an insanely elusive 1966 stock copy of this coveted 1966 British Beat/Rock. From a five man band, assembled from the remnants of the Nashville Teens;  with ex-Teens personnel, Terry Crowe on lead vocal and Michael Dunford on Bass. Plus Mike Fitzpatrick - lead guitar, Roger Hanks, keyboards, Peter Garland-Jones - percussion. 

This is group's 3rd and last 45, before splitting up. with Terry Crowe on lead vocal and Michael Dunford joining  Keith Relf and drummer Jim McCarty the foundation for "Renaissance" at Island Records.

Parlophone lead with "Something Other People Call Love" a jingly, jangly  Beatles influenced production mid-pace nicety. Whilst the flipside carries much more muscle and intention. "It Better Be Me" a vibrant keyboard dominated mover. With MOD appeal, the relentless piano pulse drive the song from one peak to another, partitioned by a fabulous guitar break. A cool screamer offering up the very essence of the swinging sixties. 

A very rare 45 from an under-documented group with only 3 singles to their name. 

This one is in spectacular condition...

SOUSSAN is innocent!!

I can remember the Wigan Casino record room buzzing with unfounded accusations of  "It's a Soussan "Tailor Made" when a copy of this extreme rarity arrived at the turntables of "The Casino" but when no further copies emerged the NS kangaroo court started to soften their opinions.

 It was in fact an extremely elusive Simon Soussan genuine find from his prolific early days of Northern Soul "discovery", that was for him a weekly event,  Simon would flag up amazing new finds for the top British DJs to feast upon, and yes some were certainly from a dubious legacy. Remembering the craftily conjured up "Golden World Strings - Supertime " was just causing a more-than a sensation with the dancerfloor. So the new "Under My Thumb"  phenomena was bound to be treated with some suspicion. 

But this disc was REAL! A genuine version of the Mick Jagger / Keith Richards composition that rose to become a "Golden Torch" monster. This USA interpretation was originally scheduled for release on Bill Silva's Los Angeles based "Diplomacy Records" but they unfortunately ceased trading in late 1965, so label owner Bill Silva created a brand new, unique imprint "Commonwealth Records" to get his daughter "April's" recording onto the market. 

April's "Under My Thumb" enjoyed only brief Wigan Casino exposure, another case of rarity hindering its progress nationwide; with no other DJs or club's seemed to have a copy to give it the necessary collective push. It fell into NS obscurity but its deserved real-rarity reputation holding firm among NS collectors of the least-seen now disappeared Wigan Casino spins. 

This was a well-worthy sister version of the Wayne Gibson's British anthem,  that many have never forgotten, as a girl-version stunned everybody at a time when "versions" of any "established" take on Northern Soul record were well in favor with the DJs and the dancefloor.  

But as so often happens when you get the opportunity to revisit a rare 45, the previously overlooked flipside turns out to be a winner!

The previously passed over "In Cold Blood" captures April in a mean "MOD/Garage" mood. In typical West Coast style, April gives up a Lydia Pense performance, snarling, belligerent vocal backed up by an intrusive male-chorus propelled by an avalanche of moody keyboard and guitar pulses. 

A really cool tune, ideal for the investigative MOD DJ to snap up, as I believe it has never reached the turntables of that vibrant European scene before.

Two very rare sides, one that will fire-up the memories of early Wigan recruits, the other side opening up a chance to spin anywhere right now; we believe everybody missed it the first time round. 

As a BLUE STOCK COPY this iconic disc comfortably resides in Northern Soul's  "Rarest Of The Rare" 

Do we need to write anything about this Northern Soul Anthem.. not really but it inspires my senses so much, I might just gallop straight into verbal-diarrhoea in my uncontrollable enthusiasm for one of the.. 

GREATEST NORTHERN SOUL RECORDINGS EVER!!

The superior voice within The Vows, The Sound-Masters and of course the singing that made all the difference to all those standout "Attractions" recordings for Bell.  

As good as all those above "Chestnut" sessions are, nothing gets close to the spine-tingling euphoria triggered by "Too Darn Soulful" because it is just that...

 "Too Darn Soulful" indeed...

In 1967 Anthony Renfro pulls together L.A.'s finest young talent to craft Northern Soul excellence; James Anthony Carmichael arranging, Charles Tate and Steve Cook writing & producing this heart-stopping NS experience. The caressing cymbals sit behind a thumping piano intro, one-handed drum pulses, suddenly crashing head-on with a triumphant fanfare of brass; The Renfro team instantly have your attention!  The vocal intensity of Morris Chestnut's voice reaching out with "You You You" "You're Just Too Darn Soulful" you know you're dancing to a Northern Soul anthem.. one tat takes you back to those halcyon wonder years of 1974 through 1976 when everything was so brilliably impressionable, it changev the coarse of so many teenagers lives.

Northern Soul at it's very finest, the very zenith of the sound... a tune that apprehended new recruits to the Northern Soul way of life --- like a religious cut that won't let you go, it is recordings like "Too Darn Soulful" that make sure you're incarcerated for life ... 

Not forgetting the flipside is "darn fabulous" also....  

What a record!! indelibly seared into the syche of anyone who ever lived the experince of Northern Soul synchronicity...

Some consider (including me)  RCA 47-9049 the very RAREST of the BLACK RCA STOCK copies of all the Northern Soul giants dancefloor anthems, that Northern Soul was built upon throughout the 70's "Golden Years" of this unique dance scene. 

When the young collectors realised a fully coloured "Nipper" on a black background was so much more gorgeous, than the 1000 times commoner than the ubiqitpus promo copies that the RCA promo deparments furnished the nationwide Radio Stations with. At a rate of up to 5 copies per DJ per station I was informed, and found stock piles evidencing that storyline. An estimated as many as 50,000 promo copies could be pressed of each 60's releases in pursuit of maximum exposure.

So that's why tho BLACK STOCK copy's became so collectable and precious, it wasn't just because they were so much prettier, they were decidedly rarer too. 

 Jimmy Wisner must have been impressed with the Len Barry original version he helped construct with  Leon Huff, John Madara & David White at Bell Sound studios New York in late winter of 1966. Because less than a year later he had summoned Dean Courtney into the same studio using some of the same musicians to record this great Northern Soul timeless anthem; that Decca decided not to release after Len Barry transferred his total allegiance to RCA and Jimmy Wisner. Leaving the guidance of his previously star-making team John Madara and David White and Decca records behind. 

