Alexsubinas

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

After a break of 3 months with no Soul4Real releases I´m excited to announce two new 7"s by Tommy Tate and The Staples. Liner notes by Finland's finest Heikki Suosalo and our very own Iu Adell. As usually, great remastering courtesy of Jorge Muñoz-Cobo (Circo Perrotti) and fantastic job by Jordi Duró on design/artwork duties. Order now for 1st March: https://soul4real.es 𝗧𝗢𝗠𝗠𝗬 𝗧𝗔𝗧𝗘 (S4R33) I Can´t Do Enough For You Baby / Hold On (To What We´ve Got) Tommy was born in 1945 in Homestead, Florida, and after his first foray into music in a church choir, he launched his secular recording career in Jackson, Mississippi, working mostly with Tim Whitsett and his Imperial Showband in the latter half of the 1960s. After a short stint with the Nightingales, he signed with KoKo in 1971 and had six impressive singles released, followed by records on Sundance, Juana and Urgent Records. “I Can’t Do Enough for You Baby” is a mellow and melodic slow-to-mid-tempo song that sounds almost inspirational, while “Hold On” is a beautiful waltz-time ballad which James Carr released on Atlantic in 1971. Both of these songs were cut as demos probably in 1969 after Tommy and Carson Whitsett had signed a deal to become staff writers with Malaco Records. Tommy was a magnificent singer and songwriter, who never got the credit he deserved mainly because of poor business choices and unfortunate incidents throughout his career. However, he was a beautiful person, gentle and humble. 𝑯𝒆𝒊𝒌𝒌𝒊 𝑺𝒖𝒐𝒔𝒂𝒍𝒐 𝗧𝗛𝗘 𝗦𝗧𝗔𝗣𝗟𝗘𝗦 (S4R34) Take This Love Of Mine / Precious, Precious With the collapse of Stax Records, The Staple Singers signed with Warner Bros in 1975, leading to a brief and fruitful collaboration with Curtis Mayfield. Their first work, the OST ‘Let´s Do It Again’, became the Staples’ all-time best seller. Such was the success that the major decided that Mayfield would also produce their next work, ‘Pass It On’, in 1976. Along with the group’s new sound and shift in lyrics, there also came a new image and a shortened name: The Staples. “Take This Love Of Mine” is a catchy two-stepper dancer, with a passionate and powerful vocal performance and uplifting chorus. “Precious, Precious” is an elegant and sophisticated ballad with less presence of arrangements but which is still incredibly moving and oozing quality. Both tracks, overlooked as singles, closed an album destined to consolidate the success of the new era. Unfortunately, sales fell short of WB's expectations, leading to Curtis being removed from the production of the subsequent Staples records. Undoubtedly, one of their finest albums and a true favorite among soul fans. 𝑰𝒖 𝑨𝒅𝒆𝒍𝒍

VARIOUS ARTISTS "SOUL PRESCRIPTION" LP (SOUL4REAL) 'Soul Prescription', the 4th album published by Soul4Real. We have included 12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs than most people have probably missed. A perfect gift for Christmas! PRE-ORDER NOW FOR 7th DECEMBER www.soul4real.es Soul Prescription JAMES & BOBBY PURIFY – MY ADORABLE ONE 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗕𝗲𝗹𝗹 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/hYb-N6CN3EY ARTHUR ALEXANDER – I NEED YOU BABY https://youtu.be/D1wDrWkshjE WALTER JACKSON – IT´S HARD TO BELIEVE 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗢𝗸𝗲𝗵 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/o1V50-_1SkQ MAXINE BROWN – DON´T LEAVE ME BABY https://youtu.be/YkPoDOLusec SHIRLEY BROWN – WHEN YOU REALLY LOVE SOMEBODY https://youtu.be/JselOKXJnCc DREAM MACHINE – ALL MY LOVE https://youtu.be/DGVKuy1u74Y SOUL CHILDREN – MIDNIGHT SUNSHINE https://youtu.be/JPmbOb4BUn8 THE ISLEY BROTHERS – HERE WE GO AGAIN https://youtu.be/ZhrNnzlaGDk JOHNNIE TAYLOR – YOU´RE THE BEST IN THE WORLD https://youtu.be/Nh-U9mhlWWg GIL SCOTT-HERON – YOUR DADDY LOVES YOU (FOR GIA LOUISE) https://youtu.be/2yJsuvhoOlE GLADYS KNIGHT & THE PIPS – MORE, MORE, MORE 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗖𝗼𝗹𝘂𝗺𝗯𝗶𝗮 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/d5JcgiADfMY ARETHA FRANKLIN – THE WIND 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗔𝗿𝗶𝘀t𝗮 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/9saNwLCcv2U PRE-ORDER NOW FOR 7th DECEMBER www.soul4real.es

Out Now! - New Soul4Real Releases: Magic Sam (S4R31) & Aretha Franklin (S4R32) MAGIC SAM - THAT´S ALL I NEED / EVERY NIGHT AND EVERY DAY (SOUL4REAL) ARETHA FRANKLIN - CAN YOU LOVE AGAIN / I´M TRYING TO OVERCOME (SOUL4REAL) MAGIC SAM - THAT´S ALL I NEED / EVERY NIGHT AND EVERY DAY - (SOUL4REAL) What better way to herald Soul4Real's first foray into the blues: two wonderful sides by the late great Magic Sam! Born Samuel Gene Maghett in Mississippi in 1937, in his teens he made the familiar migratory journey north where he established himself – along with the likes of Otis Rush – as one of the great exponents of the 'West Side' Chicago blues sound. In 1967, Sam signed to Delmark and cut his first LP, the critically acclaimed 'West Side Soul' from which the two tracks featured here are taken. "Every Night and Every Day" is delivered in his familiar style, whereas "That's All I Need" reveals a more soulful side to Sam's vocals, pointing towards the blues-soul style that was to dominate the genre into the 70s and beyond. His tragic death, aged just 32 in 1969, deprived the world of a wonderful blues talent, but he left a fine legacy of influential and inspirational work admired by fans and musicians alike. Mike Lofthouse ARETHA FRANKLIN - CAN YOU LOVE AGAIN / I´M TRYING TO OVERCOME (SOUL4REAL) Atlantic records impresario Jerry Wexler had many strings to his bow, but undoubtedly his greatest stroke of genius was leading Aretha towards the Fame Studios in 1967 to conduct her first sessions for the label. A lady with many quite uneven Columbia albums to her name would turn the world of soul music upside down and reveal the Queen of Soul to the world. The music created was both harrowing and spine-chilling in equal measure, leaving everyone in its radius in a state of soulful euphoria. “Can” was recorded during the ‘Hey Now Hey’ LA album sessions circa 1972, with Quincy Jones at the helm, and is a scintillating slow burner of exquisite beauty. “I’m Trying” is a glorious 1969/70 outtake from her ‘Spirit in the Dark’ LP, cut at Criteria with Wexler and the MSS boys in tow. A friend of mine recently alluded that you sometimes don’t realise the true greatness of a track until it is embossed in 7” vinyl. So true! Jan Barker IN STOCK, ORDER NOW! www.soul4real.es www.soul4real.es

JAHEIM - Just In Case / Diamond In Da Ruff (JAR11) Jaheim H. Hoagland, known professionally just as Jaheim, is best described as an R&B singer, but as all his releases are post millennium, the term has a different usage now to the style of the 50s/60s/70s that once used the genre. A resident of Hillsborough Township, New Jersey, and the grandson of 1960s soul singer Hoagy Lands which gives him Cuban, African and Native American blood, plus a fine musical heritage. His recording career started with Divine Mill Records (a division of Warner Bros. Records) and his debut album “Ghetto Love” was released in 2001 to great acclaim. His follow-up album “Still Ghetto” (2002) spawned