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.

Indie record label, Continued Sound, announces its first 7" vinyl release with the reissue of an unspeakably rare rock and soul-tinged single from 1973 by Kip Carmen, a Native American R&B artist from Huntington, New York. The record features two original songs ("That's Enough For Me" and "Loving in the Morning") recorded in NYC with veteran producer Bob Morgan (known for his work with Bobby Vinton and Marcos Valle) shortly before Kip signed with Hi Records in Memphis.
Fans of garage and northern soul may recognize the song "That's Enough For Me" from the psych-influenced cover by a band called Compass issued on True Love Records. But Kip's original version with The New Frontier, his backing band at the time, captures the authentic 70s magic and energy of a young R&B artist who refused to be put in a box. "I was so happy to record this song the way I wrote it," Kip remembers. "To have it released on record was freedom."
The songs are available to stream as part of a longer collection titled "Kip Carmen: That's Enough For Me (Singles and Unreleased Recordings)" and the single is out now. The 7" will be available in limited edition colored vinyl (orange with black smoke) and standard black vinyl. Look for it at continuedsound.com and in record shops across the US, Japan, UK and Europe.

By Continued Sound in New Releases · April 21Apr 21

We Were There: How Black culture, resistance and community shaped modern Britain by Lanre Bakare (Author)
Out today (17 April 2025) via Kindle, Hardback and Audible formats
Site note
Check out the Kindle preview (at end) or the Audible preview (below) which details the author's experience while viewing Tony Palmers 'This England' 1977 Granda Tv Northern Soul documentary which is explored further in the first chapter 'Chapter 1: Northern Souls – 1977'
Audible Preview
Tap here to listen to Audible Preview (5 min)
Release notes
We Were There is about a Black Britain that for too long has been unknown and unexplored – the one that exists beyond London.

'A vital corrective that enhances our understanding of black British history' STEVE MCQUEEN
'Utterly brilliant' DIPO FALOYIN
'Captivated me from the first page' PRAGYA AGARWAL
'Essential reading' EKOW ESHUN

From the late 1970s to the early 1990s Britain was in tumult: rocked by Margaret Thatcher’s radical economic policy, the rise of the National Front, widespread civil unrest. With anti-immigration policies in the political mainstream, Black lives were on the frontline of a racial reckoning. But it was also a time of unrivalled Black cultural creation, organising and resistance. This was the crucible in which modern Britain came into existence.

We Were There brings into the spotlight for the first time extraordinary Black lives in once-rich cities now home to failing industries: the foundries of Birmingham, the docks of Liverpool and Cardiff, the mills of Bradford. We are in Wigan, Wolverhampton, Manchester and the green expanse of the British countryside. We meet feminists and Rastafarians, academics and pan-Africanists, environmental campaigners and rugby-league superstars; witness landmark campaigns against miscarriages of justice; encounter radical groups of artists and pioneering thinkers; tread dancefloors that hosted Northern Soul all-nighters and the birth of Acid House.

Together, these voices and stories rewrite our idea of Black British culture. London was only ever part of the picture – We Were There is about incorporating a vastly broader range of Black Britons into the fabric of our national story.

Alive with energy and purpose, We Were There decisively expands our sense of who we are. Confronting, joyful and thrilling, this is a profoundly important new portrait of modern Britain.

Kindle Link
https://amzn.to/4ims0t0
Hardcover Link
https://amzn.to/3GbAkOJ
Guardian Review
https://www.theguardian.com/books/2025/apr/16/we-were-there-by-lanre-bakare-review-reimagining-black-britain

Contents
About the Author
Introduction
1. Northern Souls - 1977
2. Free George Lindo Bradford, 1978
3. Jah Warriors - Birmingham, 1979
4. The Ghost of William Huskisson - Liverpool, 1081
5. Black Art an'done Wolverhampton. 1982
6. The Black Door - Manchester, 1086
7. The Last Fort-1087
8. The Myth and The Bay. Cardiff-1988
9. The English Disease. Edinburgh-1989
10. People of the Future 1990
We Were There: Coda
End Notes
Acknowledgements
Credits

books

By Mike in New Releases · April 17Apr 17

Natasha Watts – Go Slow (Chris Baxter 2025 Rework)/ Right the Wrong (LRK-32)
UK soul favourite Natasha Watts is back on LRK Records with a brand-new 7" 45. On the A-side is Go Slow (Chris Baxter 2025 Rework) – a fresh take on her groove-laden collab with European funk duo Cool Million (Frank Ryle & Rob Hardt), reworked with dancefloors in mind.
On the flip is Right the Wrong – a fan favourite from her LP, now on 45 for the first time. Produced by Mike Patto & Toni Economides, it's a lush, soulful gem that’s been crying out for a 45 release.
Strictly limited to just 300 copies, and with Natasha’s 45s always quick to sell out, this one won’t stick around. Don’t miss it.
https://lrkrecords.bandcamp.com/album/go-slow-rework-right-the-wrong
Go Slow (Rework) / Right The Wrong by Natasha Watts

By Mike in New Releases · April 16Apr 16

The latest issue of this long running informative series courtesy of Ken b aka @Kenb
Northern Connections #39 - Ditalians, K & S Studio & Saxony
This article is about shining a new light on key associations of Saxony like the Ditalians, and a couple more of its
artists. From time-to-time, It does refer to Saxony Artists and staffers that are covered elsewhere, but only when I
believe I'm presenting new information

As always you can check out all Kens other quality 38 Northern Connections and more via his 'activity' profile page, via the link below...
https://www.soul-source.co.uk/profile/37754-kenb/content/?type=cms_records5&change_section=1

northern connections

By Kenb in Soul Music Features · April 15Apr 15

Spring is here in the Uk, and that means the latest issue of Soul Up North is out, details below
SOUL UP NORTH - Spring 2025 - Issue 123
This issue contains...
OPENING PAGE : CONTENTS – EDITORIAL & INFO

GOOD TUNES & GREAT GROOVES
Dave Halsall
FUNK IN YO’ FACE – ROY AYERS – POSITIVE VIBES
Howard Priestly
COLLECTOR’S CD – TRACK LISTING
Craig Butler
CHICAGO SOUL
Shane Cox
SOUL SPOTLIGHT – PHILADELPHIA CREATIONS
Steve Guarnori
THE LADIES CHOICE – COLLECTING RARE SOUL
Julie Molloy
ERNEST FRANKLIN – CHICAGO GOSPEL
John Smith
SOUL IN A DIGITAL AGE
John Farrar
SOUL IN PRINT – MAGAZINES & FANZINES (Part 26)
Iain McCartney
THERE’S NOTHING ELSE TO SAY – THE INCREDIBLES
‘This Old Soul Of Mine’
SOUL INSTRUMENTALS
Steven Riley
SOULFUL SEVENTIES SPINS aka ‘COSBY’S CHESTNUTS’
Bob Cosby
COLLECTING BRITISH
Lord Snooty
THE TWILIGHTS TO THE DELIGHTS & BEYOND
Dave Welding
LITTLE SILVER DISCS
Howard E
HOT OFF THE VINYL PRESS
Howard E
LP SPOTLIGHT – ‘ONE MORE CHANCE’ – VARIOUS ARTISTS JAI ALAI
HAYLEY RECORD STORY – 25TH ANNIVERSARY
Rob Moss
FLASHBACK FEATURES – TWOFER TIME
Martyn Bird
SOMETHING OLD-SOMETHING NEW
Diane Naylor
CHICAGO SOUL SPECIAL - THE PENNY LABEL
Shane Cox
A COMMENT FROM THE APE HOUSE – AI & NORTHERN SOUL
Tim Brown
AND FINALLY – DEEP SOUL CORNER
Mike Finbow

Availability
Available now from all the usual stockists including our very own Source Store
Tap here to purchase Soul Up North 123 Spring Issue via our Source Store

By Mike in New Releases · April 13Apr 13

The CAPITOLS - Don't say maybe baby (Rehearsal take) - Up On Top Now - HR037
'Hayley Records 25th Anniversary. 2000 - 2025 'Ain't that something'

Following up on the recent EDWIN STARR release of his alternative take of 'You're my mellow' c/w DETROIT RHYTHM 'Baby you better go go' HR 036, comes
HR 037 The CAPITOLS 'Don't say maybe baby' (Rehearsal take) featuring two vocalists - group members Sammy George and Donald Storball, unlike the released version that only had Donald.
The flip sees the storming 'Up on top now' gain its first release on a 7" single, having only ever been available on a 1984 Solid Smoke album released in USA.

The CAPITOLS - Don't say maybe baby (Rehearsal take)

The CAPITOLS - Up On Top Now

Since the release on 5th April this year, stocks are diminishing quickly so don't dawdle !!
The entire Hayley Records catalogue is available at
www.hayleyrecords.co.uk

By Rob Moss in New Releases · April 10Apr 10

Latest add...
The Secret History of Chicago Music
Soul singer Bobby McClure tried to evolve with the times
He sang in the Soul Stirrers with Sam Cooke, duetted with Fontella Bass, and collaborated with Swamp Dogg, but he always fell short of stardom.
by Steve Krakow March 19, 2025
Get over to
https://chicagoreader.com/music/the-secret-history-of-chicago-music/bobby-mcclure-soul-checker-fontella-cooke-dogg/
for the full article

By Mike in New Releases · April 9Apr 9

RECORDING STUDIO TECHNIQUES – HOW THINGS HAVE EVOLVED
Back in the 60's, recording studios were very different places. The equipment wasn't that sophisticated at all. In fact, some recordings were just made on domestic tape recorders, with the group set up in a garage or similar space. Even professional studios would only have 2 or 4 track 'desk' equipment. As the decade progressed, the desks / studio rooms changed rapidly. But, even though the equipment was changing rapidly, the way many studios operated didn't. Of course, this wasn't true of every studio, but the studios run by the majors certainly stuck to old ways of operating much longer than was necessary. The majors (in the US & UK) also did things a tad more professionally than little indie studios (they had the money required). For example, to improve the acoustics of their studios, they would fix expensive sound deadening tiles to the walls. Indie studios would just collect loads of old egg boxes and nail those to their studio's walls to get a similar effect.
A few years ago, I was chatting with Johnny Pate about his days working for ABC Records in Chicago. He told me that his life was hectic back then because of the volume of artists ABC booked him to work with. His day ran from 9 to 5 with a lunch break. He'd turn up, look at the day's schedule & get straight into things. I asked him about some iconic tracks he was responsible for (Earl Jackson's “Soul Self Satisfaction” for instance) and he could not recollect even having done the session. He just worked with whoever was next on the list, laid down the required number of tracks with them and then it was straight onto the next act. He was committing so many tracks to tape, that many never even escaped from the tape vault. It was a crying shame, that in the 70's, the pencil pushers & finance folk @ ABC decided not to rent additional master tape storage space. Instead they issued instructions just to 'throw away' every tape that just contained unused tracks. Thus, almost every one of ABC's unissued Chicago soul tracks was junked in one go.
Traditional studios in the likes of New York and LA carried on, much like ABC, in their old ways of working. The day (usually) ran from 9 to 5. Producers, arrangers, musicians and the like were all booked ahead of time. Charts were drawn up for every track to be worked on and then the singer/s were brought in when everything else was ready. Before 1965, the track would usually be laid down with everyone in the studio at the same time. Very little 'change' was allowed to occur between the way the track was mapped out to sound and the final master tape version of that song. But sometimes things didn't run to plan. Frank Sinatra was booked for a session at a big studio but failed to show. Jerry Ragavoy was working away in the next room at the studio when an exec came in. He was laying down tracks cheaply on an unknown female soul singer. “We've got a full orchestra going spare, want to make use of them ?” Jerry happily jumped at the chance to 'upscale' his proposed session and thus we got Lorraine Ellison's “Sty With Me Baby” in it's full magnificence (+ the rest of her album).

