57 years old – maybe explains why every copy I’ve ever found has been truly knackered.
AVAILABLE NOW AND READY FOR SHIPPING
£12 each 45 + £3 postage (good for 1-3 records) - paypal to – hitandrunsoul45@gmail.com
Interested in a demo ?   please PM me.




HR 1523 B - Don Bryant - Just A Touch Of Your Hand 2.53 ref copy.mp3 HR 1524 B - Johnnie Mae Matthews - My Destination 2.12 ref copy.mp3 HR 1523 A - Don Bryant - Cloudy Days 3.46 ref copy.mp3 HR 1524 A - Johnnie Mae Matthews - I Have No Choice 2.34 ref copy.mp3
By Dewsburyborn in Source Archives ·

Frankie - Life In The City - New 45 - North Broad St Records - Now On Pre-Release

Word and preview video just in from North Broad St Records, all about their next release
Frankie - Life In The City / Don't Treat Her Bad  North Broad St Records - ST 003BL
Now available for pre-release ordering, release notes follow below...
Happy new year everyone, we now have the eagerly awaited Frankie, two previously unissued tracks for us to share with you guys, the part we get lots of pleasure from, as you are all aware by now the label is based around Frank Virtue studios in Philly, we are honouring this great man with this track for everything he was responsible for and all contributed for the music coming out of Philly. The man and his associates gave us thousands of memorable tunes and here is another, with your dancer on one side with its Gill Scott Heron feel to the moody deep soul masterpiece sounding like Teddy Pendergrass on the other am sure NBS003BL is another smash, born in Philly evolving in Scotland. North Broad St records
Video Trailer
 
More info and pre-release options via 
https://northbroadst.co.uk/product-category/records/
 
By Mike in Source Archives ·

New 45 - Phillip Ballou - We'll be together - Super Disco Edits 45 - Out now

Not only a New Year underway but Super Disco Edits have yet another top quality new 45 out now...
Phillip Ballou 'We'll be together / I need you' Super Disco Edits 45 
Another previously unreleased side making its vinyl debut. Listen below and you may hear just why there is a fuss about this one.
PHILLIP BALLOU Pittsburgh-born Phillip Ballou’s earliest years were spent in the gospel field; after he moved to New York City in the ‘70s, he teamed up with Bennie Diggs and Arthur Freeman, founding members of The New York Community Choir and singer Arnold McCuller to form the group Revelation. The quartet recorded for RSO Records, scoring some R&B success in the US with tracks like “Get Ready For This” and “You To Me Are Everything,” touring the Bee Gees among others. Phillip also sang on albums by NYCC recorded for RCA Records and continued with Revelation until 1982. Frequently hired for sessions in and around New York, Phillip teamed up with UK soul music journalist David Nathan (who he’d met in 1974 during Nathan’s first US visit) and John Simmons, formerly a member of The Reflections, another New York vocal group to write a series of songs for his own proposed solo record deal. Although a contract did not materialize, one of the songs – “Ain’t Nothing Like The Love” – got some interest from famed Philadelphia producer Thom Bell who presented it to The O’Jays. Ultimately, the tune was turned down by Kenny Gamble and John Simmons, by then musical director for Stephanie Mills, recorded his own version for a small independent label in 1981.
About Super Disco Edits 
'At first glance you may think Super Disco Edits is just another cut and paste record label, churning out disco fodder. But let me stop you there.
We morphed oursleves into our first true love. Sourcing long and forgetten Soul & Jazz artist so we could document their hopes and dreams once again on glorious vinyl.
From established artist like Leroy Hutson and Mike and Dennis Coffey to newly disovered acts like Between the two.  Our aim is to dig deep into old studio archives and dusty lofts and basements of past record label owners to see if we can revive the magic that may lie in old studio reels they may have.'
Listen
 
 
More info, background, purchase options and such can be had via Super Disco Edits page on the Big Cartel site
https://superdiscoedits.bigcartel.com/
 
