Alexsubinas

We launch the 𝘙𝘦𝘴𝘦𝘳𝘷𝘢 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭 series with two EPs dedicated to Sam Cooke’s SAR Records and the Chess label (including its subsidiary, Cadet). The SAR EP shines a spotlight on the Womack family, initially known as the Womack Brothers before transitioning into R&B as The Valentinos. Three of the four tracks are originally unreleased, while the fourth is the Womack Brothers’ version of “Couldn’t Hear Nobody Pray” (SAR 123)—a virtually impossible-to-find gem that predates “Looking For A Love” by a year. Thanks to Friendly Womack for his help on this project. The Chess/Cadet EP features songs by Laura Lee and Irma Thomas, recorded in the late ’60s at FAME Studios, along with some of the most sophisticated productions from Cadet, represented by Terry Callier. All tracks are originally unreleased and are making their debut on 7” vinyl. 𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 20th JUNE https://soul4real.es/shop/ RESERVA ESPECIAL 𝗖𝗛𝗘𝗦𝗦 / 𝗖𝗔𝗗𝗘𝗧 (S4R47) Terry Callier - Baby Take Your Time Irma Thomas - Let´s Do It Over Laura Lee - Sure As Sin Terry Callier - Lover (Where Have You Gone) RESERVA ESPECIAL 𝗦𝗔𝗥 𝗥𝗘𝗖𝗢𝗥𝗗𝗦 (S4R51) Womack Brothers - Couldn´t Hear Nobody Pray The Valentinos - Put Me Down Easy The Valentinos - Rock In The Cradle Of Love The Valentinos - Don´t Go Away

What’s new on Soul4Real? S4R50 and JAR15 Two fantastic releases from Geater Davis (originally unreleased 70s recordings) and Lynn White, with all songs available for the first time on 7". Special thanks to Lula Toliver, widow of Geater Davis, for providing previously unseen photos for the cover. PRE-ORDER NOW FOR 13th MAY https://soul4real.es/shop/ GEATER DAVIS (S4R50) I´M SO IN LOVE WITH YOU / A WHOLE LOT OF MAN Here we have two slabs of hard-hitting southern soul. With their grit-infused vocals, tasty guitar and swelling horns, they should appeal to all who enjoy their soul with a touch of blues. Geater (pronounced JEE-ter) was born in East Texas as Vernon Davis in 1946, took childhood guitar lessons from T-Bone Walker, did stints as a sideman with Ted Taylor and Eddie Giles, and labored in Shreveport’s club scene before finding success with his first record, “Sweet Womans Love”, in 1970. He made the charts again in 1972 with “Your Heart Is So Cold” on John R’s Seventy 7 Records. The songs on this disc, unreleased at the time, are from Geater’s sessions for that label. Two modest hits provided years of one-nighters across the South, until the “disco crisis” (his words) dried up work for real musicians. He kept at it, though, in Jackson, Columbus, Little Rock and Dallas. Set for a career rebirth, Geater had studio time booked when his heart gave out at age 38. JEFF KUHN LYNN WHITE (JAR15) I DON´T KNOW WHY / IF I COULD OPEN UP MY HEART Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though. Her sultry bluesy Darby-penned/produced “I Don’t Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night – Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys. By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider. STEVE HOBBS