Of course not every studio operated how the major's big city studios did. Over in Detroit, down in Memphis and Muscle Shoals things unfolded very differently. At the Hitsville studio and in Stax's building (an old movie theatre), the musicians were allowed free run. The session's producers would turn up with a few songs but nothing was set in stone. If the organ player or bass guitarist suggested a song would sound better if it was speeded up or if this riff was added into it, then that would be tried out. Thus, many sessions ended with tracks that sounded radically different to how everyone though they would sound at the start of the day. Booker T and the MG's were just 'messing about' when they came up with the riffs that went on to form “Green Inions”. This improvised way of working was allowed as the track was just going to form the throw away B side of a more thought out and structured tune they'd already laid down. But radio disc jockeys thought differently went presented with copies of the subsequent 45. They ignored the plug side, flipped the record & played the other side. Thus, the results of a last minute throw away jam became a massive selling track by complete mistake.
In the UK, recording studio methods of working were even more archaic. Musicians employed were in the musicians union. Producers had been brought up working on classical music sessions. So the producer, arranger & studio engineer were in total charge, except when the musicians said they weren't. Sessions commenced on time (9am) and ran through till lunch). An hours break was taken and work then continued till 5pm. At that point, everyone packed up and went home. That may have worked OK for disciplined classically trained musicians and singers but rock & rollers weren't like that. But, the studio only knew one way of working and so the 'new boys on the block' had to fall into line. However, it was the pop group guys (& girls) that were making the big profits for the major companies, not the classical recordings they also released. So things had to change, but that change came slowly.
The biggest change came about due to the pressure EMI's biggest selling act decided to exert. The Beatles had started out just like every other pop recording act. They had to do as they were told and work to the established system. But as their work continued to sell right around the world, the group's members realised that it was now them that held the winning hand. If they were half way through a track at 12 noon, they insisted the work to finish it continued. It helped, of course, that their producer was George Martin. He had worked on lots of sessions with comedians so was more used to 'adapting' to meet the day's circumstances. The group soon decided that there must be better ways of working in the studio setting. Things really came to a head on the Beatles 'Revolver' album sessions. The group were starting to experiment by then and broaden the 'sounds' they were recording. Thus, this group that had grown up loving and playing R&B were spreading their wings. The 'Revolver' album was released in August 1966 when the group were at the peak of their power.
Alongside old styled R&B tracks such as “Got To Get You Into My Life” they also wanted to lay down the likes of “Tomorrow Never Knows”. “Got To Get You Into My Life” was done quickly just as if they were playing live in some club or other, but “Tomorrow Never Knows” unfolded in a very different way. Sounds were committed to tape but then the tape was 'messed around with'. It was played more slowly than it had been recorded. It was played quicker, each set of sounds being captured on a new tape. The tape was then taken out of the player and stretched across the room. It was held in place by people holding up pencils and run around these. The master tape was then set in motion through the machine and the weird sounds created re-recorded onto a new track. There was no way that after having got everyone in place to do this tape spooling, a technician would be allowed to say “HEY, LET'S BREAK FOR LUNCH”. But that was a common practise before this session. The Beatles were like Gods at the time for EMI and so the technicians just had to buckle down and keep working till they were allowed to take their break.
In similar fashion, if one or more of the group was in full creative mode during a session, it didn't matter if the clock stuck 5, the session would continue until one of the group decided it was time to go home. Once the mold had been broken, there was no chance of putting the genie back in the bottle. Of course, this is how things had always operated in Motown's, Stax's and Fame's studios. It made sound commercial sense to keep going if a musical masterpiece was being worked on, whether it was 10am, 5.30pm or 11pm. At Motown, if someone like Berry, Smokey or Lamont Dozier had what he thought was a great idea for a song; the musicians would be given a call even if it was 2am. Of course, writers. producers, arrangers, musicians & singers also had lives outside of the studio, so not every call to arms was acted on. But with 24+ tracks now available on a master tape, as long as most of the required personnel turned up, the missing pieces could be added at a later time. Thus all the separate elements required for a fully finished recording would be captured onto tape.
By the mid 60's, technology had moved on. It was no longer considered adequate to have just 2 or 4 track machines on recording desks. Things had developed rapidly and it was now 24, 36 or 60 track machines that were being introduced in studios. Thus, sessions no longer had to unfold 'live.' The backing musicians could turn up separately and lay down a musical accompaniment for various tunes. Different backing singers could be utilised and their efforts committed to the tape too. Then the actual artist would be brought in (or a number of different artists in succession) and their lead vocals would be laid down. The studio engineer had become more important as he had to ensure all these separate parts were captured on the tape. The studio engineer had always kept recording levels at suitable volumes to ensure the sounds captured never sent the equipment involved up into the red zone. But this was no longer what everyone required. Pop, soul & rock acts utilised 'distortion' in their live shows and wanted this practise to also spread to their studio work. Thus groups such as the Who were pushing these boundaries during their studio sessions.
Other things were having to change too. Pop bands were used to heading out daily to undertake live shows. At these, they would set up their own equipment & instruments. A sound check would be performed ahead of the actual show & things sorted out to ensure the whole ensemble sounded good for their audiences. Thus the drummer, keyboard guy, guitar & bass player would all know how to mic up their instrument and which amplifier was best for the particular sound they desired. Over many months of setting-up in various different types of hall / venue, they'd learn what worked the best. But when they went into the studio, the technicians there insisted they knew better - where and how close each mic should be placed, etc. The sessions would unfold with the final track being committed to tape. The band would then listen back and soon discover that the sound they had wanted to achieve wasn't there. The likes of Eric Clapton soon got very shirty with the studio technicians. The technicians would insist the mic was set up 6 inches from his amp. He'd tell them that was completely wrong but they weren't used to having to listen. Of course, soon Eric had more sway than the technicians did, so the equipment was set up how Eric wanted it. That way, a Cream studio session would end up with recordings that sounded more like the band when they played live.
So, lots of vastly different sounds were being created in studio sessions in the 2nd half of the 60's. Because of this, alongside the singer / group themselves, the producer / sound mixer took on a much more important role. The likes of Phil Spector with his 'Wall of Sound' techniques had pushed recording boundaries a few years earlier. But now almost anything went. Studio tracks were now being manipulated / mixed such that it was becoming impossible to reproduce live the sound that had been captured on a track's final mix, the one that had gone on to get released. Soul music studios were a bit slower on the uptake. But then soul tracks relied more on the emotion captured on a recording rather than it's overall technical brilliance. Bum notes from one of the musicians were left in if they occurred on the take that had secured the best vocal performance. Of course, tracks were now being 'cut & spliced' even on soul sessions. Thus the first verse of take 3 would be chopped into the mid section of take 6 with the lead vocals from take 11 being superimposed over everything.

With this 'mix & match' system now becoming common place, the engineer at the sound desk and the producer took on more important roles. A 'finished track' might be worked on for many hours after the musicians / singers had all packed up and gone about the rest of their lives. In fact, by the mid 70's, there would be no such thing as the definitive & final version of a recorded song. The 're-mix' wizard would be called in and in no time there would be a 7” radio version, a 7” club version, a 12” monologue version, a 12” disco version, an 'instrumental only' version. Many tunes were being made available in 5 or 6 different styles – one being just 3 minutes 15 secs in length, while another version might run to a full 8 minutes. As 'mixing 'got more common, sections from an entirely separate old track might be added into the new recording. If the two tracks weren't set at the same BPM, then one (or both) would be manipulated till they did segue seamlessly.
As even more years passed, more & more different versions would be added into the recipe; X rated versions, radio safe versions, versions with an added rap section. Whole new songs would be constructed around a popular riff sampled from an old favourite tune. By the 80's, buying a 12” had become a complicated task. It was no longer safe to just go into the record shop and request a particular track by a certain artist. There would probably be six different 12” releases of the track and you needed to know exactly which remix you wanted to purchase – was the Dance Ritual Mix the one or the Quintero Beats version. So it's evident that the recording process had advanced enormously. What was accepted as a finished track in 1962, would no longer be acceptable. Each added section to a track's master tape back in 62 would have a higher audio level, meaning the first sounds laid down for a particular tune were now muddy and almost lost in the background of the entire concoction. Having more tracks on the master tape eliminated that problem, but introduced new problems.
Back to the early 60's; US major studios (especially in New York) started making big city soul sounds. The likes of Atlantic's producers Leiber & Stoller added strings and a Latin beat to some tracks. These recordings soon became hits and influenced what other studios went on to do. At Motown, Berry Gordy was creating the 'Sound of Young America'. Before long, every soul producer across the US was trying to reproduce that sound. People were sent to Detroit to suss out how that Motown sound was being achieved. Theories about the studio's layout being a major contributor became common place. Lou Ragland was sent over to Detroit by Way Out Records in Cleveland. He visited Hitsville and even got to work in United Sound Studios. He was just there helping out on local Detroit sessions it seemed. But in reality, he was spying for his employers and trying to discover the magic formula. Atlantic wanted their acts to have that 'raw sound' that Stax was achieving, so sent their acts down to Memphis. Stax saw what was happening and banned outside artists from using the studio. So Atlantic moved across to Muscle Shoals (where Chess were also sending their artists). Next up, the Miami sound became the in thing. So, lots of companies (including Atlantic) started sending their acts to cut @ Criteria in Miami. Philly had it's own thing going on, but in reality that sound only really took off in the early 70's.
R&B and then soul started taking off in a big way in the UK. So, beat group covers of US made black tracks became the in thing here. Some producers specialised in getting that sound down on tape in London studios. Before long, they were signing black acts who they knew could get closer to that original American sound than your run of the mill English group. John Schroeder was soon working with the likes of Geno Washington & Ebony Keyes. Peter Meaden also got in on the act; he was responsible for the best UK recorded soul album of all time – Jimmy James & the Vagabonds 'New Religion'. Other UK based black acts were also getting into British studios; the Chants (from Liverpool), Jimmy Cliff (before he switched to reggae), Jackie Edwards, Madeline Bell, Carl Douglas, the Foundations, Herbie Goins, Sonny Childe, Root & Jenny Jackson, etc.The releases of many of these artists failed to make the charts but that was because radio here failed to play list their tracks on a regular basis. The ship based pirate radio stations had done a great job of exposing the 45's put out by both US & UK soul acts. But the UK government soon shut them down and so there was less chance of new 45's by black acts getting decent exposure after summer 1967.