 
By Mike in Source Archives ·

Eddie Holman - Ready Willing Able - Soul Direction 45 Release

We are pleased to Announce our second and latest release from Soul-Direction Records.
Eddie Holman – Ready Willing Able B/W “Too Young for Love” SD002
Stock copies available for pre-order www.soul-direction.co.uk
Available for despatch Mid/Late January 2021
Listen
https://www.youtube.com/watch?v=AZHDcbbgEvA
I feel extremely honoured to be releasing this future Northern soul Classic from the true soul Legend that is Eddie Holman.
Until recently this unknown Virtue acetate was unearthed from the belongings of legendary Philly producer/musician/songwriter John Stiles. Recorded around the same time as "Stay Mine For Heaven Sake" at Virtue Studios in Philadelphia. Eddie's rendition of "Ready, Willing and Able" was something that was thought to have been written potentially for another singer which was to be determined but he sang on the track as a reference point to whoever this might be, which was not an unusual practice. His piercing vocals added to a pounding "Northern soul" style beat lends itself to a packed and sweaty dancefloor.
The B side "Too Young for Love" a raw mid-tempo and earlier sounding demo track has been unknown until now but we thought a nice contrast to the A side being another unreleased track.

The acetate had been in the possession of John Stiles who produced it and was subsequently unearthed by Funkphiladelphia who originally offered an unmastered copy on itunes in order to help the wife of Mr. Stiles who was having financial difficulties at the time. I was championing the track at “The Boat Club” in Nottingham for quite a while and after some negotiation Eddie was keen to see a release and due to the lack of performance work due to Covid-19 it seemed the perfect time to put it out on vinyl and help the artist and the producers family. For the first time anywhere, coupled with the track “Too Young For Love” which Eddie provided to us it really seemed like a “Win Win” project.
I have fond memories of seeing Eddie perform live back in the 80s at “Top of The World” Stafford amongst others and the opportunity to release tracks from a Northern soul legend is a massive honour for Soul-Direction Records.

 
Eddie Holman
Born June 3, 1946, Eddie started singing at the age of two, Eddie Holman's venture into show business began after his family relocated to New York City from Norfolk, Virginia in 1954, when he was eight years of age. It was there that his mother exposed her child prodigy to the piano, guitar, singing, and the performing arts in and around the bustling city.
In 1962, Holman made his first record, "What You Don’t Know Won’t Hurt You" on Leopard Records.
Later while attending university, Eddie's ultimate dream materialized with the release of the first of a caravan of charted hit-songs: "This Can't Be True, Girl." 
This musical selection heralded the beginning of a collection of prolific love ballads that would provide a rock-solid foundation for the launching of his illustrious career.
Eddie continued to record for Cameo Parkway amongst other labels including Bell and then arguably his biggest hit with ABC in 1970 with "Hey There, Lonely Girl"
Eddie has performed many times to adoring fans on the Northern soul scene and continues to perform all over the UK, Europe and beyond.
The Soul-Direction Team
 

By Manfromsoul45s in Source Archives ·

Sandy Hollis : The Lost Detroit Soulstress Found

Sandy Hollis : Lost Detroit Soulstress Found.
In 2008 Soul Junction Records issued a cd album project on the Detroit group, The Falcons entitled “Good, Good Feelings” which featured their entire Big Wheel label output. The album also featured both sides of the then unknown artist Sandy Hollis’s Big Wheel 45 “I’m Tempted/Tables Will Turn” which incidentally featured The Falcon’s on backing vocals. Now having spent many years tracking down artists in the pursuit of records and master tapes it made a welcome change when one tracked me down.
During 2018, out of the blue I received an e-mail via the Soul Junction website from a mysterious Dr Barbara R. Weems congratulating the label on exposing her solo 45 release to a worldwide audience and politely asking if she could purchase some copies of the aforementioned album to give to her children as a memento of her younger days as a performing artist. So after curiously replying to the e-mail, came the following revelation that the aforementioned Dr Barbara Weems was none other than the former Big Wheel recording artist, Sandy Hollis! So after agreeing to be interviewed Barbara a.k.a Sandy Hollis life story began to unfold:
 