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

Glad to announce the first JAI ALAI compilation album, including four originally unreleased tracks by Earth Wind & Fire, Phyllis Hyman, Glenn Jones, and Gladys Knight and the Pips. VARIOUS ARTISTS "ONE MORE CHANCE" LP (JAI ALAI) SAMUEL JONATHAN JOHNSON - YOU EARTH, WIND & FIRE - CLUB FOOT Originally unissued Columbia recording GLENN JONES - SHARE MY LOVE Originally unissued RCA recording GLADYS KNIGHT & THE PIPS - HOW DEEP IS YOUR LOVE Originally unissued Columbia recording ARETHA FRANKLIN - HERE WE GO AGAIN PHYLLIS HYMAN - FOREVER WITH YOU Originally unissued P.I.R. recording TYRONE DAVIS - NEVER STOPPED LOVING YOU DON COVAY - RIGHT TIME FOR LOVE GARLAND GREEN - I KNOW WHAT LOVE IS THE DELLS - SOMEBODY´S GOTTA MOVE PRE ORDER NOW for 24th February www.soul4real.es Videos ONE MORE CHANCE (JARLP01) If you have been following the subsidiary label of Bilbao’s Soul4Real Records, you will know they have delivered fourteen singles over the last three years and now comes their first compilation. The album opens with the rarer 12” mix of Samuel Jonathan Johnson’s seventies disco funk offering, “You”. And if you thought you owned every track by Glenn Jones, Earth Wind & Fire and Gladys Knight & The Pips, all three will delight with previously unreleased recordings. It’s astonishing how the mid-pacer “Share My Love” was omitted from Glenn’s 1983 𝘌𝘷𝘦𝘳𝘺𝘣𝘰𝘥𝘺 𝘓𝘰𝘷𝘦𝘴 𝘈 𝘞𝘪𝘯𝘯𝘦𝘳. Indeed, who decided that Gladys’s “How Deep Is Your Love” should not make the final line-up of her 1985 set, 𝘓𝘪𝘧𝘦? As EWF’s “Club Foot” was not included on the 1983 𝘌𝘭𝘦𝘤𝘵𝘳𝘪𝘤 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘦 album, it does make you wonder how many other unreleased gems could be unearthed from the Sony Music vaults. And then there’s Aretha…nothing more needs to be said! Side two opens with Phyllis Hyman’s joyous dancer “Forever With You”, recorded in 1991 (released posthumously in 1998 on her final CD of the same name) and where her hallmark vocals have never sounded better. There are also some spectacular downtempo moments; “Never Stopped Loving You” from Tyrone Davis, “Right Time For Love” from Don Covay, and Garland Green’s “I Know What Love Is” are long forgotten knee-tremblers that have always been out there, but many may have been missed. The album closes with the mighty Dells, clearly at their very best on the gorgeous Gamble & Huff penned and produced “Somebody’s Gotta Move”. Originally included in their 1992 set 𝘐 𝘚𝘢𝘭𝘶𝘵𝘦 𝘠𝘰𝘶, it was a CD-only release in the US and very hard to find on the Jamaican vinyl-only version. STEVE HOBBS