Dean Courtney was Jimmy's new project and this was chosen to back up the misfiring "Tammy" for his second release for RCA. the magnificent "I'll Always Need You" sadly relegated to a flipside,  of a dreadful attempt at Len Barry-ism in the sickly song "Tammy" given the proper "Wiz" treatment with Dean in stunning voice with a full "Wisner" orchestra backing, but it never ever grabs the imagination. A poor attempt at wooing commercialism and a hit.

The flipside however is the very summit of uplifting Northern Soul, rightly considered an all-time great. Between Wisner and his ever present Dean Courtney producers Ray Fleming and John Mack Jr., they craft a joyous slab of 60's dance soul. How the hell "I'll Always Need You" was relegated to a flipside, is frankly, beyond belief. 

Listen now what should have been Dean's first hit, but for a "sliding doors" moment of bad decision making, it was left to those British Northern Soul pioneers of the early 70s to blast its overwhelming powers of dancefloor-goodness to allniter congregation of England. 

Listen now to be catapulted back to the every good time you ever had in 1970's dancing to superior Northern Soul. 

RCA labels aficianados, you know this is one of the label's "impossibles" it's been over a decade since we last made its acquaintance ...  do not snooze. 

A Great find!

Before today,  we had never seen this impressive double-helping of wicked Gospel infused dancefloor energy Soulful/Funk/Gospel before...

The a-side is vocally immense,  voices chasing runaway-train rhythms taken to the enth degree, lead vocalist and producer Dorothea Coney of this highly regarded regarded church chior. 

Greg Belson and his growing band of disciples, are furthering the endless possibilities of intergrating these super-rare funky Gospel Soul dance 45s into the world's rare black-music dance scenes. This killer ticks all the ungooglable boxes it takes to carry this record all the way to thge top. 

Leader Dorothea Coney arranges the flipside, intruducing is an off-the-scale sister voice; A colossal lead vocal, is a wine-glass shattering soul-screamer of the like I've never encountered before. 

The jaw-dropping energy whipped up by this gathering, sweeps all aside  

Although the 10" shellac 78 rpm press ofv " Ike's Boogie " has been known to occasionally surface, as this 1956 7" 45, it is insanley rare!

Carl Jones' Chicago born label was a strong champion for Chicago "black music", being office/workshop being sat slap bang in the middle of "Bronzeville", the recognised epicentre for Chicago African-American music, arts abd culture. 

Ike Perkins' Jazz / R&B orientated Band, serve up a vigorous saxophone / paino driven slab of "Boogie" a wild rocker that gets more intense the deeper the recording flows, with a slide guitar joining in, upping game for thi "impossible" R&B Rocker.

Flipside is an uplifting,  cultured make vocal-group cruiser, making this disc, a two great neighborhood mixing Jazz with R&B 

So very rare as a 7" 45 who may never see this opportunity ownership again...

Killer, highly coveted  "Popcorn" a pouting female sulker, from 1965.

Sauk City's most famous of independent labels. Boasting a string of highly collectable n' valueable 45s. In fact the whole Cuca "run" is sought after and "wanted". 

This label design with the glossy finish, with the iconic snoozin' sombrero donned Mexican laying at the top of this label, is almost as eye-cathing, as this narcotic music is bewitching. 

Bootlegged to meet demand back in the very early days of the Belgium "Popcorn" movement, after the 5 seconds of finger-clicking double-bass intro. The jazzy cocktail of twangy guitar picks, the mopish hovering mixed voices chorus pulls you into the perfect "Popcorn" abyss 

By now you're "hooked", Mr. Dj isn't time you introduced the very finest examples of Belgium "Popcorn" these those lagging behind British dancefloors pre-occupied with top-500 Northern Soul...

I love it! and anything that sounds remotely similar.. bring it on...it is long overdue!

A fine clean ORIGINAL press with hallmark pressed under the label

Not had a copy of this killer in quite some time, and this is a fine clean copy of a song that just  everybody adores. Reliably triggering ritual dancefloor hand-claps when ever it's played; claps timed to perfection, it's a lump in the throat experience watching or participating in Northern Soul unity that this "Ever Again".

A divisive song for some. Only because the scene is equally split trying to decide which version is better, which version is the one to own. Bernie Williams on Bell or Gene Woodbury on Del-Val.

Ever since Colin Curtis circa 1973, first played this irresistible take by Bernie Williams, the chase was on to own a copy was on. But the extreme rarity, validated throughout the years pushed the Bernie Williams demand and value to the outer limits of most collector's budgets. What a collectors relief when, in the late 70s the intrepid vinyl-hunter John Anderson R.I.P. discovered another version, surfacing for a brief tome  in small quantities. On its attractive "mother" label Joe Stevenson's local Del-Val, the company that licensed the Bernie Williams to Bell in the first place..

So the debate begins and seems to be a 50% 50% split on which version is the best, which one is the best to own? 

IMHO is Bernie Williams is infinitely rarer than Gene Woodbury but it is of course a styrene press, which has its obvious drawbacks. Gene Woodbury has always been scarce but is now even rarer as nobody seems to want to sell a copy they may own.

The scenario at the moment is Gene Woodbury's value has rocketed 5 fold in recent times, with no sign of it slowing down. Bernie Williams value currently simmering over £4k, it is still beyond most collectors budgets. If your a NS DJ "Ever Again" is a crucial 45 to own, vinyl press at a 1/4 of the price.. seems an investment no-brainer opportunity.

Here is Gene Woodbury which 50% of the scene think is the best version, pressed in vinyl in superb condition. At this level of Excellent condition and we have a notion the values between "Bernie" and "Gene" will one day maybe nearly sit in parity. 

It's starting to happen...

The record that started Dean Parrish's near 60 year love affair with the British Northern Soul / MOD scene... the archetypal stomper that defined genre, no beautifying this pure jugggernaut of explosive dacefloor power. As Bert Russel upstages his 1962 "Exciters" hit, that Billie Davis would also stamp her identity on.

One of the most imposing Northern Soul proper classics ever, that came to our shores 59 years ago, I’ve often wondered what effect "Tell Her"  had on those present in the mid-summer 1966 at The Twisted Wheel, King Mojo, The Scene etc etc. When Dean's beast of a voice was harnessed in New York by Bert Russell (Bert Berns) and Roy Glover.