The 1970's brought much change to the world of soul music. The Viet Nam war had resulted in a reduction in love songs being recorded, with social commentary coming more to the fore. Soul was developing a harder sound and 'Jodie' was also beginning to appear as an important theme. The harder sound included the rise of funk and the introduction of psychedelic soul. Norman Whitfield spearheaded a change in the Motown sound but Marvin Gaye and Stevie Wonder soon got in on the act too. 'What's Going On' was a true musical masterpiece, while Stevie had gone off to play 'experimental instruments'. Stevie quickly became Motown's biggest selling artist, though his 70's sound was miles away from his earlier recordings. Soul music now played a crucial role in Civil Rights with artists using their platform to address social issues. Sly Stone had gone from DJing to fronting his band and the sounds he was making quickly became quite influential. Curtis Mayfield went solo and commenced on a new musical path that led to him becoming a movie soundtrack maestro. Down at Stax, Isaac Hayes also started pushing musical boundaries. Across Memphis, Al Green was cutting massive hits, but his sound stuck closer to more traditional soul music sound standards.
Apart from updating equipment to more modern standards, studio techniques on most soul sessions remained much the same. Keyboards such as the Fender Rhodes electric piano were replacing Hammond B3's on many studio sessions. Though recording techniques such as plate reverb and tape compression were employed in some studios. The more sophisticated desk equipment allowed production techniques to expand, with multi-layered vocal harmonies, sophisticated string arrangements, punchy horn sections, and complex percussion patterns becoming the norm. It was the likes of Motown & Philly International that pioneered the more polished tracks of that era. Guys who did push the boundaries included Jimi Hendrix (though he was much more loved by rock fans than by the soul crowd). George Clinton was also seeking a different sound to his 1960's output. At Chess, they had been watching the way UK blues rock groups were beginning to dominate the US & UK album charts. Not wanting to be left behind, they set up Rotary Connection, which Sidney Barnes played a major roll in. R&B and soul acts had, many times, grown up in the church singing gospel music. Lots of R&B songs were derived from an original gospel version. As time passed, the roles were reversed, with gospel acts re-wording hit soul songs to meet their requirements.
Since the 70's, the way studio's worked has continued to evolve. Even gospel acts now normally laid down their tracks in modern recording studios. We now live in a world where artificial intelligence is being used to make tracks. You no longer need real singers or musicians – a computer does everything. I've always dreamed of a world in which Otis Redding got to duet with Lorraine Ellison. This never actually happened, but I may soon be able to obtain a track on which an 'Otis & Lorraine' duet unfolds. Whether that will be a good thing or not, I have no idea. So, recording studios and their output has changed enormously in the last 60+ years. All the changes have resulted in us being getting better quality tracks, but it's highly debatable if the finished tracks are superior. For me, the simple & pure soul sounds that escaped from 1960's studios was music at it's very finest. If the technical qualities of many of those recordings left quite a bit to be desired, it seemed not to matter. Those cuts touched us on an emotional level on a far more regular basis than just about everything we get to hear these days.
Many UK soul fans crave a world where typical 1960's or 1970's track were still being laid down. Unfortunately, they find themselves having been shunted into a siding, the majority of those running recording studios these days not having that same desire. Some British soul fans have even gotten to spend time with the guys who originally ran studio sessions for 1960's / 70's soul sessions. They've discussed, with those present at the time, how particular tracks came about. What the personnel there did and what techniques were employed to arrive at the 'special sound' captured on a particular track. If wonder if they can enlighten us with anything relevant as to how things unfolded during those old 'special' studio sessions.

By Roburt in Soul Music Features · April 5Apr 5

Niters 2025 #" The Next 100 Soul Nighters
Events - The Next 100 Soul Nighters as at April 2025
2025 is here and so a heads up Event Guide Nighter shout for all you nighter types
Direct from our Source Event Guide a dynamic grab of the next upcoming 100 Soul Allnighter Events

Event Links
Event Guide Main Page (tap)
Event Guide Allnighter Section (tap)

event-guide

By Mike in New Releases · April 2Apr 2

Kent have just released 5 new 45s, that's 2 x Select 45s and 3 x Repro 45s, details follow...
Select 45s
Jon Lucien - Search For The Inner Self / We’ve Got Love - Kent Select 99
Search For The Inner Self’, Jon Lucien’s 1971 ethereal, soul masterpiece has gained admirers constantly since its 1971 release. CITY_099-1-1.mp3
‘We’ve Got Love’ is more of an “old school” 60s soul dancer, recorded around the same time, that was not heard until a self-released CD in 1999. It has remained under the radar to all but a few of the cognoscenti. This vinyl debut will earn it many more fans.
CITY_099-2-1.mp3

The Devonnes - (You’d Better) Straighten Up And Fly Right / Doin’ The Gittin Up - Kent Select 100
Larry Banks worked a lot with girl groups in the late 60s, Kent accessed the master tapes some twenty years ago and released all four of their performances.
The catchy dancer ‘Doin’ “The Gittin’ Up”’ first came out on a 100 Club anniversary 45 in 2005 and has been in demand ever since.
CITY_100-2-1.mp3
‘(You’d Better) Straighten Up And Fly Right’ was issued on CD in the same year, but has never made it to vinyl until now. The song was recorded by Terri Bryant on Verve in 1967 and is highly regarded;
this new coupling will be a popular choice.
CITY_100-1-1.mp3

Eddie Parker - I’m Gone / Crying Clown - Repro 23

Regarded as the epitome of Northern Soul by many aficionados, ‘I’m Gone’, by Detroit’s Eddie Parker, captures the adrenalin and anger of a busted relationship and he tells of his determination to start again - elsewhere. The pulsating rhythm matches that anger and producer Jack Ashford, one of Motown’s key Funk Brothers, utilises his percussive know-how to produce such a vital track.
The flip ‘Crying Clown’ is musically and thematically miles away - with heartbreak and sorrow to the fore over a beautiful ballad backing. These are two of the greatest soul recordings from the 1960s.
Hank Jacobs - Elijah Rockin’ With Soul / East Side - Repro 24

Hank Jacobs was an accomplished West coast keyboard player who had an instrumental hit with ‘So Far Away’ in 1964. He became a Los Angeles session man who worked on many recording sessions with arranger Arthur Wright with whom he had four releases on Alton Scott’s Call Me label.
‘Elijah Rockin’ With Soul’ created a buzz on the UK soul scene and its urgent beat was perfect for Northern Soul dancefloors. The recording session was augmented by the cream of LA’s musicians.
The uber-cool ‘East Side’ with its mid-tempo groove was initially his best-known track, having been appreciated by the Lowrider and Popcorn scenes since its release.
Larry Atkins - Ain’t That Love Enough / Lighten Up - Repro 25
The stomping intro to Larry Atkins’ ‘Ain’t That Love Enough’ leads into an excellent soul song by R&B stalwart Kent Harris. His mid-60s soul productions were as good as they come.
The pairing repeated the formula on ‘Lighten Up’ a backing track that Kent also used on his partner Ty Karim’s ‘Lighten Up Baby’. Both sides here are recognised as Northern Soul classics.
Availability
All the above 45s are now available via Ace Records website (tap here), and various record stores including our very own Source Store (tap here)

By Mike in New Releases · March 30Mar 30

News on a new project...
Ace Records & Acid Jazz present Spring Revisited
From the web site
Two iconic British record labels join forces to celebrate
the musical legacy of Spring Records
Founded 1967 in New York, Spring Records became known for its contributions to soul, funk and R&B music in the 70’s and early 80’s. The label carved a niche in the music scene with its unique roster of artists including Millie Jackson, Fatback Band and Joe Simon who left a lasting legacy with music fans that still echoes today. Spring Records continues to influence and inspire today’s creators with both the sound and aesthetics of the music.
Since acquiring the Spring Records catalog in 1988, Ace Records has built further on Spring’s legacy - through restoring and remastering the original master tapes, meticulously curating and crafting new albums while also unveiling previously unknown recordings from the vast Spring archives.
Now the time has come to re-introduce some of these timeless tracks to a new generation of music fans.
By initiating a strategic collaboration between the two iconic UK indie labels Ace Records and Acid Jazz Records, Cosmos Music is now launching SPRING REVISITED.
The first Spring Revisited release is Dimitri From Paris’ brilliant new version of Millie Jackson’s ‘We Gotta Hit It Off’, which he has rebuilt from ground up using the original 24 track master from 1979. Additional mixes of the song from Opolopo will follow, giving two unique takes on a New York club classic and all of them will be released on a limited 12” on Acid Jazz in May.
Full info via
https://www.springrevisited.com/

By Mike in New Releases · March 28Mar 28

25th Anniversary Hayley Records story.
A recollection.
by founder Rob Moss.

I first visited Detroit around 1990. I was living in Vancouver at the time working for Much Music, the Canadian equivalent of MTV, as an on air presenter on the West Coast affiliate, Much West. I happened on an article in a music trade journal about the release of a book dedicated to the life and times of Motown bass player James Jamerson by a guy named ‘Dr. Licks’, called ‘Standing in the Shadows of Motown’ After purchasing the book from the author I began to communicate with him, first by mail and then by ‘phone. Through his contacts with various members of the Motown studio band he was able to introduce me to my main music hero in Detroit, Andrew ‘Mike’ Terry, erstwhile baritone sax player on thousands of sessions for a variety of different labels, noted arranger, producer and songwriter. I travelled from Vancouver to Detroit to meet Mike, who was a gracious host, not only guiding me around the various studio locations but introducing me to many of his contemporaries from the halcyon days of Motown, Golden World, United Sound and the like.
As the 1990s progressed I became a regular visitor to the city, enlarging my circle of musical contacts and friends, whilst being introduced to a great deal of previously unreleased material. The prime mover in the creation of Hayley Records was former Motown producer and songwriter Clarence ‘Clay’ McMurray, who had set up his own studio in Detroit, having just returned from Motown in Los Angeles with the intention of launching his own ‘My Town’ label and production company.Having been introduced to some fantastic material that Clay had recorded in LA in the 1970s but never issued commercially, while he was working for Motown, I was able to gain release rights to two of them - ‘Ain’t that something’ by Lyn Varnado and ‘Show and tell’ by Charles Brimmer. I originally thought that material of this quality should not be lost in the mists of time or forgotten in some dingy basement, and so thought I would present it to a soul based company in UK for release. The only problem was that, at that time, there were NO independent companies who released previously unissued soul material of any ilk. I decided to release it myself but did not have a clue how to begin, let alone progress.