New Comp Lp from Soul4Real Pre-order now for 15th December 2024 NEW COMPILATION! 𝗔𝗦𝗞𝗜𝗡𝗚 𝗙𝗢𝗥 𝗧𝗛𝗘 𝗧𝗥𝗨𝗧𝗛 (𝗕𝗨𝗧 𝗣𝗥𝗔𝗬𝗜𝗡𝗚 𝗙𝗢𝗥 𝗔 𝗟𝗜𝗘) (S4RLP06) Pre-order now for 16th December: www.soul4real.es Tracks 𝗗𝗢𝗥𝗢𝗧𝗛𝗬 𝗠𝗢𝗢𝗥𝗘 - GIRL OVERBOARD 𝗞𝗜𝗡𝗚 𝗙𝗟𝗢𝗬𝗗 - I´M FOR REAL 𝗥𝗔𝗬 𝗖𝗥𝗨𝗠𝗟𝗘𝗬 - GOOD GUYS DON´T ALWAYS WIN 𝗚𝗘𝗢𝗥𝗚𝗘 𝗝𝗔𝗖𝗞𝗦𝗢𝗡 - PLAY SOMETHING PRETTY 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹𝗹𝘆 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱, 𝗿𝗲𝗰𝗼𝗿𝗱𝗲𝗱 𝗮𝘁 𝗠𝘂𝘀𝗰𝗹𝗲 𝗦𝗵𝗼𝗮𝗹𝘀 𝗦𝗼𝘂𝗻𝗱 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 𝗕𝗢𝗕𝗕𝗬 𝗕𝗟𝗔𝗡𝗗 - MY HEART´S BEEN BROKEN AGAIN 𝗝𝗜𝗠𝗠𝗬 𝗝𝗨𝗟𝗘𝗦 - HAVING A LITTLE TALK WITH LOVE 𝗣𝗿𝗲𝘃𝗶𝗼𝘂𝘀𝗹𝘆 𝘂𝗻𝗿𝗲𝗹𝗲𝗮𝘀𝗲𝗱, 𝗿𝗲𝗰𝗼𝗿𝗱𝗲𝗱 𝗮𝘁 𝗠𝘂𝘀𝗰𝗹𝗲 𝗦𝗵𝗼𝗮𝗹𝘀 𝗦𝗼𝘂𝗻𝗱 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 𝗖𝗛𝗨𝗖𝗞 𝗕𝗥𝗢𝗢𝗞𝗦 - I BELIEVE IN LOVE 𝗝𝗢𝗘 𝗪𝗜𝗟𝗦𝗢𝗡 - SOUR LOVE, BITTER SWEET 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹𝗹𝘆 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱, 𝗿𝗲𝗰𝗼𝗿𝗱𝗲𝗱 𝗮𝘁 𝗠𝗮𝗹𝗮𝗰𝗼 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 𝗧𝗘𝗗 𝗧𝗔𝗬𝗟𝗢𝗥 - CAUGHT UP IN A GOOD WOMAN´S LOVE 𝗘𝗗𝗗𝗜𝗘 𝗚𝗜𝗟𝗘𝗦 - I CAN´T GET OVER YOU 𝗥𝗘𝗨𝗕𝗘𝗡 𝗕𝗘𝗟𝗟 - ASKING FOR THE TRUTH Soul4Real returns to the south with a selection of eleven songs from Malaco, Muscle Shoals Sound Studios and Alarm Records. There is no doubt that in the 1970s and 1980s, Malaco in Mississippi and Muscle Shoals Sound in Alabama were both highly significant in defining the southern soul sound. Malaco’s Studio had opened in 1967, while Muscle Shoals Sound Studio opened its doors for business in 1969, when four musicians left nearby Fame Studios to go it alone. Alarm Records, meanwhile, based in Shreveport, Louisiana, provides us with four of the tracks on this album. Independent producers and major record companies sent their artists south to record, taking advantage of both Malaco and Muscle Shoals Sound’s talented array of musicians, writers and producers. Muscle Shoals Sound, in particular, started to receive artists from Atlantic Records from the get-go; R.B. Greaves, Baby Washington, Sam & Dave and Solomon Burke led the way, along with Scotland’s Lulu. The first relesase on their own record label was the timeless “It Hurts So Good” by Katie Love. Meanwhile, Stax (amongst others) sent some of their artists to record at both studios, and Malaco would also lease some of its own productions out to Atlantic. Alarm Records was a smaller set-up which also produced some wonderful records. This album opens with the only female singer featured – Dorothy Moore. Her exquisite “Girl Overboard” has been justifiably popular on the soul scene for decades. The other ten tracks showcase an array of fine male singers, most of whom (Bobby Bland and King Floyd aside), sadly and perhaps unjustly, never really made the big time. It is the first showing on vinyl for three of the tracks here (previously having only been issued on CD), and Jimmy Jules’ reading of “Having A Little Talk With Love” has never appeared anywhere before. As always, sit back and savour the music! 𝗦𝗧𝗘𝗩𝗘 𝗚𝗨𝗔𝗥𝗡𝗢𝗥𝗜

Happy to announce pre-order for volumes 5 & 6 of "From Detroit With Love", a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. PRE ORDER NOW FOR 15th NOVEMBER https://soul4real.es/ FROM DETROIT WITH LOVE V DAVID RUFFIN ANYTHING THAT YOU ASK FOR Produced by Clay McMurray & Martin Coleman Recorded in 1969 BRENDA HOLLOWAY DON´T STAY AWAY Produced by Marc Gordon & Hal Davis Recorded in 1964 MARVIN GAYE YOU´RE THE ONE Produced by Ivy Jo Hunter & Marvin Gaye Recorded in 1968 FOUR TOPS JUST YOUR LOVE Produced by William “Mickey” Stevenson & Ivy Jo Hunter Recorded in 1965 FROM DETROIT WITH LOVE VI GLADYS KNIGHT & THE PIPS SHOW ME THE WAY Produced by Richard Morris Recorded in 1968 MARTHA REEVES & THE VANDELLAS THIS IS THE LOVE (I´VE BEEN WAITING FOR) Produced by Deke Richards Recorded in 1969 THE TEMPTATIONS SINCE I DON´T HAVE YOU Produced by Deke Richards Recorded in 1967 BLINKY & EDWIN STARR NEVER GONNA GIVE YOU UP Produced by Richard Morris Recorded in 1969