This is perfection of the turbulent potency the "Brill Building" was able to produce. Imagine  when it first hit the turntables, an unstoppable motivational force, spine-tingling stuff, that we would have imagined instantly captured the hearts of the young, all-night club members, as its untold power blasted those young MODS around the dancefloor. 

As if, tailor-made for Northern Soul tastes, Dean Parrish's combative voice, was brilliantly married to, an aerial brass attack from an orchestral warzone. This incomprehensible combination of power demanded a totally committed acrobatic response, this was the perfect Northern Soul experience to reveal your amphetamine fuelled dancing prowess. Crafted by the expansive  imagination of the great Richard Gottehrer, fresh from a string of hits with his group the "Strangeloves" ready to implement all he had recently experienced, when adding layer upon layer of instrumentation with the group's 4 "Bang" hits. 

Explosive horns, ringing vibes, prompted by a single note droning baritone saxophone, elevated again and again by triumphant horns, whilst Mr. Parrish's scary vocal strides on top of this destructive tsunami of sound.

THIS IS NORTHERN SOUL - in its most destructive format!

Hats off the Leroy Glover, Richard Gottehrer and of course the mighty Dean Parrish vocal, the 3 crafting real deal Northern Soul. It doesn't get any more convincing than this!

One of my alltime favourite record hunting stories.

I remember it well, 1977, the larger than life Val Shivley standing on guard behind his store counter, the protector and purveyor of the largest accumulation of vinyl 45s on Planet Earth. The first thing he said to me was "Just Had One Of Your Countrymen In Here This Week, but this time he bought big!"

I never noted the subtle grain of subtle Amercian sarcasm in his statement. 

My heart sank thinking I'd been beaten to it, and all the goodies were gone! 

Val laughed as he saw my face drop, "Don't worry he never bought any records" just 300 GSF sleeves from there "pointing to his GSF 45" section. He said he wanted " all those from up there" Val thought he was about to make a killing, as there was some really impossible to sell discs in among that long run of GSF's, he was overloaded with Connie Francis, Bruce MacPherson, Duffy Power, Eddie Holman etc.

 So Val eagerly pulled them down, and the "Brit" started to take the sleeves off the records, explaining he just wanted the sleeves... not the records. Still a sale is a sale, 300 GSF sleeves were going to enhance the recent bogus copies, poorly couterfeited 7" copies of The Anderson Brothers see accompanying "bootleg" image. 

But totday before you is the authentic Stereo / Mono original promo, not the clumsy New York counterfeit with the ridged label landscape, that flooded the UK in mid-seventies, sleeved in genuine GSF sleeves, purchased from that iconic record store Philadelphia, in an attempt  to fool collectors they were originals - the deception was short lived of course as the label landscape differences are glaring. 

We've added an image of two bootlegs so you can judge the differences yourself. The detailed 3rd counterfeit with the same label landscape and vinyl type, has the PB etched in the deadwax. Unlike the British trickster PB was a highly skilled Los Angeles, copyist who manufactured several counterfeits during the same period. 

So in front of you today is the beyond-coveted ORIGINAL 1974 promo, a proper NS collectors Grail where no stock-copy is known to exist. So once you've navigated the three fraudulent presses, you will find the original is totally Unicorn Rare! 

For you and me this could well be our last opportunity of landing this "NS Big Fish" in our lifetime.. act accordingly, this Blackpool Mecca, Cleethorpes Pier anthem deserves to be adorning your collection, greatly enhancing your NS journey. 

I recently heard Steve Guarnori play and original at the Brighton rare modern soul event, it filled the room with instant euphoric recall, as it also did when igniting the 50th. Annivesary of Cleethorpes Pier into launching the room up and over the North Sea with out of this world lift-off.

An iconic record, very few people have ever own as an authentic ORIGINAL  press. 

Rarest of the rare! 

A much-loved Northern Soul Holy Grail, whether it be on the first Nashville label Southern Artists Records, or Bill Justis's failed 1965 launch on Bell 627. When he headed up this promo only with the rather drab "Till You Break Up With Him" - no wonder this 45 ended its life as being beyond-rare! The delicious "You Don't Even Know My Name" remaining hidden from view as a flipside. 

We have often sung the praises of the creative prowess of Robert Holmes, thanks to ACE/Kent he is now a legendary soul lyricist and producer. Crafting important NS works with Peggy Gaines, Bill Brandon, Johnny Truitt, Jimmy Church, Freddie Waters, Wendell Watts, The Avons to name just a few.

His work with this silky smooth local harmony trio the Hy-Tones, blending the consummate vocals of Freddie Waters, "Skeet" Alsup, Eddie Frierson remaining under the radar for decades; until it, like so many Northern Soul Soul greats, awaiting discovery by those intrepid Northern Soul pioneers who strived to keep the scene fresh. 

A fabulous offering of excruciating rarity and pure class..  

Killer cocktail of Sweet Girl vocal group woven into a sublime Crossover Soulful dance arrangement, pure class! 

Cultured, seamless girl group featuring Fay, Mary, Rita & Cathy Hill four "Tighter" ladies you could wish to hear. Slick, crisp, honeyed voices that just meld together in a silky wave of Soul cradling the lead voice from beseeching moment to the next. Drenched in emotional desire, exquisitely served up at just the right pace to push all the buttons for "Crazy About Crossover" lift-off.

Flip it over for a meatier Mel Alexander creation; the pace picks up, the landscape fills up with considerate horns, delivering a strong Northern Soul girl-group dancer, that also ticks all the boxes. 

It's an elusive 45, with two great sides, either one with the power to wow the crowd..

Pure quality indeed from these Girls who know exactly how to harmonize their Soul..

A crisp clean Mint minus throughout.

A rare records that gives you the best of both world's. 

I was still trying to choose my preferred side, whether is was the delicious mid-tempo cruiser "Give It Up" or glorious a little faster "Gigi" as the "Ascots" (The Escotts) sing the praises of a lady called "Gigi".

The Northern Soul community has always been drawn to a single girl-name titles of mysterious lady's we subconiously paint a picture of, as the artists glorify their lady's virtues.

Frank Howard "Judy" Joe Graves "Debbie" Tootsie Rollers "Mary" gave us songs that captured our imagination. "Gigi" does the same, triggering our imagination in the most delightful way.