two hit singles, “Put That Woman First” and “Fabulous”, that both went platinum, and his third album “Ghetto Classics” (2006) topped the US Billboard chart selling over 153,000 copies in its first week. He then was signed to Atlantic Records in 2007 and his success continued with another three albums, and his final album to date, “Struggle Love” (2016) was released through BMG on his own label Julie’s Dream. To date he has received three Grammy nominations and sold over 5 million records worldwide. The tracks selected for their 7” debuts are “Just In Case”, which was from the 20-track album “Ghetto Love” and did actually get released on a 12” being a massive favourite at the more progressive soul events, and “Diamond In Da Ruff” from “Still Ghetto”, which was also released on 12” vinyl. Steve Hobbs (Solar radio / Totally Wired Radio) JOHNNIE TAYLOR / BOBBY BLAND - Let´s Get Back On Track / Heart, Open Up Again (JAR12) Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies. He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”. in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000. “Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003. Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records. His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”. Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992. Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats. Steve Hobbs (Solar radio / Totally Wired Radio) PRE-ORDER NOW FOR 14th OCTOBER www.soul4real.es Images

JEWEL BASS - "IN AND OUT OF LOVE" LP (SOUL4REAL) 𝗝𝗲𝘄𝗲𝗹 𝗕𝗮𝘀𝘀´ 𝗳𝗶𝗿𝘀𝘁 𝗟𝗣 𝗰𝗼𝗺𝗽𝗶𝗹𝗮𝘁𝗶𝗼𝗻, 𝗶𝗻𝗰𝗹𝘂𝗱𝗶𝗻𝗴 𝗮𝗹𝗹 𝗵𝗲𝗿 𝗠𝗮𝗹𝗮𝗰𝗼 𝘀𝗲𝘀𝘀𝗶𝗼𝗻𝘀. 13 𝘀𝗼𝗻𝗴𝘀 𝗶𝗻 𝘁𝗼𝘁𝗮𝗹, 7 𝗼𝗳 𝘁𝗵𝗲𝗺 𝗼𝗿𝗶𝗴𝗶𝗻𝗮𝗹𝗹𝘆 𝘂𝗻𝗿𝗲𝗹𝗲𝗮𝘀𝗲𝗱. 𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 20th 𝗦𝗘𝗣𝗧𝗘𝗠𝗕𝗘𝗥: https://www.soul4real.es Jewel Bass' recordings have, over time, developed a global underground following. The fact that Malaco Records used Jewel as a backing singer on so many of their A-Listers recordings (Johnnie Taylor, Latimore, Bobby Bland, Z.Z. Hill, Dorothy Moore, etc.) speaks far more to her talent than I can ever write in 300 words! Jewel started singing in church but began her career in secular music when a friend approached her to ask if she would replace a singer in his band who was ill. She was only required for one song, and she agreed to do the gig on a one-off basis to help out. It was all that was needed to start her career. She joined the band and went on the road with them. Then, in 1969 she joined Malaco as a backing singer. During her time there, she had four singles released in her own name, starting in 1973 with “I Tried It And I Liked It” – essentially ‘Mr. Big Stuff Part 2’ (Jean Knight had recorded the original song at Malaco in 1971). Three further singles followed. Jewel also sang in a number of groups over the years and toured extensively, first with The VIPs (1973), later Polephemus (1976), and from 1979 onwards with These Days. Then there were her immense vocals on late 70s projects like the Carbon Copies “grail” 45 “Just Don’t Love You”, which also featured on the rare Centaura LP with another recording of hers. Jewel is an artist who is consistently good. She is just as at home singing on a deep soul ballad as she is on a funky dance number. Back in 2010, southern soul supremo Garry Cape issued all 12 of her Malaco recorded Jewels on a long since deleted CD on Soulscape. Now, thanks to Soul4Real, these tracks are available on this vinyl LP. Additionally, “Sweet High”, a non-Malaco track from 1981, is included as the closing song. (Steve Guarnori) Label design by Jordi Duró. Remastering by Jorge Muñoz Cobo (Circo Perrotti).