Two new exciting releases. Thanks so much to Friendly Womack for his help in licensing the Valentinos tracks 𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 for 25th OCTOBER: https://soul4real.es/ ------------------------------------------------------------------------------------ 2 of Candi Staton´s best tracks finally available on 7" CANDI STATON (S4R35) I CAN´T STOP BEING YOUR FOOL / YOU BET YOUR SWEET, SWEET LOVE Born in Hanceville (Alabama), Canzetta Maria “Candi” Staton possesses one of the most recognizable voices of southern soul due to its characteristic and unmistakable tone. Her musical journey began in the 50s as a teenager singing gospel with the Four Golden Echoes and the Jewell Gospel Trio. In 1967 she made the transition to secular music and two years later started an artistically and commercially successful recording career with Fame Records, under the umbrella of Rick Hall, recording a dozen singles and three outstanding albums. Candi was introduced to Hall by Fame’s main artist Clarence Carter, who eventually married her in 1970. A new chapter began in 1974 at Warner Bros, from which the two songs paired on this record originated. They are now available on 7” for the first time. “Can’t Stop Being Your Fool” is a powerful composition by Phillip Mitchell perfectly suited for her; on the flip side we find “You Bet Your Sweet, Sweet Love”, a country soul masterpiece produced by Dave Crawford. Another essential release on Soul4Real. JADD 2 originally unreleased tracks finally available on 7" THE VALENTINOS (S4R44) I´VE GOT LOVE FOR YOU / I´VE GOT A GIRL Despite their early success, The Valentinos’ story was, like many other groups, a ‘what might have been’ story. But there could not have been a more hardworking group. Every night, Friendly Womack Sr. taught his boys all the gospel songs he knew before he kicked them out of the house because they wanted to switch to secular singing. “Bobby, you’re singing too church!” shouted Sam Cooke across the recording desk at the United Recording Studios in L.A. to Bobby and his brothers… Still torn here between gospel and secular singing, Friendly “June” Womack told me about both these two lost tracks from the group: “Between you and I, we were looking hard to get another ‘Looking For A Love’. We were desperate for that, as that was such a big seller for us”. Ultimately these sides failed to be released, yet they were both great tracks. Wouldn’t it be great though if, this time around, Soul4Real Records were able to hang out the ‘sold out’ banner that all the Womack brothers really deserved? GRAHAME JOYCE

Four originally unreleased tracks finally available on vinyl/7" PRE-ORDER NOW FOR 20th SEPTEMBER https://soul4real.es/ CARLA THOMAS (S4R36) LONELINESS / IF IT´S NOT ASKING TOO MUCH Though she was Stax Records' Queen of Soul (and Otis Redding was her king), there was much more to Carla Thomas. In 1967, even while being promoted by the name of her most recent album, The Queen Alone, she was expanding her sound, developing a cabaret act that showcased a mix of genres and styles and that was built around her beautiful voice. She was exploring new vistas when these two sides were recorded. Isaac Hayes wrote "Loneliness". Carla's suave delivery evokes Diana Ross, and the shiny brass horns call out a Burt Bacharach arrangement as much as Stax. This is Carla with a nice polish on the groove. Labelmate and friend Deanie Parker wrote "If It's Not Asking Too Much". A sparer presentation, the organ drives the tango rhythm and also—a second keyboard, I think—swells behind Carla, everything entwining and deepening the song's brooding tone. This is the kind of side that can both start your night or finish it. Carla Thomas has got it all. ROBERT GORDON THE RANCE ALLEN GROUP (S4R37) EVERYBODY´S TALKIN´/ YOU NEED A FRIEND LIKE MINE Rance Allen churned that rhythm smack between gospel music and soul. Rance brought the fire, his every performance a dedicated reach beyond expectations. It's like he lived in a realm above ours, and his performances were a ladder from our plane to his, an invitation to step up, step out, be good, do right, dance while doing it, jive and smile. And praise the Lord. Rance sang about Jesus Christ, even when he didn't mention him. His music was an invitation to groove along, but it was also a stepping stone to church. He focused not on the fire and brimstone but on building community, helping those in need, a church of embrace. His two brothers were his band, along with Stax guests. On "Everybody's Talkin'" you can hear disco coming around the corner and also the influence of Isaac Hayes. "You Need A Friend Like Mine" builds on the Staple Singers' "If You're Ready (Come Go With Me)", and it features some of Rance's finest falsetto, up there with Rev. Claude Jeter and Al Green. Rance moves your spirit. ROBERT GORDON