Thankfully, in 2000 I was introduced to Glen Gunton of Joe Boy Records in the UK, who was in the early stages of developing his own operation and knew a great deal about vinyl release, cd manufacture and artwork creation. The first two releases were the aforementioned songs provided by Clay, but without any label name or logo design.They were printed in very small numbers as white label pressings, although they did have a numbered matrix. This was a ‘test’ process, to get my feet wet, more than anything else. Glen had named his company after his son, Joe, which prompted me to follow suit and call my label ‘Hayley’ after my daughter. It so happened that the name ‘Hayley’ was very similar to one of the early Motown related labels ‘Harvey’ and so, with some very creative amendments, we designed a label with a similar colour scheme and added a 'by line' from the second release - ‘Ain’t that something’. From the outset it was decided to limit each release to 300 copies in total, of which 25 would be promo copies, and not to manufacture any more should stock sell out.

Hayley Records 25th Anniversary Part One - A short selection of some of the fantastic, previously unreleased tunes issued by Hayley Records over the past 25 years.
Our first 'official' vinyl release was in 2001, an unreleased track by The Just Brothers I was given by group member Frank Bryant in the form of a battered seven inch acetate called 'Honey'.It had been recorded during the same session as 'Sliced tomatoes' for Lu Pine Records and also had 'Things will get better' on the flip.The technical brilliance of the sound engineers, entrusted to transcribe what was on the acetate into a completed record, is one of the great wonders of the music world. Permission to place 'Carlena', by the Just Brothers, on the flip came from the song's writer, Don Juan Mancha. Turns out it was dedicated to his wife at the time, Carlene, but had to have another syllable,'a',added to fit the cadence of the song. Having gained knowledge of the 'Hayley project', as it became known, Don provided our next release, the magnificent 'My feelings keep getting in the way' by Lorretta Kendrick which he had written and recorded with her in the early 1970s. He fondly recalled hearing her sing in Detroit for the first time, and being so impressed with her talent, that he arranged a recording session with Clarence Paul in Los Angeles. Though the recording was never released, Lorretta Kendrick eventually moved to California and joined The Naturelles, as their lead singer. The fifth release came from a chance meeting with sound engineer Ken Sands at Clay McMurray's 'My Town' studio on Livernois Avenue in Detroit around 2003, who happened to have some tapes with him that he was willing to sell. Of most interest were two instrumental tracks that he had worked on back in the late 1960s but couldn't recall titles or intended artists. He didn't disclose where they were recorded either, which meant that we would have to create all the release information ourselves. They were eventually released by Thunderbird Sound as 'In heaven and on earth' and 'Our finest hour'. It was only years later that it turned out that they were actually unreleased Motown backing tracks for 'Shake hands with a dreamer' for Jimmy Ruffin and '(At last) I found a true love' by Chuck Jackson.

Hayley Records 25th Anniversary Part Two - A few more samples of the superb, previously unissued tracks released by Hayley Records over the past 25 years.
I first met JJ Barnes around 1995 when Mike Terry took me to his house. We would always meet up whenever I was in town, but it wasn't until the early Noughties that we got to talk about the song '(I believe in) love at first sight', that he'd written back in 1975. The recorded version by former Fantastic Four frontman 'Sweet' James Epps surfaced in 1983 on Motorpool Records but JJ's original recording remained unreleased and undiscovered.When he eventually found the tape at his house, he was certain that it was only the backing track, as marked on the box, that had survived. The elation felt when his vocal kicked in was palpable. Also on the tape was the full over seven minute version of 'I think I've got a good chance' which was eventually edited to provide the flip side of the vinyl record.In the same year (2004), Clay came up with another recording he had made during his time in California - Jimmy Ruffin's superb version of Tony Clarke's 'The entertainer'.When the single was released, we foolishly omitted a novel, circus like announcement, with crowd noises, proclaiming Jimmy Ruffin's greatness! Now lost forever. Throughout the '60s and '70s Don Juan Mancha travelled widely across America to record sessions in many cities,establishing an impressive array of contacts and compadres, who would often pitch various recordings, or potential projects, to him for promotion or placement. One of these came from songstress Cindy Scott in Philadelphia, in the form of two songs by Dathan Jones, her boyfriend at the time. His take on Stevie Wonder's 'Contract on love' backed with 'Mysterious desire' became our eigth release. Don Mancha would make another significant contribution a year or so later, when he provided two previously unreleased tunes by Sy Hightower, through contacts he had made in Miami. 'I wonder why' and 'Go back baby' sold out rapidly. The next two releases finally made Charles Brimmer's 'Show and tell' and Lyn Varnado's 'Ain't that something' officially available. Fortunately, an instrumental version of 'Show and tell' by Love 'n Comfort Orchestra was placed on the flip, while Lyn Varnado's 'Wash and wear' love accompanied her release.

Hayley Records 25th Anniversary Part Three
In 2006 I was fortunate enough to be introduced to Almeta Latimore by the producer of her exquisite 'These memories', Leonard Jones. He had managed and operated Fast Track studios in Novi, MI where Almeta had recorded along with Dramatic Experience (The Dramatics), Sugar Billy, the Steptones, John Freeman, Final Decisions and others. A few years later he provided our fifteenth release by the Final Decisions 'I don't feel no pain' which had been left in the can since the 1975 recording. Almeta was genuinely surprised that her record was popular in the UK, and, as if to call my bluff, agreed to perform along with Bobby Taylor, Chris Clark, Pat Lewis, Tommy Good and the Falcons on the 2006 Soul Weekender in Northampton. She insisted that 'These memories' be available to accompany her appearance and gave permission for it, and a recording she had made with George McGregor 'La la', to be released on our label. Her foresight proved to be significant and her performance scintillating. Throughout most of the 1990s and into the noughties, I would visit Detroit two or three times a year. There were certain people I would always call in on - Frank Garcia and Emanuel Laskey were particular favourites because I'd known them both from the start. Frank had been connected to United Sound when Don Davis took possession and had access to the tape library there, as well as being a musician and singer in his own right from the late 1960s.

Much of the material at his disposal was of no use to anyone and had been ignored and forgotten about. With this in mind, he was able to provide several tracks from master tapes that became Hayley releases including the two 1970s Tony Hester tracks, 'Come out of your thing' and ' Nothing can stop me from loving you' and his unreleased version of 'Keep a hold on me' from the 1960s. From Thelma Records Frank provided a previously unreleased Jimmy Gilford recording, 'All over and done' as well as a duet Gilford recorded with Jimmy Scruggs, 'Don't let me lose it' and a future release - Pat Smith 'Whirlpool'. Frank's contribution to the label was invaluable especially when he made JJ Barnes' 'Lucille', Steve Mancha's version of 'Girl have pity', the Perfections take on Tony Hester's 'Just can't leave you', Bobby Sheppard's 'Surely' and Pat Lewis version of 'Genie' available for release. Although he passed away several years ago Francisco (Frank) Garcia will always have a treasured position in the Hayley Records story and will never be forgotten. The same can also be said for one of Frank's closest friends, Emanuel Laskey. The first hand information he provided about the Detroit music scene in the 1960s was far ranging and comprehensive, especially when he recalled recording sessions, 'live' appearances around the city and the state and the radio and television personalities he worked with. Emanuel's friendship with Marvin Gaye stretched back to the mid 1960s and in the early 1970s they worked together on a recording project that produced two singles, part written by Marvin himself. '(Put you name) in the hall of fame' and 'A different kind of different' by Emanuel Laskey became Hayley's thirteenth release. Ironically one of Emanuel's first producers when he worked at Thelma Records, Clay McMurray, provided our fourteenth release on his wife, Karen Pree whom he had met in California in the early 1970s during his stint with Motown (West). 'Can't help loving (the one who's loving me)' is a jaunty dancer that would have surely been a hit if released. The flip however is a beautiful ballad written by Clay for her - 'You've gotten to me'. A love song for all seasons.

Hayley Records 25th Anniversary Part Four - More extracts from some of the best, unreleased Detroit diamonds within the Hayley Records catalogue over the past 25 years
Around 2014 I was destined to meet a multi talented musical tour de force who would contribute more to our project than anyone else. Dr. Ed Wolfrum was an internationally renowned sound engineer who had worked at Motown, Golden World, United Sound and many other studios around Detroit and throughout the United States. He not only recorded the bulk of Detroit artists but built much of the equipment used to record them. As our friendship developed he disclosed a sizeable archive of unreleased material that had either been disgarded at the time of recording, retained by the studio for non payment of fees or simply forgotten about. Over the following years Ed provided material by Deon Jackson, JJ Barnes, Barbara Mercer, Popcorn Wylie,Rose Battiste,the Stylists, Tony Hester, Jimmy Delphs, Sharon McMahan,Carolyn Franklin, the Dramatics, the Capitols and Edwin Starr that gained a release on the label, as well as many instrumental backing tracks. His dedicated sense of historical preservation ensured that this material was saved to be enjoyed, not casually disgarded like so many other recordings in Detroit, that were lost forever. Ed frequently referred to this archive material as 'wasted extras', a name he got from producer Ollie McLaughlin who recorded extensively at Golden World and United Sound throughout the mid and late 1960s, and was involved in the recording of a large number of the unreleased sessions Ed Wolfrum made available.

Hayley Records 25th Anniversary Part Five - A selection of some of the most soulful slowies from the Hayley catalogue.

To date Hayley has released 36 vinyl singles and one album, 'Detroit. My home town' but another album is planned for 2025 and several more singles by Pat Lewis, Steve Mancha, Karen Pree, Andrea Henry, Juanita Williams, Emanuel Laskey, Pat Smith, Two Minute Warning and others are in the pipeline. As part of our 25th Anniversary celebrations a special single will be released sometime in 2025 featuring our first two releases Charles Brimmer 'Show and tell' b/w Lyn Varnado 'Ain't that something'. Plenty to look forward to.
Hayley Records Website
http://www.hayleyrecords.co.uk/

By Rob Moss in Soul Music Features · March 26Mar 26

Details just posted up in our Source Event Guide
The Last Ever Kings Hall Stoke All Nighter
Sat 19 Sep 2026, 20:00
Event Description
The 30th Anniversary All Nighter at this historic venue comes to an end with Goldsoul.
We arrived in 1996, before the regular Togetherness niters kicked in 1997.
TWO ROOMS: Main featuring 8 DJs The Windsor with 4 DJs
Tickets on sale from early April 2025 (£10 very limited until 30/4/25) £15(until 31/12/25) £20 thereafter
A totally stunning night with Special Guests, a Free commemorative patch with the Greatest Music ever in a sensational venue
Goldsoul ends its All Nighters after 30 years
Event Guide Link
https://www.soul-source.co.uk/events/event/85845-the-last-ever-kings-hall-stoke-all-nighter/