Having said that, after much deliberation my preferance goes to the gorgeous soulful cruiser "Give It Up " which screams "Sunday Chill-Out" time a soulful stepper of the highest calibre..

Many will disagree as "Gigi" is something really special also, listen for yourself we are sure (just like me) you'll switching your affections at regular intervals.

In short, BOTH sides are sublime Northern Soul at its most delicious  ... frustratinly hard ti acquire.

RARE Oakland, California local 1st label, before being picked up in Los Angeles by the prolific ERA set up.

Harold Andrews' vehicle for just 4 releases, all of which have long been highly prized Rare Soul trophy-pieces.

On this his one Miss Robertson is guided by the adored Northern Soul architect Eddie Foster and the talented Richmond, California based Dell Randle. The pairing were prolific throughout mid-60s within the Bay Area. unfortunately none of the  Baby Luv releases sold a jot and today every one of them are considered a very rare sight indeed. So check out how Eddie & Dell crafted another Northern Soul winner...

Incorporating muscular full-blown horns fronting an exquisitely controlled squealing girl vocal, the contrast is spectacular; as rhythmic drumming sends dance-pulses straight through you. Totally classy, heartfelt sister Northern Soul as "Othello" becomes overwhelmed by true-love for the first time.

Flip it over, for a stunning sweet-soul ballad, to move the emotions of soul-scholars as "Othello's" own composition delivers a beseeching "Vietnam plea" to "Come On Home" ...a single vocal glides over a lonely whirling Hammond, no further accompaniments required, Othello's searing voice is more enough to stir your emotions...

RARE 1st press, in spectacular condition... two stomach churning performances by this mysterious lady, discovered within the Bay Area soul community but sadly only had two 45 releases during her understated career. 

This Detroit Diva's most-wanted, rarest British press, here is the seldom-seen 28th April 1967 promo copy!

This talented Tigress' most-potent UK offering, a Detroit composition from the prolific pens of Bob Hamilton & Don Juan Mancha for the relenless thumpin' a-side. With Nick Ashford, Valerie Simpson and Joshie Jo Armstead colluding for the exquisitely moody mid-tempo flipside. 

A year later reissued on the British PAMA label, with the Palmer brothers switching the a-side to the brilliantly sulking "Only Your Love Can Save Me". With Carl and Harry Palmer recognising that both sides give up standout but differing styles of powerful Detroit dance-soul.

This 45 is an essential two for one capture on the elusive first press Stateside label, that sneaked by everyone upon release. Today even the USA New York release on Calla is an awkward one to corner.

Neat clean condition, vinyl reveals some soft surface marks. Not  two memorable Northern Soul offerings, presented on a most-desirable label  - what's not to love?

Summer od 1967 EMI launched this brutal MOD R&B stomper, giving up a proper "Blues" dancer out of Chicago , featuring a rasping saxophone partition typical of a Johnny Pate embellishment, elevating his production to the pinnacle of its motivational powers, as B. B.'s driving guitar pulses tear a path through the session.

The combination of B. B.'s snarly vocal, whilst he sets free plucks booming guitar pulses, driving the dance narrative  Then that growling signature George Coleman sax-attack, takes the session to another level of inspirational R&B, edgier more persuasive than the "norm" for a "Soul Supply" release as EMI cemented their commitment to making Black American music available to the British (now burgeoning "Soul" movement) this quickly became a MOD favourite.

The stock copy actually sold in meagre quanities, but the Green & White promo is ludicrously rare, with no promo file, even on Discogs, no valuation or comments on the usually thorough CAT45.com

Rare turning up to sale, currently enjoying turntable action from its USA Bluesway release, a guaranteed dancefloor pleaser. For decades now, presented here is its rarest form, most desirable form. 

Detroit from three famed Motor City creatives - again the unparalleled pairing of Richard Popcorn Wylie & Tony Hester are joined by vocalist Billy Kennedy adding a soft purring growl to these lush prodceedings.

It matters not, which side you drop the arm on. Both sides of the 1968 Richard Popcorn Wylie & Tony Hester creation discharge Detroit vocal group Northern Soul of the highest quality. 

Although "Ain't Gonna Run No More" is igniting the rare-soul dancefloors across Europe, it was also wonderful today to reacquaint myself with "( She Keeps ) Driving Me Out Of My Mind" that sounded even finer than I last remembered it. Sublime Motor City vocal group harmonizing set into an inviting dance production. 

4 man Detroit team deliver two seamless vocal-group Northern Soul dancers, both from the combined talents of Richard Popcorn Wylie & Tony Hester.

We love the grading of the "lone" copy on Discogs at the moment. "it's VG- better than G+ and worse than VG+ plays through LOUD AS HELL."

This copy is a super-clean, mint minus, plays perfect both sides. 

Before you today, an extremely elusive 1972 example of local Virginia street corner male vocal-group original press, giving up a deliciously compelling, superior sweet soul/lowrider/harmony cruiser from Hampton, guided by seasoned New Yorkers Walter & Joe Coleman taking their Big Apple vocal group nous south to work with local Hampton, Va hopefuls. 

Notably Joe McDonald & The Everyday People, Darkseid, The Depceptions. This is only 45 release we can find by the mysterious  "New Trends".

Again richly endowed vocals all intricate laid back unstrained harmonies, seamlessly blending together. The exquisitely effortless lead voice meanders on a plinth of lilting guitar picks, whilst the other exemplary crooners, enrich the background.  Crafting another Hampton, harmonypiece that  all fits so perfectly together with consummate ease. 

Independent authentic street-corner harmony sweet soul music, keeping the instrumentation to a minimum so the voice take president  at its most memorable, gloriously smooth and lingering with you, long after the session draws to a close.

Both sides, do it up superbly!

The ULTIMATE form of this timeless Northern Soul anthem, the incredibly rare Canadian VINYL press.

From September 1967 just a couple of months earlier, Bob Schwartz and Randy Irwin had created one of the most powerful Northern Soul records ever made. Chuck Wood - Seven Days Is Too Long - still stands alone in the Northern Soul turbo charged as one of the biggest NS dancefloor motivators of them all.

By November 1967 they repeated that feat, by producing the other ultimate dancefloor destroyer. Rubin - You've Been Away - these two ultimate Northern Soul stompers that will live in the heart of the Northern Soul community forever.