Barbara Ruth Harris was born in Tallassee, Alabama during 1942, due to her birth parents never cementing their relationship Barbara was adopted and raised by her Grandmother, Lizzie Harris.
Although she briefly joined her birth father between the ages of 9 and 10, she was later forced to return to her grandmother in Tallassee as a ward of the Alabama State Adoption services. Upon reaching the age of 18 and graduating from High School her mother came south and took her back to Detroit. Once in the Motor City, Barbara’s first job was as a Soda-Jerker, the name given to a person usually a young teenager who operated the Soda fountain in the local Drug Store. Barbara would later marry her first husband, Jerry Weems, during 1962 reared two sons Steven and Gregory. Although Jerry and Barbara later divorced, she continued to use the surname of Weems.
 

Between several day jobs, Barbara was a member of a all girl’s singing group, ‘The Wonderettes’ who mainly performed at local Sock Hops. During 1964 The Wonderettes with Barbara in their line-up recorded their first 45 single entitled “Work Out Fine/Love’s Got A Hold On Me” for local Detroit record distributor Bobby Schwartz’s Enterprise label. Barbara would leave the group during the same year, with the remaining 3 girls Joan Rutledge, Lavernah Williams and Rose Johnson (Later known as Rose St. John) going onto record The Northern Soul Classic “I Feel Strange/ Wait Until Tonight” also for Bobby Schwartz’s Local Ruby label (later leased to United Artists) followed by their two other notable releases, both credited as Rose St. John And The Wonderettes “Mend My Broken Heart/And If I Had My Way” again on United Artists followed by “I Know The Meaning/Fool Don’t Laugh” this time on the U.A subsidiary label Veep. The Wonderettes are also credited as backing vocalists on Johnnie Mae Mathews “Cut Me Loose”, Art and Atco labels respectively. They also featured, although uncredited as the backing vocalists on fellow stablemate Sam E. Solo’s “Tears Keep Falling/Love Is Not A Game” also released on Ruby and later U.A’s subsidiary Imperial label. It is believed that a young singer by the name of Alton Holliwell also played some part in the forming of The Wonderettes.
Alton ‘Bart’ Holliwell was best known initially for being a member of the vocal male Doo-Wop group, The Fabulous Playboys whom he had joined to replace their original bass vocalist Frank Holt. The other Fabulous Playboys members were Carlis “Sonny” Munro (Lead), James “Ooh Wee” Gibson (First Tenor) and Johnny Alvin (Second Tenor and Baritone). The Fabulous Playboys were later recruited by the Lupine label owner Robert West, the former manager of the original Falcon’s which had at various times featured Joe Stubbs, Mack Rice, Eddie Floyd and later Wilson Pickett. Following the break-up of this version of the Falcons, West recruited The Fabulous Playboys and in doing so persuaded them to take over the name and contractual obligations of the original Falcons. This new look Falcons recorded the Lupine 45 “Has It Happened To You Yet/Lonely Nights” as well as providing backing vocals on other Lupine artist’s releases. During 1966 Robert West was shot, but not killed. The severity of his injuries brought Lupine records to a halt. The Falcon’s were now without a label or manager when in stepped Frank Kosian, a former employee of Shaw’s Management company in New York and his new venture the Big Wheel label. Kosian financed the group’s first session under his command at Golden World Studio’s which yielded their 2 million plus seller “Standing On Guard/I Can’t Help It” and “(I’m A Fool I Must Love You)” under the direction of Dale Warren.
 