By Mike in New Releases · March 25Mar 25

Details land on an upcoming vinyl addition to the Numero Groups Eccentric Soul series...
Eccentric Soul - Eccentric Modern Soul NUM 520
Label Words
The Eccentric Playlist series spins on. Think of these as little mixtapes from us to you highlighting our favorite soul sections packaged up on heavyweight wax - a DJ's Delight. A fantastic record that makes a night in sound like a night out. This dazzling 11-track journey through the rich, handpicked gems of Numero’s finest "Modern Soul". Blending the timeless warmth of classic with a fresh, modern twist... modern being 1980s lol.
Tracks
A1 Mind & Matter - I'm Under Your Spell
A2 Ujima - Maybe
A3 Cosmos Universal Band - Third Eye
A4 94 East - If You See Me
A5 Crystal's Image - A Friend
A6 Arabi - Times Three

B1 Universal Togetherness Band - Dreamality
B2 Third Rail - Just Had To Tell You
B3 Clifton Dyson, Gwen Matthews - I'm Giving Up
B4 Wind - Best Thing I Can Do (Vocal)
B5 Wee - Take To The Sky

Release Notes
WTF is Modern Soul anyway? Even inside the hallowed halls of the Success Bottling Co., the definition is still a matter of serious debate. It once got physical, when our own Stephen Arndt and Tim Zawada had to be separated during a heated A&R meeting about the track list.
This cold war-style feud began in the UK's Northern Soul scene, when late-'70s disco-adjacent 45s were played alongside more traditional sixties fare. Current parlance places the genre firmly in the '80s, with stray synths and drum machines tolerated, if not outright encouraged.
An existential question emerged: Can strings and synths co-exist? How much brass is too much brass? Is it legal for the falsetto and guitarist to solo at once? Did that guy just slap his bass? Eccentric Modern Soul answers these burning queries and more, compiling eleven party starters onto a crate-ready single LP. Previously unissued heat from Wee, Ujima, and Wind align with Numeroverse mainstays Universal Togetherness Band, Mind & Matter, Maxx Traxx, and 94 East for a 40-minute sweat session. Everything but the club, so that a night in sounds like a night out.
Pre-order: Release date is May 16th - Orders will begin shipping in April!

Purchase/Pre-order via
https://numerogroup.com/products/eccentric-modern-soul

Spotify Playlist (9 hours)

By Mike in New Releases · March 20Mar 20

Carolina Beach Music Compilation Albums: The Classic Years
Details of a new book have just landed here from Rick Simmons
Author Notes
I have published eight books to date, some with the History Press, some with McFarland, and my current book is also with Arcadia/The History Press. My new book which came out in February, and I thought I'd do so. I drew on interviews I'd done over the years with artists such as Gary Barker of the Catalinas, Archie Bell, Norm Burnett of the Tymes, Joe Clinnard of Cannonball, Clifford Curry, Carl Gardner of the Coasters, Ken Houston of the Band of Oz, Ken Knox of the Chairmen of the Board, Bob Kuban of Bob Kuban and the In-Men, Meadowlark Lemon of the Globetrotters, John McElrath of the Swingin’ Medallions, Bobby Moore Jr. of Bobby Moore and the Rhythm Aces, Deacon John Moore, Rob Parissi of Wild Cherry, Wayne Pittman of the O’Kaysions, Charles Pope of the Tams, Jeff Reid of the Fantastic Shakers, Billy Scott of the Georgia Prophets, G.C. Cameron and Bobbie Smith of the Spinners, Ammon Tharp of Bill Deal and Rhondells, Donnie Trexler of Bob Collins and the Fabulous Five, Sonny Turner of the Platters, Brenton Wood, and others.
Release Notes
Carolina beach music – those often-soulful songs about the beach, parties, that special love, dancing, or just relaxing in the sun - has long been a mainstay of culture in the Southeast. Yet until the late 1960s, you needed an impressive collection of 45s if you wanted to hear those songs in your home or at a party. But beginning with Atlantic Records’ Beach Beat in 1967, that music slowly became available on albums from Bell, Warner Brothers, Ripete, and other labels.
Through interviews and first-hand accounts, Carolina Beach Music Compilation Albums: The Classics, examines the stories behind those classic albums, the people who created them, and the artists and songs who contributed to the phenomenon known as Carolina beach music.
Author bio:
Dr. Rick Simmons was previously the George K. Anding Endowed Professor and Director of Honors at Louisiana Tech University. Author of more than 130 published works including eight books, his previous books for the History Press include Carolina Beach Music: The Classic Years (2011), Carolina Beach Music from the 60s to the 80s: The New Wave (2013), as well as two books about music for McFarland Publishers: The Carolina Beach Music Encyclopedia (2018) and 40 Hits, 40 Stories: Behind the Top songs of the 1960s and 70s. He currently lives in Pawleys Island, SC, with his wife Sue, and teaches at the Georgetown School of Arts and Sciences.
Availability
Paperback and Kindle formats
https://www.amazon.com/Carolina-Beach-Music-Compilation-Albums/dp/1467157724/

books

By Mike in New Releases · March 18Mar 18

Soul Direction have a new 45 out, details follow...
Soul Direction Records are please to announce our next release.
Ann Byers – “I’m Not Gonna Cry” / “Your Love Is A Wonderful Thing” – (Soul Direction) SD023
Release Date – 28th March 2025 (Pre Order from 14th March)
Not much is known about Ann Byers as a person, but the Northern Soul scene is well-acquainted with her recordings on the Virtue and Academy labels. From her sparse biography, we know she was born in Philadelphia and began singing in church at the age of three. By the time she was 16, she had recorded her first 45 in 1963. She later made radio, TV, and personal appearances around Philadelphia, New Jersey, and Delaware.
Her television appearances included performances alongside Roy Hamilton, Billy Paul, Bunny Sigler, and The Young Holt Trio, among others. She was also a firm believer in UFOs and had a deep love for ancient history. One of her dreams was to travel to the U.K. on a jet plane, where she hoped to achieve a hit single.
Byers briefly entered the U.K. market in 1975 with the Power Exchange release of “This Man Is Rated-X” and “Gotta Get You Back,” both initially released on Virtue in the U.S. Her early recordings were on The Lyric Label under the name Anne Buyers, with the tracks “Was It Worth the Price” and “Natural Feeling,” and later on the Cougar label as Ann Byers with “Where Have You Gone” and “Talk of The Town,” believed to be released around 1964.
The tracks Ann Byers recorded for Academy in 1964 and 1965 were written by the composing duo Fred Andrew Smith and Phil Hurtt, with production and arrangement by Leroy Lovett. The two featured tracks in this release, “I’m Not Gonna Cry” and “Your Love Is a Wonderful Thing,” include backing vocals by the group Les Tres Femmes.
“Your Love Is a Wonderful Thing” was co-written by Howard Ravitsky and Phil Hurtt, who also wrote the Academy release “I’m Happy Without You,” a much sought-after 45. These two tracks were meant to be Byers’ fourth release on Academy, but unfortunately, the label went out of business in 1967.
Byers also had three releases on the Virtue label around 1975-1976, and her name appears in the writing credits of two releases on the low-budget Fox Century Plaza label from Philadelphia, which operated between 1977 and 1980. While it’s uncertain whether it’s the same Ann Byers, it is likely.
“I’m Not Gonna Cry” resurfaced in the late ‘80s/early ‘90s from the master tapes and received some airplay from DJ’s in the UK before being released on CD around 2000. It reached the test press stage with another label in the late ‘90s but never saw full production. After conversations with Howard Ravitsky, who wished to see the tracks released as they were meant to be, Soul Direction with the help of Dave Louis helped make this a fitting tribute to Ravitsky’s musical legacy.

Recorded at:
Sound Plus Studios, Philadelphia, PA.
Engineer: Tony Luis
Producers: Howard Ravitsky & Phil Hurtt
Backing Singers: Les Tres Femmes on “Love Is A Wonderful Thing”
Musicians:
Guitars: Roland Chambers, Norman Harris
Bass Guitar: Win Winfield
Drums: Karl Chambers
Organ: Pete Dino
Horns: Sam Reed Horn Section
Images

Videos
Ann Byers - I'm Not Gonna Cry - (Soul Direction) SD023A

Ann Byers & Les Tres Femme - You Love Is A Wonderful Thing - (Soul Direction) SD023B

Website
for purchase options and more
https://soul-direction.co.uk/

By Mike in New Releases · March 17Mar 17

News from Daptone
Two New 45s - Thee Sacred Souls & Junior Scaife and a new digital releases from Jalen Ngonda, details below...

Thee Sacred Souls
"My Heart is Drowning" b/w "Stuck in the Mud"

The second 45 from Got a Story to Tell offers up two staff favorites. The moody, mid-tempo mover "My Heart is Drowning" opens with a foreboding, echo-drenched drip that lurks behind singer Josh Lane's tale of a forlorn lover who's past mistakes have left him drowning in despair. "Stuck in the Mud" also leans towards an earlier R&B sound but with a subtle tinge of gospel via the call and response vocals that permeate this impeccably heartfelt composition.

See all upcoming tour dates at https://theesacredsouls.com.

Junior Scaife
"Nobody Gets My Love" b/w "Too Much Too Soon"

Stream "Nobody Gets My Love" now and pre-order the 45, out March 28th.
https://daptone.ffm.to/prs1024.GTQ
Junior Scaife returns with two strikingly soulful sides produced and co-written by Penrose staunchman, Anthony Masino. With its vibey groove and infectious background melody "Nobody Gets My Love" marries the visceral rawness of late sixties Detroit sides ala Hestor and Wylie with a relaxed West Coast je ne sais quoi.

Jalen Ngonda
"Just As Long As We're Together"

Penned at his hometown of Wheaton, Maryland, Jalen Ngonda returns with “Just As Long As We’re Together.” Despite the narrators personal battles and onlookers he is comforted by his lover's affection as his worries along with space and time comes to a halt. Available digitally now.

See all upcoming tour dates at
https://jngonda.com

By Mike in New Releases · March 14Mar 14

The Twilights To The Delights And Beyond:
Press Release:   The Delights   A1 “Listen To Me Girl/B1 Come And Rejoice/B2 Listen To Me (Backing Track)”   SJ561
Released Monday 24th March 2025
The Delights formerly unissued recording “Listen To Me Girl” first made it’s vinyl debut during 2017 when released back to back with Tearra’s modern soul anthem “Just Loving You” (SJ1008).  Having sold out very quickly this release now commands a price of £60.00 a copy. So, with demand still high we have decided to release “Listen To Me Girl” for a second time with the addition of two recently found unissued master tape tracks, which make their vinyl debut as part of this 3 track EP.

The Delights story began in the early 1960’s while as a children’s group from Chester PA. known as ‘The Twilights’ they began entering local talent shows which culminated in a performance at Philadelphia’s prestigious ‘Uptown Theatre’ during 1963. ‘The Twilights’ made their professional recording debut in 1964 for Weldon McDougal III, Johnny Stiles and Luther Randolph’s Harthon Production’s label with “It’s Been So Long/She Put Me Down” (TW-34). A second Twilights 45 came in 1967 “Shipwreck/For The First Time” (TW-35) which sold sufficiently well to be picked up for national distribution by Cameo Parkway. The group consisted of four male vocalists, brothers Kemp “Toppy” Hill, Ellis “Butch” Hill (the eldest) and Jaime “Peanut” Hill and their friend Raymond, plus lead singer and the only female member Brandi ‘Peaches’ Wells (born Marquerite J. Pinder) who was only 9 years old when she sang on the group’s first Harthon 45, (Jaime Hill reputedly never featured on either of the two Harthon 45 recordings).