Both tunes WIGAN CASINO ANTHEMS with few rivals, both from the workshop of Bob Schwartz and Randy Irwin, you can feel the the same relentless drive in both of them.

But do not overlook Rubin's heartfelt version of Jerry Williams's "Baby You're My Everything" a mighty New York beast-ballad well worthy of your attention

An opportunity to acquire a Northern Soul classic top 50 all time great in its rarest VINYL form. 

A record the dancers can really get their feet into; another passed-over Northern Soul stormer, that is at long last being appreciated for the stand-out 45 it is, receiving growing turntable action to appreciative dancers..

Just about the same time George Kerr & Gerald Harris were working with Soul Goddess Linda Jones, they were still keeping their Detroit connects open for their creations aimed at emulating the Motown Sound to be considered by any Detroit vehicle that wanted to record them after all he was trained by Motown in the art of producing.. 

Maltese Records a satellite label of the Golden World were often produced by a mysterious "Mr. Lucky". It is not clear if Mr. Lucky was George Kerr himself or someone else's pseudonym. What is clear George Kerr was a master of the Soul Sound and had a gift for replicating the essence of the Motown Sound.

Take a listen to this example of his work that knocks recordings by The Marvelettes, Martha & The Vandellas, Velvelettes right out of the park. Not a commercial note to be heard, no overhead production direction to pull in a white audience. This is a whirlwind Northern Soul stomper delivered by a emphatic girl lead, supported by a trio of buoyant male backing vocals. The four belt out an uncompromising, relentless example of careering Northern Soul at it's most convincing!

Great writing, stunning production, vocally searing... flipping it over the pace may drop a tad but the power and presence doesn't with a dance-craze groove..

Before is a rare White Demo, the clever way to own it...

One of Northern Soul "Stock" copy Holy Grails!

Nuff Said - here's a disc that is quite capable of doing all its own talking!

Rarest Of The Rare - and some

Off The Scale - RARE stock copy only my 3rd copy in my lifetime. So let's take this listing extremely seriously it's a British collecting Holy Grail and some...

a Keith Minshull play, that became the "The Golden Torch" theme tune circa 1972, when the Northern Soul instrumental was "King" before you today in the "King Of Those Kings".

Released by MGM in the UK only, with Jerry Ross not releasing his own production from his "Heritage" catalog. But MGM being under a contractual distribution commitment to Heritage. Ensuring they released more than just The Show Stoppers, Bill Deal and The Rhondels, Cherry People, Duprees etc. MGM chose this previously unissued track by The Father's Angels to reach their contractual release quota, of "Heritage" offerings.

Jerry Ross told John Bratton of Selecta-Disc in 1975, when John was securing the "Bok To Bach" rights for the "Black Magic" label, that the Father's Angels were band of traveling Pennsylvania "Monks" all of whom were proficient musicians. Named after their manager/bus driver Father Angelo who drove them to local gigs around Allentown.  Nobody was quite sure whether it was true at the time, that they were "Monks" but recent in-depth research by Russell Gilbert.  quote "It was Gene Kaye, a popular DJ on Allentown's WAEB radio station that first noticed them. However, at least some, if not all of the band were from Williamsport, PA." Seems to suggest they were indeed a large gathering who were recommended to Ross by Gene Kaye" not the holy work of  Allentown priest. 

With no writer credits, seems this was a "Jam" session produced by Jerry Ross that coincidently just ticked absolutely all the Northern Soul boxes. So when the "two Dave's" from Manchester sold Steve Glover a copy of their new find, "Bok To Bach" was on its way to becoming the biggest most-wanted Northern Soul instrumental dancefloor destroyer in the UK circa 1972/73.

In 2021 this vision of British collecting dream, is now beyond-rare and utterly gorgeous in its plainness, As so many old-school collectors have yet to have to joy of owning a copy of the most-influential Northern Soul instrumental of them all! 

Plus of course it was issued in the UK Only!

His historical purposes, for my book or memories and stories Fathers Angels was bootlegged just before Wigan Casino opened, I remember that quite clearly as our gang of NS Snobs! Thought we'd go to Leeds Central as Wigan Casino was fronted by a Mobile Discotheque DJ. 

If a record was bootlegged in the early 70s the DJ's completely stopped playing it, and moved on to the next thing. I sold my treasured STOCK for £3 that night, the on e I played at Kirby Lane Yourth Cluub Melton Mowbray, along with Rufus Lumley "I'm Standing" not bad for a 19 year old wannabe..

The REAL DEAL !!! 6th Februsary 1967 Bell Sound acetate

Absolutely no words from us will ever elevate this Northern Soul masterpiece any higher than it already sits in the hearts of the Northern Soul community. But in its embryonic state I've got the shakes just holding it!

It's a NS MASTERPIECE of the very highest order. 

In fabulous condition, so listen and prepare to be moved.

Don't forget the original a-side is considered to be one of the authentic Deep Soul experiences ever committed to vinyl.

Could Thelma Coleman (Berry Gordy's 1st wife) have ever imagined in her wildest daydreams that this small Detroit independent soul label  formed by her mother Hazel would be the focus of  record collecting in the far off cities in the North of England? After an all too brief 4 years of recording and promoting local artists from 1962 thru 1966 the Thelma Sound had travelled 3600 miles east to pleasure the youth of England. 

Blessed with writer/producers like the inspiring Joseph Stribling better known as Joey Kingfish, the label won the hearts and mind of those curious young British soul fans, with previously unknown soul singers like Emanuel Laskey, Eddie Hill, Rose Battiste, Richard Street & the Distants (later becoming the foundations for The Temptations), Fabulous Peps, Alberta Adams, Will Hatcher, and Martha Star. 

Expertly backed up by exceptional local musicians, including James Jamerson, Joe Hunter, Clarence Satchell, Robert Ward, Joe Harris, Detroit City Limits, Don Davis, Soul Brothers Inc., The Funk Brothers, a moonlighting The Motown House Band, The Soul Brothers, the Twistin' Kings, hhe Thelma jamming sessions were the place to be when time allowed; the quality produced reflected in the label's spectacular output, making it today one of Detroit's most collectable, best-loved imprints. 