Welcome to Soul4Real’s second album, a collection of originally unreleased tracks which feature a whole host of soul royalty. First off are two songs from the inimitable Bobby Bland, both of which hail from his prolific period at Duke Records. Sandwiched between two stunning Chicago tracks by Etta James is the later “I Never Meant To Love Him”, taken from a Philly session she recorded with Bobby Martin. Fontella Bass brings this side to a close with a mysterious Chicago recording of which, to this day, hardly anything is known. Side two transports us to Detroit, when Motown was at the peak of its output. 1966 was not a good year to secure the approval of quality control, as proven in the rejection of this wonderful Velvelettes´ version of “Your Heart Belongs To Me”. It was in that same year that Ashford and Simpson arrived at Hitsville as both singers and songwriters. Their “Love Woke Me Up This Morning” was recorded by Brenda Holloway and produced by Norman Whitfield. Despite being overlooked at the time, its appeal was undeniable, and it later resurfaced on albums by Marvin & Tammi, Valerie Simpson, and the Temptations. As an integral member of the Motown family for over 14 years, it is surprising that to date only three songs recorded by Johnny Bristol have surfaced. In collaboration with ‘Mickey’ Stevenson “Tell Me How To Forget A True Love” was completed in May 1964. “One Lucky Day I Found You” was inexplicably not included in the ‘David’ project. Ruffin´s later work with Van McCoy is also featured on this album. From almost the start of his career, Marvin Gaye had endeavoured to project himself as a great balladeer, and nothing could illustrate this better than his rendition of “I Wish I Didn’t Love You So”, which brings this chapter to a perfect end. (Chris Forrest) PRE-ORDER NOW FOR 15th JULY: www.soul4real.es BOBBY BLAND – FOR MEN ONLY Originally unissued Duke recording BOBBY BLAND – THIS TIME I´LL BE TRUE Originally unissued Duke recording ETTA JAMES – CAN´T SHAKE IT Originally unissued Argo recording ETTA JAMES – I NEVER MEANT TO LOVE HIM Originally unissued Chess recording ETTA JAMES – IT´S HERE FOR Originally unissued Cadet recording FONTELLA BASS – JOY OF LOVE Originally unissued Chess recording THE VELVELETTES – YOUR HEART BELONGS TO ME Originally unissued Motown recording BRENDA HOLLOWAY – LOVE WOKE ME UP THIS MORNING Originally unissued Motown recording JOHNNY BRISTOL – TELL ME HOW TO FORGET A TRUE LOVE Originally unissued Motown recording DAVID RUFFIN – ONE LUCKY DAY I FOUND YOU Originally unissued Motown recording DAVID RUFFIN – YOU OUGHT TO KNOW ME Originally unissued Motown recording MARVIN GAYE – I WISH I DIDN´T LOVE YOU SO Originally unissued Motown recording

Pre-order now for 15th June: 𝗔𝗥𝗘𝗧𝗛𝗔 𝗙𝗥𝗔𝗡𝗞𝗟𝗜𝗡 (S4R29) So Soon / It Was You 𝗣𝗘𝗥𝗖𝗬 𝗦𝗟𝗘𝗗𝗚𝗘 (S4R30) Baby, Baby, Baby / You Can Always Get It Where You Got It / Same Old Loverman https://soul4real.es ------------------------------------------------------------------ 𝗔𝗥𝗘𝗧𝗛𝗔 𝗙𝗥𝗔𝗡𝗞𝗟𝗜𝗡 (S4R29) So Soon / It Was You Whenever the Queen of Soul, Aretha Franklin, covered another artist's song, she had an uncanny knack of making it her own. The two tracks presented here are no exceptions. Released for the first time on CD in 2007, the brisk Motown-esque “So Soon” penned by Van McCoy (and officially recorded by Donnie Elbert), and James Brown's down-tempo “It Was You” were recorded in 1967 as part of the Atlantic New York sessions which spawned Aretha's second album for the label 'Aretha Arrives'. For some inexplicable reason, they were left in the can. Featured musicians include such Muscle Shoals luminaries as Jimmy Johnson (guitar), Spooner Oldham (organ) and Roger Hawkins (drums). Aretha's sisters Carolyn and Erma provide sterling backup vocals, especially prevalent on the driving “So Soon” whilst horns punctuate the stark, declarative “It Was You”, as does Aretha's strident piano chords. Two outstanding and contrasting outtakes that rightly belong on a single 7" format. 