The Hill Brothers were cousins of Manny Campbell and it’s through this family connection that the group came to Emandolynn Productions initially as backing singers before being persuaded by Manny to drop their former performing name of ‘The Twilights’, to become ‘The Delights’. Under Manny and fellow Philadelphian Charles J. Bowen’s tutelage they recorded the delightful crossover dance track “Listen To Me Girl” during the months of July and August of 1968.
Recent unearthed master tape finds from these early sessions have since yielded the featured “Come And Rejoice” an energetic subtle gospel influenced dance track which Manny wrote and produced on The Delights in the hope of giving them a wider body of work and appeal as he shopped their demos around local record companies. The original backing track to “Listen To Me” is also featured on this release.

During the mid-1970’s ‘The Delights’ under the tutelage of respected Philly producer, arranger and songwriter Morris Bailey Jr recorded two 45 releases for the Jamie/Guyden distributed Phil-L.A Of Soul label “It’s As Simple As That/I’ve Got Enough Sense” (PH-374) and “Face The Music/Things Ain’t What They Used To Be” (PH-379). Brandi Wells had left the group prior to the Phil-L.A Of Soul releases to firstly join Major Harris’s backing singers  ‘Brown Sugar’ before forming the group ‘Breeze’ who backed fellow WMOT label stable mates  Billy Paul, Fat Larry & Philly Cream (a.k.a Ingram). Breeze later evolved into the group Slick who recorded the self-named album which produced the chart hits “Space Bass” and “Sexy Cream”. In 1981 Brandi recorded her first solo debut album ‘Watch Out’ which reached #37 on the Billboard R&B Chart, her second solo album entitled “20TH Century Fox” followed in 1985 for the Omni label. She later recorded the Butch Ingram penned “I Love You” 12” single for Butch’s Society Hill records in 1992.  It appears on what is known that Brandi had left the group ‘Brown Sugar’ prior to their two 45 releases for Capitol Records. Sadly, Brandi Wells passed away in 2003 at the age of 47.

Brandi Wells
Kemp “Toppy” Hill continued his association with Emandolynn Productions were he later shared songwriting credits with Manny Campbell on Teeah-Louise’s “Ooh Let This Feeling (Last A Long, Long Time) the a-side of her modern soul anthem “Just Loving You” recorded under the performing name of Tearra on Midtown Records.

Words By:   David Welding
Acknowledgement to: Manny Campbell, Abayomi Benson & Kemp Hill.
For further information e-mail:   sales@souljunctionrecords.co.uk
or visit the website at https://www.souljunctionrecords.co.uk/SJ561.html

By Chalky in New Releases · March 13Mar 13

Colin Day sat down with DJ, collector, soul historian and stalwart of the Northern Soul scene, Andy Rix, to recall his journey into soul and give his most candid interview yet on AI music production and all things Riker…
JOURNEY INTO SOUL
So Colin, before we get into the music, AI and Riker Records, it’d be really interesting to learn a bit more about your personal history, and your journey into soul. Where did you get to prior to Riker forming in your head?
IT’S A MOD, MOD WORLD
Soul was my first love— I think it kinda taught me how to love. When I was 12—thank God— my sister got engaged to one of the best-known mods in Worcester— guy called John Haithwaite. Coolest kid you’d ever meet, and I just idolised him. He’d been a drummer and DJ full-time since he left school— massive soul fan and record collector. For years, he had a deal with the guy on the local paper who did record reviews; every week, John bought all his demos for pennies. By 1970, he had about ten thousand singles, all in brown cardboard sleeves, neatly shelved and sorted, in a big loft room. Proper party room too, it was. Orange psychedelic wallpaper, lava lamps, and a big old valve stereo that had this lovely green and orange glow and sounded just like butter.
So, you can guess where my favourite place to hang out was!
His record room was also a kinda hub for local mods, and I was like their little mascot—a mini-mod. I’d hear them raving about Tamla and Soul, Bluebeat and Rock Steady—and, of course, I wanted in. Bless him, from the second I showed an interest, John gave me a proper education. And the music just hit me right away. From that moment on, soul became my world—nothing else mattered.
I GOT THE FEVER
John was a top bloke—DJ’d at The Bankhouse and The Coppertops—and he put all his big sounds on reel-to-reel tapes for me. Mary Love, Major Lance, The Artistics, The Impressions—all those great dancers from the Twisted Wheel. He also had loads of unknowns, or “secret sounds”. He’d throw in some blues too—maybe some Doo-Wop or early soul. Made sure I knew who Bessie Smith and Lead Belly were. And I just soaked it all up. Jackie Wilson “I’m The One to Do It” was my first big rave. Used to play it, rewind, play it again, rewind—over and over. I must have worn those tapes out! Soon started buying and collecting, and next I’m DJ’ing—very shyly—in local youth clubs.

LIKE AN ITCHING IN MY HEART
So, John kicked it all off, then I guess Dave Godin took it deeper. Blues and Soul magazine was definitely the bible, Dave was the guru and I used to hang on his every word. Then there were those nightclub ads! They’d often brag-off about the rare records they played—you know: “Hear sounds like Suffering City, Baby Reconsider”. I’d write them all down in exercise books—I loved that.
Maybe it was those ads that did it. Soon I was aching, just desperate, to go “Up North” and hear the sounds even John didn’t have. It was a quest.
When you escaped from the loft room and made it to an actual venue what was it like ?
You never forget your first time, do you? So, it started with an all-dayer in Stoke. I was 15 and I hoped they weren’t so strict on the door. Made it to my first all-nighter at Va Va’s in ’73. Then came Wigan, Blackpool, Whitchurch, Nottingham Palais, Yate—you know. And I was just a typical soul boy: loved the music, collecting, dancing, the look, the pills— everything. Made some great mates… yeah, it was very special.
So how long were you active on the scene?
Well, by the time the eighties roll around, my career was kinda tugging me away, and I had a lot less time. Wigan had closed and it felt like the last days of something. Sold the best of my collection and found myself DJ’ing full time playing disco. Worked in clubs like Derby Tiffany’s—shiny suit, curly perm, fake palm trees, and a glitter ball the size of Mars—you know the vibe. Shared a big revolving stage with a band who did covers of Street Life and Happy Radio—actually, really good covers, now I think back. By then, I was spinning and getting into jazz-fun my music tastes were getting broader.

RADIO DAYS
Anyway, in 1982 a chance at radio came, and I jumped at it. Was on the air for two or three years, but… I don’t know—the real buzz, for me, came behind the scenes. I just loved making promos, jingles, commercials—and the technical side really clicked. So, I just kind of grooved along into that little world. Then, built a studio, started a production company… and that kicked off a pretty long career doing voiceovers and jingles.
But the love of soul never died. How could it?
I bought all the compilations. Stayed connected, best I could. Typical of many folks, suppose.
HOW DID RIKER HAPPEN?
I think a lot of people fell off the scene around that time. So, let’s jump forward… how exactly did Riker come about?
Well, that’s all been one sweet, crazy, happy accident! Over the years, I’ve produced—I don’t know—maybe 200 jingles. By around 2015, that business was slowing down—going out of fashion, I guess. I kept busy doing voiceovers— that’s been another passion—but I surely missed my music production. This is the bit where my wife says THAT THING that changed the whole course of my life!
SONGWRITING
So, maybe she’s picking up a bit of creative frustration on my part—I don’t know. But one day, she kinda lays down a little challenge. I’m noodling away on the guitar, when she slides up and says, “Hey, why don’t you write a song one day…. Bet you could write a song… Why don’t you write me a love song?” It was a playful thing—you know?
Songwriting, though? It seemed like something other people did. Just wasn’t on my radar. I’d never written anything longer than 30 seconds and certainly nothing with meaning! I mean, I’m the guy who wrote the Phil Belly jingle: “You’ll get what you want, at Phil Belly’s Rest-Er-Ont”. Not my finest hour!
But I did like the idea, it tickled me, so I said I’d have a crack. Two conditions— the song didn’t have to be modern, and I’d never have to play it to anyone else, just her. Yeah, I know, ironic!
So, I burrowed myself away and set about it. Wrote something called “Why’d It Take So Long.” Come Christmas Eve, we sat by the tree—just my soulmate, me, and a guitar—and I did the big premiere. Corny, yeah, I know. But Emma loved it, I got to scratch my creative itch—and bag about a hundred brownie points! Win, win, win…
IT’S OUR THING
So then, it just became a thing, a little tradition. Christmas, birthdays—sometimes on Valentines—I’d write my lover a love song. And I loved the whole process—kept me busy and out of trouble, anyway.
And, yeah, the songs were far from modern. Sixties soul has been my biggest passion, so maybe no surprise, I was writing in that style. Truth is, I couldn’t write a current-day song if I tried. I only used to wish that Levi Stubbs or David Ruffin would carry the vocals—not me!
Anyway, fast forward a few years, and I’ve built up an album’s worth of songs. Emma had a special birthday coming up, so I thought—why not make a private LP? I’d do the vocals and hook up with session guys I’d known for years. The plan was to press a handful of copies: one for her birthday and keep a couple for family—hope it might become a little keepsake.
UNSATISFIED
What a lovely idea! So how did it go?
Yeah—not great, actually. We did a couple of tracks, but my voice was never gonna cut it— clearly, I am not Levi Stubbs. And trying to recreate that sixties vibe… well, that’s like chasing shadows in the dark. Those cats played in a different way. So… I just shelved the idea.
Until last year. Then, everything changed.
ONE WONDERFUL MOMENT
Out of nowhere, some mind-blowing AI-powered music software dropped into my lap—and BOOM! Suddenly—maybe—I had the tools to produce those songs how I’d heard them—or even better! Now, I’m thinking that private album is right back on the front burner.
So, I got a bit obsessed with it. Late nights. Early mornings. Didn’t matter. Just wanted to learn it all—try and tame the beast. When I started on the songs in my locker—wow, that was a massive pinch-yourself moment. All of a sudden, I’m the pilot of a time machine and I’ve gone straight back to 1966! The sounds, the textures—just jaw-dropping. Ok, yeah, maybe lacking something here and there—just a bit of spice— so why not push it some more? Reached out to my session guys again, started playing with overdubs—guitar, percussion, saxes, keyboards. Now, I’m thinking “Yeah, this is cooking”—and bingo! Here we are.
WHAT ABOUT THE MUSIC?
So, it feels like the process was very organic and wasn’t part of a five-year game plan—it just evolved, which is great to hear. Now, this concept of creating music through AI, you mentioned this amazing software that arrived. Can you walk us through it a bit? You said you used some studio guys you’ve known for years. How do you decide what part of the music is created by AI, and what part is real? More specifically, how does the vocal part work? Because it’s clear you have a broad range of influences and references, and I’m curious how you mix all that in.”
Yeah, so obviously, the song has always come first—I’ve got worked that out on guitar… lyrics can take me an age… chords, melody. As for the prompting and programming, you’ve really got an infinity of choices. Where do you start? Production style, vocal arrangement, tempo and key, the phrasing and the changes—but it’s a dark and unpredictable art. The software is a beast, and it doesn’t always behave. Plus, it’s got no taste. It’s full of data, but it’s never been on a date—you know?
And the overdubs? The live instruments—where do they come in?
Well, that’s the secret sauce, if you like. The extra bit of spice, the musicality. They beef things up and add some soul to groove. It’s the human touch. It’s usually pretty obvious what each song needs. Mixing them is a challenge, but it’s a big part of the fun too. As for the vocals, yeah, it still blows my mind that they come straight from the software. It’s amazing how lifelike and expressive they can be—spooky, really. All those subtle nuances— the mouth noises, the breaths, those little swoops up into the right note. I get tingles all the time—it’s so cool.
So, does it work like a library? I mean, can you just order in someone who sounds like David Ruffin, Levi Stubbs, Valerie Simpson, or even Bessie Smith? Or is it a bit potluck?
Well, the software will give you endless options and yeah, you can clone just about any voice, but I won’t. If something sounds close to an established artist, I move on. It’s about respect—plus, what’s the point anyway? I only want to do something original.
KISSING FROGS
And definitely, yeah, there’s some luck involved. I have to kiss a shed-load of frogs, and I might go through hundreds of iterations on a song before I get even close to making a meaningful start. And after that, I can remix in endless ways, spend some hours fine-tuning the vocal phrasing—boy, that’s a rabbit hole—and then, with luck, you may have roughly the first 30 seconds. After that, the real work begins. Or… I might scrap it and start over!
It sounds like a bit of a battle between man and machine…
Ha! It definitely can be. But I see the software more like a bastard of a bandmate. Sometimes he behaves, a lot of times he goes rogue. And, just now and then, he’ll come up with a moment of pure magic. Still, these are wonderful tools for songwriters to collaborate with. And they’re still in early stages—I’m sure they’ll get better. Can’t wait to see where they go.
PUTTING IT OUT THERE
So, you had access to software that allowed you to create music you loved, drawing on your personal history and broad influences. And you had several songs developed. But making that transition from creating for family to sharing it with the public—that must have felt like a significant step. What made you decide to take the leap?
Yeah, putting it out there was a big step. The songs were personal, never meant for public ears, not meant to be commercial. But Emma was mad keen for me to share them, and I was curious what other soulies might think. So, I took a deep breath, sent out some carvers to DJs I’d admired for years. Maybe I was looking for validation, a bit of an ego rub. Just said the tracks were “previously unreleased” (which they were) and I wondered if they’d pass the sniff test…
I guess they did because the reaction was instant and amazing! They all assumed the tracks came from some dusty old tape vault. But I had never said that. Sure, I could have corrected their assumptions, but I kept things close to my chest for now—had my reasons. Next thing, my phone keeps pinging, and they’re all asking who has the rights and when they can get a release? That set me thinking…