Here is one of its jewels by Joe Mathews, with both sides shimmering with everything the Brits adore about Detroit Northern Soul. "She's My Beauty Queen" benefits from Joe's seamless voice gliding on a carpet of shrill girl-group harmony, the  "Hey Hey" was so intense it was a brand new experience for fledgling Soul fans in England, partitioned by a Mike Terry saxophone break-in. Wonderful Northern Soul  typifying the Motown City vibe of 1965.

On the flipside is the hidden gem, the totally exhilarating " Is It Worth It All ", a standout Detroit delight, that's had little or no NS exposure. Even though it screams "PLAY ME!" to everybody 

Coincidentally Joe Matthews was Thelma's only artist to be honored with a 60's release single in the UK when his second 45 Thelma 107 was picked up by Guy Stevens at Island records and pressed on the iconic SUE records in 1967.

THELMA... all of us have us have been elated by your powers of soulful persuasion since our youth... a real love affair that has never diminished a jot, as we look back over those Golden Years of soul discovery. 

Jesse Maison Osborne, known affectionately as “Ozz” was a legendary force behind so much Bay Area Soul during the 60’s later becoming one of Berkeley’s Fantasy Records main studio influences during the 70’s.

Working closely with the mysterious Troy Dodds, Claude Baby Huey, Frank Jones and Herbert Campbell at Villa. Ozz was certainly an integral part off that vibrant Bay Area Soul scene. 

On this 1966 release “Ozz” gives up not one but two imposing Northern Soul dancers. 

Top side kicks off with muscular percussion inviting Ozz’s Moody voice to shimmy into sulking Popcorn rhythms. Whilst that obligitory bevy of young girls deliver “The Sperling” pitch, with their shrill chorus responses. Moody, infectious and compelling, still yet to have the full NS exposure it deserves. Real rarity has obstructed its exposure over the decades. 

Flip it over for another sulking R&B winner again that cocktail of Ozz’s brash vocal supported by the contrasting squeals of that searing girl chorus. 

Two very strong tunes with validated rarity both sides give it up big, potential for this sleeper to rteignite is huge. With that addictivev a sprinkling of a “Popcorn” flavoured vibe, making it ideal for today’s NS dancefloor mood.
Flawless vinyl, unblemished a-side label. Small X flip side label. A mighty fine copy

The rare so seldom-seen promo with the bordering RED RING 

Without hesitation Timothy Wilson is one of my all-time fave Soul Men, always such an imploring, on his knees vocal.

Here he is with his debut single, fortunate to be under the guidance of New York’s finest “big city sound” makers. Robert Feldman, Jerry Goldstein, Richard Gottehrer collectively know as the innovative recording grouping ‘The Strangeloves”. Who in turn were mentored by the towering talent of Bert Berns. So the 22 year old soul crooner was at last in good hands, after an indifferent career as a young 15 year old heading up Tiny Tim and The Hits on Roulette. But this voice was never gonna be standing in the shade for very long..

A blasting brass intro, gives way for Timothy’s exquisite vocal to take to the air.  Beautifully elevated by an uncredited vocal group chorus for yet another “Feldman, Goldstein, Gottehrer”  masterpiece to unfold.

One of the tragedies of the music-industry, unfortunately, is how so many truly gifted artists never receive the audience they deserve. Timothy Wilson’s whole portfolio screams genius.. this 45 has sat on the periphery of Northern Soul for decades now, with never quite enough copies available at one time for that concerted DJ push required for it to rise to NS classic status..

But to me this is vocal-group Northern Soul at it’s finest, with an arrangement at it’s most danceable, delivered by the voice of an Angel. 

Northern Soul at it’s classiest BEST!

A fine copy of this superior "Roots" groove, mostly the vinyl has a full gloss mint minus visual view, there is a light scuff mid-way through, only insignificantly affecting play, with only a soft neggligibly short-lived background crackle. 

Flip with the handwritten title of "Pope Paul Skank" that side is a soarkling mint minus with no flaws at all. (listen) 

Narcotic "Roots" of the most mesmeric kind...

A Holy Grail Deep Soul Grail, backed up with hard-hitting snarling slab of Funk! 

From, the workshop of the impressive Miles Grayson, another fabulous Los Angeles creation, and Billy's only vinyl outing, most likely a Miles Grayson pseudonym, for one of the many Los Angeles 60's soul artists who came under his counsel.  

This is an unusually "DEEP" for a L.A. production, not a city renowned for its gut-wrenching male out-pourings of love; this one utilising authentic southern guitar picks, cradled by sympathetic horns. You could easily mistake it for an Alabama or Macon Georgia crafted ballad.

Listen, you won't be left wondering why, the mysterious Billy Nitro is considered universally as a Deep Soul masterclass, with his convincing delivery and the outrageous rarity, this is our very first copy for a couple of decades. Listen and melt...

For FUNK fans the flipside requires "Mystic Lover " requires your attention,  a relentless hard hitting floor destroyer, that less than a few collectors are aware of...

Two great sides - one seriously evasive rare soul 45.  

Tal Armstrong's team, serve up dancefloor dynamite!

Oh my, how much adore this slab of Texas vocal-group Northern Soul. Carved by the mind of Talmadge Armstrong, no stranger to crafting superior 60’s Northern Soul.

All the superlatives currently cluttering my head, seem inadequate. But every time I hear this tune. My insides turn upside down, simultaneously the bristling the hairs on my neck, and flooding my vision, as my eyes well-up with emotion.

I've loved the sound of Northern Soul male-vocal group recordings a lifetime. As a NS pup, it was The Four Tops, Temptations, Impressions... progressing like we all did  to The Servicemen, The Salvados, The Tomangoes, Masqueraders etc..

In short this Talmadge Armstrong creation sends shivers down my back.. like only the truly top sounds can..

For me it has everything it takes, for those goose-pump inducing moments, we have all encountered many, many times whilst listening to superior Northern Soul. 

This one still does it for me... and no doubt everyone else who click into that inspiring soundfile..

It's been a long discussed mystery why this highly elusive Okeh Northern Soul dancer never took the NS scene by a storm, or indeed ever bootlegged or reissued even though the Northern Soul tickbox was full to the brim, as it was born on Northern Soul's favourite label.

Just like his group the "Fundamentals" who's 45 was  just two releases before Ken's solo 45.  Which also boasts two explosive Northern Soul dancers, if truth be known both "Come Back / Baby If You Were Gone" were both recorded in the same New York session as the "Fundamentals". With Ken's lyrical prowess and vocal-group shepherding the male harmonies tight, rich, creamy and flowing, ewere in his signature style. 