Happy to announce pre-order for volumes 3 & 4 of "From Detroit With Love", a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. Order now for 20th July: https://soul4real.es/ FROM DETROIT WITH LOVE III (S4R40) A1 - KIM WESTON - AFTER THE RAIN A2 - FOUR TOPS - JUST A LITTLE LOVE (BEFORE MY LIFE IS GONE) B1 - CAROLYN CRAWFORD - THINK OF THE TIMES B2 - THE VANDELLAS - YOU TAUGHT ME HOW TO CARE FROM DETROIT WITH LOVE IV (S4R41) A1 - KIM WESTON - ABSENT MINDED LOVER A2 - OMA HEARD - DADDY COOL B1 - MARVIN GAYE - JUST A LITTLE LOVE (BEFORE MY LIFE IS GONE) B2 - CHUCK JACKSON & YVONNE FAIR - IT MUST BE LOVE BABY

The first two releases from a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. Order now for 20th June: https://soul4real.es/ FROM DETROIT WITH LOVE (S4R38) A1 - KIM WESTON - FANCY MEETING YOU A2 - THE MIRACLES - SHOW ME YOU CAN DANCE B1 - J.J. BARNES - I´M HERE NOW THAT YOU NEED ME B2 - THE TEMPTATIONS - I´D RATHER FORGET FROM DETROIT WITH LOVE II (S4R39) A1 - BRENDA HOLLOWAY - MY WORLD IS CRUMBLING A2 - CAROLYN CRAWFORD - UNTIL YOU CAME ALONG B1 - GLADYS KNIGHT & THE PIPS - ANY GIRL IN LOVE (KNOWS WHAT I´M GOING THROUGH) B2 - MARTHA REEVES & THE VANDELLAS - EARTHQUAKE

NEW COMPILATION! HERE COME THE TEARS (S4RLP05) 14 tracks from the vaults of Atlantic and Atco, including 4 originally unreleased tracks, first time on vinyl Pre-order now for 10th May: www.soul4real.es Soul4Real continues to provide invaluable service to lovers of quality soul music from the 1960s and 1970s, with another carefully curated long-playing selection of incredible music from the enormous vaults of the Ertegun brothers and Jerry Wexler’s Atlantic group of labels. Atlantic was and is still based in New York, but its repertoire came from all over the USA. In ´Here Come The Tears´ you will hear music from Detroit, Miami, New Orleans, Philadelphia, Houston, Memphis and the Big Apple itself. Most of the featured artists will need no introduction – and that’s how it should be, for they are all legends of black American music, regardless of how well they fared in the US charts. Some tracks are big-ticket items, others can be found on 45 at pocket-friendly prices. Four have never been issued on vinyl until now, including the Drifters’ long-thought-lost version of the O’Jays’ “I Dig Your Act” and Judy Clay’s thrilling take on “The Love Of My Man” – written by Ed Townsend, who also produced the splendid Dee Dee Warwick track that makes its vinyl debut here. One thing that all these tracks have in common, regardless of their vinyl value, is that they are all priceless examples of soul music, from an era where every US state had its own sound, and every artist their own unique style. There is no reason to list highlights – every track is a highlight! There is also nothing generic or homogenised about anything you’ll hear here – it’s all coming to you straight from the heart and soul. Whether you are hearing most of these tracks for the first time or getting reacquainted with ‘old friends’, there’s more to enjoy on this one album than there is in anything currently being issued in the name of 21st century soul. For Real… Lend us your ears – Here Come The Tears! TONY ROUNCE A1-Barbara-Lynn-I-ll-Suffer (1).mp3 A2 Willie Tee Dedicated to you.mp3 A3-The-drifters-i-dig-your-act (1).mp3 A4-The-Dynells-Call-On-Me (1).mp3 A5-Barbara-Lewis-You-Put-A-Song-In-My-Heart (1).mp3 A6-Dee-Dee-Warwick-What-a-manner-of-man (1).mp3 A7-Bettye-Swann-It´s-Time-To-Say-Goodbye (2).mp3 B1-Wilson-Picket-I´ve-come-a-long-way (1).mp3 B2-Sam-and-Dave-Still-is-the-night (1).mp3 B3 Darrell Banks here comes the teardrops (1).mp3 B4 Doris Troy he dont belong to me (1).mp3 B5 Isley Brothers - The Last Girl (1).mp3 B6 Aretha franklin - I Cant See Myself Leaving You (1).mp3 B7 Judy Clay - The Love Of My Man (1).mp3