THINGS ARE GETTING HOT
Then it all gets a bit crazy. Tats Taylor posts a clip of “Coz I’m Ready” on Facebook, and it gets a festival of love hearts. The carvers are now getting spins at venues, Dean Anderson and Richard Searling start blasting them on their radio shows. And now I’m like the Rhinestone Cowboy, you know, —offers coming over the phone! It’s a little whirlwind, and before I know, I’m making plans to start a label and get some singles out there.
And that’s how Riker Records all came about
So how did you feel about sharing these private songs with the wider world?
Honestly? Had no time to think too deep about it. The whole thing quickly got its own steam, and I swept along with it. But remember, I’m still sitting on this great big, massive secret. Still, no-one knew these are modern-day songs and productions. And now I’m getting sleepless nights, really anxious. I’m worried people might feel deceived, or like it was some kind of social experiment. It wasn’t—I’m not that clever—but you might have taken it that way. The time had come to tell the full story.

THE BIG REVEAL
I can imagine that was a tough call. But it seems like you had to take a calculated risk—not by being deceptive, but by being a little guarded. Correct me if I’m wrong, but it feels like you wanted the music to be judged on its own merits, without people making assumptions before they even heard it…
Yes, that’s exactly it. I just wanted honest, unbiased opinions without the expectation bias. And I think—I hope—it was the right way to do it. But, come on— the whole thing was implausible from the start, wasn’t it? I mean, how come this unknown soul fan from the Midlands can stumble on a hoard of unknown soul records, when people like yourself have spent decades trying to track down unreleased goodies?
So, I confided in some big Riker supporters, and… well, they were just so cool about the whole thing! Dean Anderson asked me onto his Sounds of Soul radio show and that’s when I pulled back the curtain—told the whole story.
THE TRUTH IS OUT THERE
Dean and I have known each other since we were teenagers, so yes, we’d had our conversations. And, like many others, I assumed you’d hit upon a treasure trove of previously unreleased music.
I remember saying to you early on—these weren’t cheap sessions. This wasn’t street soul. The orchestration, the production—this was top-end stuff. Something about it didn’t quite add up. The big reveal must have been daunting for you personally.
It was an anxious time, and of course, I was bricking it. Would people still dig the music? Would they feel let down? And was it right to leak these tunes out incognito? Maybe there was a wee bit of mischief in the way I did it, but it went way deeper than that.
AND THE REACTION?
So how did you think people would react, or what did you hope the outcome would be, you know, other than a public stoning? And how has the reaction been since then?
Oh, it’s been incredible – really humbling. Had so many nice comments and warm words. Yeah, there’s definitely a big band of Riker fans out there—I can’t thank them enough. Then, there’s another chunk of people typically saying, “Not sure how I feel about the AI part… but actually, this stuff is ok...”
And look, I’m not naïve. I know there are some who see this as the work of the devil and will walk away. I totally get that. If it’s not for them, that’s okay. Look, I won’t use the term “soul police”—it’s insulting. If people are passionate about their music—any music—then it’s nothing but respect from me. Music is the greatest thing mankind ever did. But at the same time, it’s just music, you know?

SCIENTISTS OF SOUL
I can imagine it’s quite confronting for some people. Have you had much feedback about the whole AI thing?
Oh yeah – it is a lot to get your head around. AI feels like something new, maybe a bit threatening. It weirds me out too, sometimes. But I think, in the right hands, it can be an amazing tool. You see, I think of my stuff as kind of sculptures in sound. The AI is just a tool to bring them to life. The songs are heartfelt but I’ve never claimed they deserve the same respect as traditional 60s soul—but hey, maybe there’s something interesting here?
Now, I’m sure some folks might worry that “robot soul music” could flood the scene or dilute what we have. And I get that. But it’s never been my aim—I’ve only got about twenty songs, so it ain’t gonna come from me. And I don’t see it happening anyway; the dancers and DJs will always decide. At the same time, I do hope other writers might get inspired and build on what I’ve done.
So, was I bracing for a public stoning? Sure, I was worried people might feel let down— there’s so much romance in undiscovered soul—you can’t deny that. But it’s been great, folks have been very fair and open minded…
Well, you can’t ask for more than that, really, can you? I mean, my view is there’s space for everything, space for everybody—and if it’s not your thing, just keep walking by. For it to have caused a huge backlash would’ve felt, well… a bit disrespectful to what you’ve created. At the end of the day, how the music was made is almost academic.
The AI bit is part of the process, sure—but it’s not the whole story. Yeah, if a song strikes a chord or the beat makes you wanna move, then does it matter? I guess that’s the debate. But look, I don’t want to downplay the role AI plays—without it, I couldn’t get the vibe that I do. There was some voodoo magic in that sixties sound and the AI can nail it. That said, the machine is basically dumb. It doesn’t wake up one morning and think, “I know! Today, I’ll produce a beat ballad with a Bacharach feel and swirly strings.” The software has no feeling, no emotion. It needs a proper song, a bit of craft and a lot of love. I hope that comes through…

WHAT ABOUT THE MUSIC…
Oh, I think it does. You were kind enough to share some tracks with me, and I haven’t sat down with headphones to interrogate them. Instead, I’ve had them playing in the house while I’ve been cooking or doing other things—just letting them soak in. They feel fresh but familiar too.
Lenny & The Illustrators came on, and it instantly took me somewhere—evoked memories of Ray Pollard. And then Taff Bryan—something about it kept tugging at my memory, and I found myself thinking of Christine Cooper’s SOS. It’s subtle, but it’s there, and that’s what hooked me. So yeah—I’m enjoying what Riker Records is doing!
FUTURE PLANS
So, you’ve revealed the music’s there, you’ve got an album’s worth, and you’re on the cusp of launching Riker as a proper label. What are the plans? I assume you’re not planning to do what Eddie Singleton did at Shrine—pressing 13 tracks at the same time for release and then having to watch as the label imploded! I guess you’re spreading them out over time…
Poor old Eddie! No, we’re not that ambitious. My dream is to bring out an album later in this year, but we’ll start with a couple of singles first—test the water with Betty J. Williams and Lenny and the Illustrators.

LENNY AND THE ILLUSTRATORS
Lenny! Ah yes—great name! And that reminds me—I’ve been curious: where do those band and artist names come from?”
Good question! Obviously, the artists only live in my imagination—that’s why I like when people have called it Fantasy Soul. And because they don’t exist, we’ve pledged the artist share of record sale royalties to the Stax Academy in Memphis. It’s a way to show respect, honour the legacy. But the names, yeah—they all have personal meaning.
Take Lenny and The Illustrators—they’re named after my father-in-law. He was another cool guy. Did fantastic illustrations, mostly book jackets—really gifted. Len was the name he worked under professionally. It was like his painting name. So, that was a little nod to him.”

WRAP IT UP
That’s a good call on the Stax Academy—nice gesture. Look, before we finish, I’ve got to mention one of my favourite lines from your songs: was it Harbor Drive Five? “So what if we scandalise your family? You and me had to be.” I love that line. It’s so sixties, but I’ve never heard it before. Where do lines like that come from?
Thanks, hey, yeah—it’s all down to the Mrs.—one hundred percent. I’ve just taken little bits of our life and put them to music. She’s my inspiration, my secret weapon.
Well, they say the best sounds come from the heart—and I think you’ve certainly proved that point, Colin. Thank you for being so open and honest about the world of Riker. It's certainly captured the attention of many, who, I believe, will judge it on its own merits now the truth is out there. I really do wish you every success with the label which I'm sure will happen.