So now collide with the racing horns, rolling male group choruses, trumpteting horns.. every note as good as the "Tan Geers" "Johnny Robinson" "Sandra Phillips" etc or any of those spectactular Northern Soul run-away-trucks of delight.  

Check out all Ken Williams' "Daealius" productions for a mighty assemblage of superior Northern Soul creations. Both sides of this disc are well worthy of your attention on or off the dancefloor. 

Time for NS DJ to turn up and not spin the same old-same old when disc like this are discoverable and snoozing... 

The original lead side "Baby If You Were Gone" is an astounding vocal-group stroller in its own right. Two killer sides about to stir. 

PS 

Shame on you...

6th September 1963, Parlophone GEP 8880  EP PS with a genuine factory sample  NOT FOR SALE sticker. Very rarely seen on the EPs.

1. A  - From Me To You 2. A Thank You Girl 1. B  - Please Please Me 2. B - Love Me Do

Read condition report of this factory sample - a spectacular copy - find a finer example if you can!

These first labels have Parlophone around the perimeter but NO “Sold in U.K.” and no “Recording First Published 1963”. These labels were prepared in a limited quantity in mid-1963 when the EP was scheduled for a summer release.

By the time the EP was rescheduled for a September release the labels carried the “Recording First Published 1963” text but again without “Sold in U.K.”. These labels have a mixture of sans-serif and serif fonts.

Note later labels have "Gramophone" around the perimeter.

70s/80s repressings come in an unlaminated picture sleeve with EMI around the perimeter.

Release date from 'Record Retailer' issue dated 5 Sep 1963.

machine stamped DEADWAX MATRIX 

a. 7TCE 761-1N  @ 6 0'clock

stamped MT @ 12 o'clock

stamped  9 o'clock 

b. 7TCE 761-1N @ 6 0'clock

stamped MT @ 12 o'clock

with miniuscule single letter

stamped K @ 9 o'clock

stamped C @ 3 o'clock 

Embossed K T tax codes  - crisp and clear on the 4 prong centre - NO spindle trails

See perfect label images. and the  laminated cover pics. 
A-side vinyl is a clean Mint minus. Flipside vinyl is also Mint minus

Ex+, rounmded flipback seams.  front and back cover reveal only soft storage laminate veins and a few feeble creases see acurate images. 

68 year Rock n' Roll artefact. Amazingly still complete with original polythene outer, two perfect  cocooned labels, mint most likely previously unplayed vinyl, just feeble signs of in-sleeve storage. Mint vinyl. Front / back cover have been lifelong poly-protected, no sign of storage rub. Just the cornertips and the top/bottom seams reveal any indication of age. 

A stand-out copy, in aazimg condition. 

Giving up Little Richard at his most energetic...

side A. 

1. Long Tall Sally

2. Miss Ann

side B

1. She's Got It 

2. Can't Believe You Wanna Leave

Yes, the British band who worked with Joe Meek at R.G.M., backed Mike Berry and featured Deep Purple's Ritchie Blackmore on guitar. But for some unknown reason this Derek Lawrence production never received a British release making it one of the few British beat band who had a USA only 45. 

This recording was a stepping stone for Ritchie Blackmore who joined Deep Purple in 1968 with Derek Lawrence producing their first three albums. 

"Only for You " the side with the attitude, is a fabulous mid-60s beat-feast featuring an audacious guitar break, just a "pub" piano break, underlining Blakemore was had a different mindset to his teammates. Two years later he could spread his wings as an integral part of what was to become one of the world's greatest Rock Bands.

For the deeply dedicated "Deep Purple" collector this 45 is essential, to a British Beat collector this 45 never got issued in the UK, again an important piece in the 60s Brit-Rock jigsaw.

It's tough to find, it is a styrene press so we advise a long uninterrupted listen to the soundfile, there is occasional light "fuzz" in the playback..

Historically it's the 45 itself that really counts and that guitar break showcasing a 21 year old guitarist destined for greatness

This copy has never net a Northern Soul DJ in its life, or even a stylus until it ended up on my desk.

A Northern Soul all time great - a Wigan Casino anthem that catapults you back 1/2 a century, dropping you smack-dab into the middle of a hand-clapping, whooping throng of the Northern Soul youngsters embarking on a journey they will never forget.

Forget the "3 Before 8"  "Judy Street"  is Wigan Casino, "any hour" quintessential dancefloor fuel, just the opening vibraphone notes will instantly transport you again into your wonder-years, as a fledgling Northern Soul disciple. The NS chemistry is utterly explosive, a collaboration pulled together by the Great H. B. Barnum in July 1968. Plucking another gorgeous unknown MOD girl (Tina Mason was his first), affording her the lavish backing of Darlene Love and The Blossoms propelled by H. B. 's mastery of the full orchestra, elevates this strong young white girl's vocal into the realms of Northern Soul Soul heaven. Only H.B. could have achieved this timeless result of NS brilliance.

Take a moment to absorb what happens after the iconic attention-seeking Glockenspiel intro whisks you away into the depths of your misspent youth. H.B. brings in a guitar to drive the pace, subtle horns enrich the background whilst Judy's beseeching voice reaches out in desperation, cradled every step of the way by "The Blossoms" sweet choruses. Then the H.B. masterstroke of that muscular violin instrumental break peppered with cowbell notes, it is just pure genius. Lifting the song into another stratosphere of dancefloor euphoria.  , 

THIS IS NORTHERN SOUL at its most indelible. No matter how you fight it you are now re-stationed in Wigan Casino

A true top-drawer NS classic that has endured almost 5 decades of adulation for its nostalgic powers, and is still packing the floors...

Two classi style SKA recording from the pen of Jimmy Cliff himself. An elsive 45, very tough to find in this lovedly clean condition

The versions on this seldom seen September 1964 single, come from the movie "This Is Ska" filmed by the Jamaican Tourist Board to promote artists on their appearence at the Canadian "World Fair" where Prince Buster, Monty Morris, The Maytals were bookd to perform. This Stateside press was from that recording.

A year earlier "One-Eyed Jacks" was released on Island WI-062 with the spoken "Raretrack intro" on the Stateside press, it jumps straight into this re-recorded SKA anthem. Likewise "King Of Kings" issued on Island  just 8 releases later on WI-070 with the "Lion Roar" intro, was wisely remade without the distracting feline extras. 