𝗥𝗮𝘆 𝗘𝗹𝗹𝗶𝘀 𝗣𝗘𝗥𝗖𝗬 𝗦𝗟𝗘𝗗𝗚𝗘 (S4R30) Baby, Baby, Baby / You Can Always Get It Where You Got It / Same Old Loverman Percy Sledge’s 1966 worldwide smash “When A Man Loves A Woman” did more to internationally establish southern soul than any record up to that time. The man from Leighton, Alabama subsequently became one of Atlantic’s biggest artists, charting 11 R&B/Pop hits in three years. Nevertheless, as the 60s drew to a close, Atlantic’s interest in Percy inexplicably dwindled. Very few masters that his producer Quin Ivy sent from Sheffield, Alabama to New York saw contemporaneous release, although some eventually appeared in countries like South Africa, where Percy was revered. The tracks on this exceptional ‘maxi single’ waited till 2010 to debut digitally. Percy’s terrific take on Aretha’s “Baby, Baby, Baby” dates from August 1969, the others from his penultimate session for Atlantic. Great songs too from Swamp Dogg and the late Gordon Lightfoot; either of which could have given Percy a hit in 1972. We’ll never know why they weren’t issued then - but let’s be grateful to Soul4Real for making them available on vinyl now… 𝗧𝗼𝗻𝘆 𝗥𝗼𝘂𝗻𝗰𝗲

2 New Jai Alai 7s - Ruby Wilson / Queen Emily & G.C. Cameron / The Green Brothers 𝗥𝗨𝗕𝗬 𝗪𝗜𝗟𝗦𝗢𝗡 / 𝗤𝗨𝗘𝗘𝗡 𝗘𝗠𝗜𝗟𝗬 (JAR09) 𝗥𝗨𝗕𝗬 𝗪𝗜𝗟𝗦𝗢𝗡 An unmissable pairing of Texan-born soul queens! Ruby Wilson was Memphis based for most of her life whilst Emily spent her formative years in Houston before relocating to Stockton, CA, to raise her family. Both were signed to Malaco Records in Jackson, MS, where these two timeless example of Southern Soul were recorded nearly 30 years apart and now appear on 7” vinyl for the first time. Ruby Wilson first came to our attention in the mid-70s with two singles on T.K. subsidiary Glades, with Number One In Your Heart and the funkier Sky High both still sounding good today. She signed to Malaco during their most fruitful period, and her self-titled album in 1981, from which this classy below-midpaced selection comes, despite being a typically polished affair never reached the highs with the label that Jewel Bass, Fern Kinney, and of course Dorothy Moore had set over the previous few years. It remained her only outing with them, but she went on to make a further three albums in the late 80s with the Hot Cotton Jazz Band, one with the Climax Jazz Band, and finally back on her own A Song For You (2000 Cadre Ent.) and Show You A Good Time (2005 Unkut Music). She became an accomplished actress and was also known as the Queen Of Beale Street for her many club performances in Memphis. Sadly, Ruby died in 2016, but hopefully this release on Jai Alai will help us remember what a talent she really was. 𝗥𝗨𝗕𝗬 𝗪𝗜𝗟𝗦𝗢𝗡 Love Has Come / Throw Away Me 𝗤𝗨𝗘𝗘𝗡 𝗘𝗠𝗜𝗟𝗬 Not only is Emily David an extraordinary talent, she is a remarkable woman too. Her only album Queen Emily was a direct result of her finishing as a semi-finalist of America’s Got Talent in 2008 at the tender age of 40. She was no stranger to talent shows having won a Sammy Davis Jr award in 1999, but back then, as a single-mother decided to put her singing career on hold to bring up her two daughters. One day her troubled sister arrived to stay but left without taking her two boys with her, so Emily felt she had to bring up her nephews as well. Her dreams of a musical career had evaporated but years later her daughters encouraged her to try once again. It was almost