Colin Day & Andy Rix
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Website
https://www.rikerrecords.com/
Media Related Links

By Dayo in Soul Music Features · March 11Mar 11

SOUL MUSIC OF ILLINOIS - Numero Group have just announced details of a new book that they are shipping, details including word about a bonus 45 follow below..
SOUL MUSIC OF ILLINOIS
An Illustrated Catalog Of Records
Compiled and Edited by Dante Carfagna

Release Notes
Numero Group is beyond excited to announce another insane addition to our literary output. A comprehensive overview of soul music from the great state (our home state) of Illinois, this 732-page, two volume set chronicles over 3200 artists, 1200 record companies, and 10,000 individual releases between the years of 1960 and 1990.
From Chicago to Cairo, East St. Louis to Kankakee, from The Accents to Ze-Majestiks; Soul Music Of Illinois; serves as discography, field manual, atlas, telephone directory, and coffee table book, all presented in glorious full-color and wrapped in premium woven linen. Meticulously researched and compiled by if-you-know-you-know, music historian and record acquirer Dante Carfagna, this is the 2nd state to receive the Soul Music deep dive after 2022's Soul Music Of Ohio.
This is an absolute must for every eccentric soul fan out there, or general music/record head, art and history appreciators. It's actually overwhelming but also kind of empowering having all this soul knowledge at your finger tips. So thick we had to break it into 2 volumes. It's more than double the size of the Ohio Book which is massive on its own.
BONUS: As bonus, we've unearthed something that didn't make it into the book. Numerogroup.com site-exclusive bonus 45 sees a first time issue of Wind's 1980 previously unreleased Windy City modern soul monster "Best Things In Life," on the replica Eclipse label. This 7" is limited to 498 copies and will be sent to the first 498 pre-orders.
ADDITIONAL BONUS: A few weeks ago while cleaning out the warehouse, we found a box of the unknown Ohio Soul white-label 45s that we gave away for pre-orders of that book back in 2022. For those that missed out, order the Soul Music of Ohio Soul book and we will ship throw in the bonus 45.

PRE-ORDER:
SOUL MUSIC OF ILLINOIS + LTD. ED. BONUS 7"
https://numerogroup.com/products/soul-music-of-illinois
ORDER:
SOUL MUSIC OF OHIO + LTD. ED. BONUS 7"
https://numerogroup.com/products/ohio-soul-book
SHIPPING NOTES: This thing is massive so can be a bit heavy to ship. We are shipping this from both our US and UK Fulfillment locations so should save on shipping to UK addresses and help cut down on EU addresses. Additionally, we've partnered with some shops below that should be able to get a copy if you prefer local pick ups.

UK: Norman, Stranger Than Paradise, Resident, Crash, Spindizzy, Piccadilly
France: Gibert Joseph, Pop Culture
Spain: Discos Marcapasos, El Genio Equivocado, Marilians
Germany: Dussmann, HHV
Japan: Disk Union
New Zealand: Southbound
Pre-order: Release date is April 18th - Orders will begin shipping in late March!

By Mike in New Releases · March 4Mar 4

What's new on Soul4Real? S4R45 and S4R46. Two fantastic singles with 70s soul recordings by JOHNNY ADAMS and KIM TOLLIVER
Thanks to Tomo for his kind help on the Kim Tolliver release
Pre-order now for 14th March
https://soul4real.es/shop/

JOHNNY ADAMS (S4R45)
IT´S YOU BABY, ´IT´S YOU / THINK ABOUT YOU
New Orleans has always spawned a potpourri of musical styles. Native Johnny Adams, fondly nicknamed "The Tan Canary" due to his multi-octave range, epitomised the soul/blues ballad genre. However, he is probably best remembered for his late 1960s country-oriented hits "Release Me" and "Reconsider Me", the latter of which demonstrated his stratospheric falsetto.

Adams' recording career commenced a decade earlier on Joe Ruffino's Ric set-up, for which he released several 45s including "A Losing Battle", a Top 30 R&B chart entry. It culminated with a series of excellent Rounder albums in the 1980s and 1990s, including the much-acclaimed One Foot In The Blues.

Pitched roughly in the middle period (late 70s) was a tenure with producer Senator Jones and his Hep' Me imprint. "It's You Baby, It's You", a horn-led mid-tempo swayer, and the beat-ballad 'Think About You", were originally unreleased tracks, only appearing on the US Ace compilation Greatest Performance in 1993.
This soulful pairing now receives its debut release on a 7" single and is a most worthy addition to the Soul4Real canon.
RAY ELLIS

KIM TOLLIVER (S4R46)
CAN´T GET INTO YOU / THE SHOW MUST GO ON

Born outside Nashville in 1937, Kim Tolliver was a truly dynamic singer. Despite her long career, she never once enjoyed a hit release. Raised in Cleveland, Kim joined the Metrotones (1954) before establishing herself as a solo artist.

By the early 60s, she was a major player on the Ohio club scene (Lou Ragland got his start in her band). Her first single, cut at Royal Studios in 1967, escaped on Sure-Shot. By 1975, further releases had followed on Rojac, Superheavy, Fantasy, Chess, Gar, Pathfinder and Castro but they didn´t sell well, her recordings only ever appearing in the USA, Venezuela and Spain.

After working live with Sam & Dave, she relocated to Miami and quickly established herself there. In the 70s she secured bookings in Australasia and immediately impressed local audiences. On one visit to New Zealand (1979), Zodiac Records licensed some recordings and released “Can't Get Into You” / “He Touched Me” (Key K101). We've now coupled that 45's top side with “The Show Must Go On” (previously unreleased).

JOHN SMITH

By Alexsubinas in New Releases · March 3Mar 3

News about the latest release from Geoff Waddington featuring Tameka Jackson
'Got you in my sights' - ft - Tameka Jackson will be available at online music sites from the 3rd of March
Can listen below

By Mike in New Releases · March 2Mar 2

Out today, the latest 45 in the Kent Select series, a bit different as this one CITY 103 has a picture cover to tie in with the use of 'True True Love' as the backing for Dean Chalkeys 'Good For The Soul' film.
Release notes and more below

Tobi Lark / Dave & Darrell Band - True True Love /Instrumental - Kent City 103

Release Notes
Tobi Lark / Dave & Darrell Band - True True Love /Instrumental - Kent City 103
‘True True Love’ was released as the first Kent Select single in 2006 and original copies sell for £300 plus − if you can find one. Ace are delighted to re-issue ‘True True Love’ on vinyl paired with an unreleased instrumental version by the Dave & Darrell Band.
The single comes in a picture sleeve featuring a still from Dean Chalkley’s amazing film along with liner notes written by Ady Crosdell

Film Notes
Dean Chalkley's GOOD FOR THE SOUL celebrates the joy of dancing to northern soul. This fast-paced stylised short film plugs right into the emotional and cathartic nature of the music. Intricate and expressive dance moves are delivered by Durassie Kiangangu to a soundtrack of blistering rhythms and raw vocals from Tobi Lark's rare soul track "True True Love'. The resulting combination is a fusion of dextrous dance moves and potent sounds that will turn your heartbeat up.
The film was originally presented at 50 Years On The Soul Stays Strong exhibition, which marked the 50th anniversary of the first legendary Wigan Casino Allnighters in 1973. Northern soul has a rich legacy and its devotees are very passionate about it, but this film focuses on the here and now, the energy, heat and wonder of being in your own dancing world.
The northern soul scene continues to attract devotees young and old, all keeping the faith and letting the music move them. It's "True True Love'.

Sleeve Notes
Tobi Lark was legendary Detroit soul producer Dave Hamilton's star act when he launched his Topper label in 1966. The company only released two Lark singles and, apart from local sales, the discs did not fare well. Just one track remained unissued, "True True Love', a song Lark wrote with Hamilton's Dada Productions partner Darrell Goolsby-aka Topper artist Rony Darrell.
Ms Lark could not remember the song being recorded until I sent her a copy and then it all came back to her. Darrell remembered working on the song at the Dada studios on Highland and Woodrow Wilson, playing the baby grand piano that they had there.
"True True Love' is a fast and urgent number that is far from a demo. Lark's lead vocal is tough and heartfelt and accomplished backing vocals feature throughout. I imagine there would have probably been some more overdubs added to sweeten the song before its eventual release. The backing track is tight and precise and stands up well as the instrumental flip here.
"True True Love' was released as the first Kent Select single in 2006 and original copies sells for £300 plus if you can find one. Finally, we have squeezed a few extra seconds from the fade-out for collectors to enjoy.
ADY CROASDELL

Video Film

Availability
The True True Love 45 is now released and is now available via Ace Records website - (tap), and various record stores including our very own Source Store - (tap here)

By Mike in New Releases · February 28Feb 28

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New Album - Riker Up - Charly Records - Adventures in AI Land

Mike · 11 hours ago11 hr

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

Mike · Thursday at 09:104 days

Soul Jamaica -Various Artists - Soul Jazz Records Featuring Alton Ellis, Jackie Mittoo, The Heptones, Sound Dimension and more! New album from Soul Jazz Records, available in vinyl, cd and download formats Release notes Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of reggae funk and soul tracks from the legendary Studio One stable, featuring a stellar line-up of artists including Jackie Mittoo, The Heptones, The Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric
- releases
Soul Weekend Event Map Shout 17-19 Oct 2025

Mike · Thursday at 11:114 days

Our weekly soul event heads up, using our 'map views' from the Soul Source Event guide Over 100 events this week and this time we have had to use 2 map screengrabs to show them all! Event Guide Index - Just visit and then tap the Red Link for our dynamic event map to pop up Visit Soul Source Soul Event Guide Index For more deliberate soul event searching can use our 'Events Near Me- Local Soul' Feature Explore Our 'Events Near Me - Local Soul' Feature
Soul Up North #125 - Autumn 2025 Out Now

Mike · October 13Oct 13

Not just the leaves that are dropping, here's details of the latest Soul Up North issue... Soul Up North #125 - Autumn 2025 Out Now #OPENING PAGE : CONTENTS – EDITORIAL & INFO #GOOD TUNES & GREAT GROOVES Dave Halsall #FUNK IN YO’ FACE – PHILLYFUNK Howard Priestly #SUBSTANCE & STYLE Steven Riley #SOUL SPOTLIGHT – BENNY GORDON REVISITED – PART 2 Steve Guarnori #HOT OFF THE VINYL PRESS Howard E #SOUL BOOK REVIEWS I.M. / HFE #CHICAGO SOUL Shane Cox #THE LADIES CHOICE – COLLECTING RARE SO
New Lp - Jackey Beavers - Someday We'll Be Together - Charly Records
New Lp - Jackey Beavers - Someday We'll Be Together - Charly Records

Mike · September 25Sep 25

A new lp released this weekend from Charly Records Jackey Beavers - Someday We'll Be Together - Charly Records Release Notes First-ever long-play overview of rare soul hero Jackey Beavers Includes his Baha productions and Sound Stage 7 recordings Rare and unreleased tracks from 1968–1974 Features a printed inner sleeve with exclusive liner notes Robert Lewis Beavers was born on June 19th, 1937 in Cartersville Georgia, he was a recording artist for over two decades, wrote a US #1 single and regis
- charly records

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