 
In a follow up session, a further Big Wheel 45 release was recorded by a little known 24 year old girl singer, Sandy Hollis, entitled, “I’m Tempted/Tables Will Turn”. Both sides featured the Falcon’s on backing vocals with the A-side being more of a duet, due to the emotional vocal interchanges between Sandy and Alton. While on the b-side, Sandy’s excellent dramatic vocals stand out in their own right. The story behind Barbara using the pseudonym Sandy Hollis came about as follows, Barbara by then, was in a relationship with Alton Holliwell and it was he who introduced Barbara’s vocal talents to Frank Kosian with Frank deciding to record the aforementioned 45 on her. It was also Alton who came up with the idea of using the name of Sandy Hollis which was a abbreviation of Cassandra Holliwell the name of his new born niece. As good as Sandy’s record was and still is, it suffered from being under promoted with Kosian throwing all his promotional weight behind The Falcons and his other more established Detroit soulstress Betty La Vette on her raucous Big Wheel outing “I’m Holding On”.Barbara, still using the performing name of Sandy Hollis continued to work on the Detroit Club/Lounge circuit mainly performing standards of the day, before joining Motown Records in a secretarial position, without ever mentioning her earlier attempts at a recording career I might add.
After attending University, she graduated as a Professor of Communication and a Speech Pathologist. She later inherited a property in Las Vegas from her birth father where she spends her winters, returning to Detroit during the summer months. Barbara has always used the name Barbara R. Weems for her research and professional work that has been published in several notable journals. She also became a fiction writer and has published two novels thus far entitled, “Finding Home” and “Grace Is Sufficient” with a third on the way, for which she still uses the pseudonym of ‘Sandi Hollis’ (but now substituting the letter y with an i). Although first retiring in 1992/93, Barbara soon returned as a Speech Pathologist serving young children, with another three attempts at retirement to follow. Barbara later remarried for a second time to Bruce Mitchell, again divorcing. From a later nine year relationship Barbara has a daughter Erin, who is married to an Englishman and currently lives in Christchurch, Dorset, England, which means Barbara has become a regular visitor to the UK in recent times (pre Covid pandemic that is). Erin has continued in her mother’s footsteps to this day as a jazz /blues singer. Barbara would like to add: “The Sandy Hollis years were some of the most enjoyable times of my very fulfilled life. As a performing artist hearing the applause and seeing the joy on the smiling faces of my audience it made it all the more worthwhile … humm … perhaps it’s time to revive Sandy Hollis “.

Words By: David Welding
With acknowledgements to: Dr Barbara R. Weems
Photographs courtesy of: Dr Barbara R. Weems

 
 
 
By Chalky in Artists ·

Merry Christmas & Happy New Year 2021

While the phase 'strange times indeed' has never seemed more suited, would just like to take a moment and pass on our seasonal greetings to all our members on behalf of all the Soul Source team...
A Merry Christmas and A Happy New Year to all
Have a wonderful time and as they say stay safe!
Best Wishes
Soul Source Team
 
 
 
By Mike in Source Archives ·

Digital - VA Record Kicks Breaks and Beats - Out Today

Today Record Kicks releases "Breaks and Beats":
funk breaks & hot instrumentals.

Record Kicks proudly presents "Breaks and Beats", the new digital compilation made up of some of the funkiest instrumental cuts of the RK catalogue and available from Today on all digital platforms.

At Record Kicks we live for funky breaks and hot instrumentals, we have a reputation for that, with our catalogue being sampled by quite a few rap superstars such as Jay-Z, Tyler The Creator and Dr. Dre. With "Record Kicks Breaks and Beats", the new instalment of our digital compilation series, we've dug into our funky vaults to bring you a new collection made with some of the hottest instrumental tracks of the catalogue. Expect 12 tracks full of exclusive killer breaks and infectious beats brought to you by the very best of our roster.

Featuring Baby Charles, Calibro 35, Third Coast Kings, Hannah Williams & The Affirmations, Dojo Cuts, Tanika Charles and many more! 12 hard hitting tracks yet to be sampled, you dig it!?
Listen in full (log in )
https://music.apple.com/it/album/record-kicks-breaks-and-beats/1542410201
By Mike in Source Archives ·

Advert via Google


Configure browser push notifications
Chrome (Android)
  1. Tap the lock icon next to the address bar.
  2. Tap Permissions → Notifications.
  3. Adjust your preference.
Chrome (Desktop)
  1. Click the padlock icon in the address bar.
  2. Select Site settings.
  3. Find Notifications and adjust your preference.