a year after America’s Got Talent that Malaco boss Tommy Couch Jr. called out of the blue and offered her a contract without meeting her. As Queen Emily, a digital 4-track EP was released in the US, but her eponymous CD album, bizarrely released by Malaco in the UK before the US, is one of the best examples of 21st century Southern Soul, steeped with the label’s trademark live instrumentation by the Muscle Shoals Horns Rhythm Section and contains a number of polished standards such as Use Me, Angel In Your Arms, I Betcha Didn’t Know That and Going Crazy. However, it is the George Jackson-penned ballad Throw Away Me that really stands out and deservedly received critical acclaim in the UK at the time. It now gets a very welcome vinyl debut on Jai Alai and makes for a fabulous pairing. Queen Emily - Throw Away Me 𝗚.𝗖. 𝗖𝗔𝗠𝗘𝗥𝗢𝗡 / 𝗧𝗛𝗘 𝗚𝗥𝗘𝗘𝗡 𝗕𝗥𝗢𝗧𝗛𝗘𝗥𝗦 (JAR10) 𝗚.𝗖. 𝗖𝗔𝗠𝗘𝗥𝗢𝗡 Every soul fan will be familiar with "It’s A Shame", one of the most definitive 70s soul releases of all time, written and produced by Stevie Wonder - the first he’d produced for another group. How many realise though, that the song has two lead vocals - both by G.C. Cameron? Extraordinary vocal gymnastics for sure, and a performance that will cement his place in soul music history - he’d joined the group and suddenly was enjoying the benefits of their most successful record. Of the seven octaves, I am sure that G.C. goes through at least five of them on that song alone; a natural born singer - one of a kind. Motown had picked up The Spinners by purchasing the Tri-Phi label in 1963, and it seemed to have been decided quite quickly that when their contract was finished, they would not be held back from moving on. However, by then Cameron had married Berry Gordy’s sister, Gwendolyn, and the couple were living it large in Beverly Hills. So he decided to stay with Motown whilst The Spinners moved to Atlantic in 1971 and went on to have 27 more Top 100 hits. He recorded a few singles on the subsidiary label MoWest plus 3 albums; G.C. Cameron, Love Songs & Other Tragedies and You’re What’s Missing In My Life, the latter being cited as one of Motown’s 10 best albums of all time; By 1980, fed up with the decadence, G.C. Cameron went back to live in his parents’ trailer in McCall. He became more involved with the church and re-evaluated his life, but by 1983 he was at the Malaco studios in Jackson, MS, recording the album Give Me Your Love, which wasn’t a ground breaker but did contain the sublime title track, a mid-pacer that is so perfect for the Modern Soul scene. It was LP (or cassette!) only so really did get overlooked, but is now available on 7” vinyl for us all to enjoy - quite possibly one of George Curtis Cameron’s best recordings. In 2000 he had a call to re-join The Spinners and spent 3 years touring with them as lead singer, after which he left to join The Temptations for another 4 years. In 2008 Cameron packed it all in, but does still occasionally performs for a Motown Review Special. 𝗧𝗛𝗘 𝗚𝗥𝗘𝗘𝗡 𝗕𝗥𝗢𝗧𝗛𝗘𝗥𝗦 Give Me Your Love The Green Brothers Robert L. Green (Bobby) and younger brother Aaron Alexander (Al) were born in Fort Pierce, Florida, and raised by their pastor father and step-mother who also sang and preached in church. They relocated to Royal Oak, Michigan in the mid 60s and by 1968 had joined the gospel group The Violinaires (Wilson Pickett was a member in the late 50s) and headed out on the road. Bobby’s voice can be heard for the first time on a live album recorded in the early 70s but Al had left the group by then and his vocals would not appear on vinyl until 1974. They started their own label Warfell Records at some time around 1967 but Bobby is quoted as saying that they