Delighted to announce two new Jai Alai references, this time consisting in four favourite tracks never released on 7" before. Both Maze songs are simply outstanding so it´s certainly surprising Warner Bros didn´t pick up any of them for single releases ("Love Is" was quite hard to get on vinyl too, as the album only came out as promo). Same could be said about the dancefloor delight (an Isaac Hayes production, no less) "Everyday" and the CD only album track by Gerald Levert, obviously influenced by Curtis Mayfield. PRE-ORDER NOW FOR 17TH APRIL www.soul4real.es JAR13 - MAZE feat. FRANKIE BEVERLY – SOMEBODY ELSE´S ARMS / LOVE IS The package, posted from Inglewood in California, dropped through my letter box… I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly. It took a second play to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band. Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans. We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street. “I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office. I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so. That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot. Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it. Grahame Joyce JAR14 - DONAL BYRD AND 125th STREET, N.Y.C. – EVERYDAY / GERALD LEVERT – THE TOP OF MY HEAD DONALD BYRD AND 125th STREET, N.Y.C. The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing. Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists. By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music. Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK. The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples. A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives. By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten. GERALD LEVERT There is only so much tragedy one family can take and legendary O’Jay Eddie Levert has surely had more than most. To have lost both sons by the time they reached 40 is incomprehensible, particularly ones so talented, and in such tragic circumstances; an accidental but fatal mixture of over-the-counter drugs and prescription pain-killers in Gerald’s case, and due to incompetent medical care whilst temporarily incarcerated in Sean’s. Gerald Levert left quite a legacy though. He set up his first band LeVert in 1985 with younger brother Sean, and childhood friend Marc Gordon. They released an album each year for the next five years enjoying increasing success, recording seven in total of which four went gold. Their initial album “I Get Hot” (1985 Tempre) was critically acclaimed as one of the greatest soul albums of the decade. A solo career beckoned in 1991 and he immediately topped the R&B charts with Private Line and the following year had huge success with the number one hit “Baby Hold On To Me”, a duet with his father, which led to the album “Father And Son” in 1995. Levert released nine solo albums, discovered the R&B groups the Rude Boys, Men At Large and 1 Of The Girls, as well as being part of the Black Men Unlimited, the collective who scored with U Will Know, the soundtrack to the widely acclaimed ghetto film “Jason’s Lyric”. Gerald was also a member of supergroup LSG, with Keith Sweat and Johnny Gill (their initials forming the name) who between them had enjoyed thirty number one R&B hits and album sales of more than thirty million. Their debut album unsurprisingly sold over 2 million copies with the single “My Body” going platinum. Of his solo albums, all but the first two were CD only, and the selection here, “The Top Of My Head”, is a delicate string-laden stepper taken from arguably his finest album, “G Spot” (2002 Elektra), and features his lead falsetto vocal interwoven with his own background vocals. Pure class. Steve Hobbs