didn’t release anything on it, yet Faith, a single by The Soul Superiors penned by Aaron & Bobby Green exists, presumably with Fred Burns on vocals? Warfell quickly folded, but other sources quote it as being a 70s label? Two further releases exist as The Soul Superiors of Detroit Mich. for Designer Records, Style Wooten’s gospel imprint. Whatever You Do, Do Good / Great Day (1971) written by Aaron featuring Bobby on vocals (both tracks can also be found on a 4CD compilation released in 2014), and Up Above My Head / Amazing Grace (1973) with the top side written by Bobby and featured his vocals (the flip featured Fred Burns). In April 1974, Stax producer Dave Clark saw the brothers perform in a gospel talent show at Ford Auditorium and was so impressed he got them to send a tape of a few songs for boss Jim Stewart to hear. They were signed to the prestigious label and managed to get some studio time a couple of months later with the intention of releasing an album, however, a single on subsidiary label Truth was finally released in 1975. One can only wonder if choosing the novelty A-side, Dy-No-Mite (Did You Say My Love), was a wrong decision by the label? The flip, If You Change Your Mind (I Can’t Love You Too Much), co-written by Bobby & Al and Bobby’s uncredited wife Virgie, was a much better vehicle to showcase their harmony style with Bobby hitting the most incredible high falsetto note just before the fade. A couple of cheques from Stax bounced, so the brothers knew the end was in sight. After the fold, they hooked up with legendary ex-Stax producer Don Davis to record Lack Of Attention / Sweet Lovin’ Woman, a fabulous double-sider under his expert production (Tortoise International 1977). This was a much more credible release; the Ronnie McNeir penned Sweet Lovin’ Woman is a classic example of Southern Soul being given the kind of Detroit production skills that remind you of the way the Willie Henderson and Leo Graham gave Tyrone Davis that vintage Chicago feel. The flip, Lack Of Attention, just underlines their gritty vocal talents. My tip would be to get one of these under-played and under-priced beauties before the price rockets, as it will, after this Jai Alai release After the unfortunate failure of the Tortoise release, Al moved back to Florida whilst Bobby remained in Detroit. Some 30 years later Bobby Manuel, who had played on the Stax recordings, contacted Bobby regarding the unreleased material and the result was amazing. The tracks were enhanced by live strings and horns and the 2009 CD Soulsville (LocoBop Records) featured these long lost tracks. By this time, Al had passed, and just a couple of months ago, Bobby sadly passed too, but the selection here on Jai Alai was from that fruitful session. Grab some serious soul history with a copy of this almighty gem now on vinyl for the first time. The Green Brothers - Your Love Lifted Me 𝗦𝘁𝗲𝘃𝗲 𝗛𝗼𝗯𝗯𝘀 (𝗦𝗼𝗹𝗮𝗿 𝗥𝗮𝗱𝗶𝗼 / 𝗧𝗼𝘁𝗮𝗹𝗹𝘆 𝗪𝗶𝗿𝗲𝗱 𝗥𝗮𝗱𝗶𝗼) -------------------------------------------------------------------------------------------------------------------------------------- Label design by Jordi Duró. 𝗣𝗥𝗘 𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 𝗙𝗢𝗥 14𝘁𝗵 𝗠𝗔𝗬! (𝗜𝗠𝗣𝗢𝗥𝗧𝗔𝗡𝗧 - will send together with Annette Snell and/or Frederick Knight. 𝗜𝗙 𝗬𝗢𝗨 𝗛𝗔𝗩𝗘 𝗔𝗟𝗥𝗘𝗔𝗗𝗬 𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥𝗘𝗗 𝗔𝗡𝗡𝗘𝗧𝗧𝗘 𝗦𝗡𝗘𝗟𝗟 𝗔𝗡𝗗/𝗢𝗥 𝗙𝗥𝗘𝗗𝗘𝗥𝗜𝗖𝗞 𝗞𝗡𝗜𝗚𝗛𝗧 7𝘀 𝗣𝗢𝗦𝗧𝗔𝗚𝗘 𝗙𝗢𝗥 𝗧𝗛𝗘𝗦𝗘 𝗝𝗔𝗜 𝗔𝗟𝗔𝗜 𝗥𝗘𝗟𝗘𝗔𝗦𝗘𝗦 𝗜𝗦 𝗙𝗥𝗘𝗘) 14 euros + postage as it follows (𝗶𝗻 𝗰𝗮𝘀𝗲 𝘆𝗼𝘂 𝗵𝗮𝘃𝗲 𝗡𝗢𝗧 𝗽𝗿𝗲-𝗼𝗿𝗱𝗲𝗿𝗲𝗱 𝗔𝗦 𝗮𝗻𝗱/𝗼𝗿 𝗙𝗞): 1 to 5 copies: 6,90 euros UK & Europe 1 to 5 copies: 3 euros Spain 1 to 5 copies: 10,45 euros USA & rest of the world Payment by PAYPAL as friends & family: soul4realrecordlabel@gmail.com www.soul4real.es