This EMI promoted this back to back release, using up-scaled, much improved versions. All the better for it, just pure SKA from start to finish with none of the unnessary sound effects.  

The the British 7" completist, a unique opportunity to own The Capitols unissued at the time test single giving up two dominate Detroit recordings that never made it onto single, in the USA or UK, but they were cut on 7" acetate in London in preparation for the now iconic Capitols album "Dance The Cool Jerk With The Capitols"

That featured the artwork of Loring EuTemey, the now much collected Atlantic Records art-department genius famous for his album sleeve images. "Cool Jerk" cover being especially sought-after. 

As I. B. C. Sound Recording Studios, London cut the sound for the 1966 UK Atlantic 587019 album these two tracks were laid down for file and quality test purposes.

The lead side "Love Makes The World Go Round" - Deon Jackson's hit from Ollie McLaughlin's workshop from a year earlier 1965. A wonderful egdier version with Ollie heavy on his piano work, oddly entitled "Love So Fine" on the master reel. Correctly retitled for the album release. Great alternative approach by McLaughlin works so well, as he changes the face of Ollie's & Deon's biggest hit.

Later relaunched by Atlantic as a reissue in 1975 during a longer look from record companies at McLaughlin's work. eg Deon Jackson's "I Remember The Feeling" also saw the light of day in '75 for the first time.

Flip it over, for an inspired choice of injecting even more energy (if that were possible?) into Artie Resnick and Rudy Clark's New York hipshaker released on Loma by the Olympics "Good Lovin'"a proper stomper, that also emerged in 1965 also on the French 1966 EP.

Two killer aimed straight the British 7" collector, this is most likely to be UNIQUE!

For the serious about rare British soul 7"s. 

According to lifelong, dedicated British Tamla Motown collectors, including myself). The relrease copy TMG 537 is unquestionably  one of the outer-most elusive 45s to fit into that gruelling but highly rewarding undertaking of completing the  UK Tamla Motown jigsaw.

The red & white promo copy is actually commoner than the iconic black & silver label, it sold "nothing" either side of the Atlantic.

If this TMG surfaces in genuine Mint minus condition, do no pass-by. 

It may be the only one you'll ever see. 

Even after near 60 years of Tamla Motown TMG adoration to encounter TMG 537 in the flesh still triggers a stirring uptick in my heart-rate.

Beautiful vinyl vision for those on the journey of TMG finalisation...

Sesso Matto - Sessomatto / Kinky Peanuts - West End Records – WES 1201Cult 1977 electronic Latin infused Italian disco - an Armando Trovajoli masterclass, if it was a the Blackpool Mrecca or Cleethorpes Winmter Gardens spin would have leapfrogged "Night Of The Wolf" into # 1 for "off-the-wall" Northern Soul imigration.. 

From the motion picture "How Funny Can Sex Be?"

Captivating bongo patterings, soaring trumpets, stabbing horns, then beckoning sirens chant "Sessomatto" translates in English as "Sex Madman" 

"Sex Madman" would have had the Cleethorpes crowd scurring to the dancefloor to find a little elbow room to strut their stuff, if I'd have had a copy in 1977 it would have certainly been sitting high on my ecclectic playlist in among Lou Pride, Kim Tolliver, Al Foster Band and Babe Ruth...

A surefire Winter Gardens hit! 

Extremely rare 45 - giving up two totally obscure, early seventies Jazzy soul dancers, in the style of Vernon Burch with a sprinkling of Gil Scott-Heron to add a slightly harder edge to the proceedings - with spectacular results for this little known artist.

Rattling percussion, peppers a swirling jazz propelled dance pulses. An uncredited male vocal backing showers punchy "scat" in the lively dance arrangement. 

This vibe is reinacted on the flipside with "Let It Show" continues the fluid approach, for a totally classy flipside some will consider the best side as the prolonged instrumental break, lifts the session to yet another level,

Which ever side you prefer, both give up the goods, in buckets of feelgood vibes.

Kingston Jamaica press in fabulous condition. 

Lee Perry's golden touch boards the train, for one of Junior's very finest recordings. Vocally perfect with echoing background choruses elevating the song even higher, the dub take on the flip, showcases the effect brilliantly.

Top Junior performance peppered with classy horn work.

Truly superb "Rastafarian" experience - love it - both sides!

Get on board !

RARE and sought after Roots 45, a Vivian Jackson "Roots" project from 27 Retirement Road, Kingston 5, Jamaica. In fabulous flawless condition. 

Wayne Wade best known for his instant success with  "Black Is Our Colour". With more success for the next 3 years under the wing of "Yabby You" before making a sideways move t work with "Dillinger".

"Stylistic Dreadlocks" is one of more elusive but finely crafted "Roots" offerings, this copy is unbelievably clean!

A fine clean reissue of Coxsone Dodd's 1967 upscaling of Willie Cobb's 1961 Vee Jay R&B classic that so many artist's have covered through the decades, but few did-it-up as good as Dawn and Clement. As they get down and moody with the "Sound Dimention" crafting a narcotic entrancing vibe, the instrumental break elevateinmg to yet another level.

A killer tune whoever sings it, but this beyond-addictive version will burrow into your head, maybe to never leave. 

Listen and prepare to become hooked.. 

The flipside (version) mainlines its vibe directly into your heart

Written, arranged and produced by Lee Perry reflecting upon his experiences, working with C.S. Dodd at Coxsone & Joe Gibbs at Federal both employers he felt never appreciated his extremely obvious talent.

So he wrote all about it, crafting this boss dance tune, again Lee Scratch Perry triumphs over adversity, with his musical gifts and determination to deliver another top draw Rock Steady recording.

On the flipside Burt Walters reworks Bob Dylan's all time classic, with an individualistic version, saturated in primitive charm.

Two great sides, a very sought after disc, rarely seen in the clean near mint minus condition.  

First press before the J. J. label with the same release number. 

some small ballpoint signature on each label (see images) otherwise two clean labels 4 prong centre intact.  Strong gloss on vinyl, shows some soft hairlines, but plays really clean (listen)

A neat clean 1972 blank of Alton's praise of his daughter, such a tight uplifting song presented here in fine clean condition. 

Such an inspiring tune, elevate your day, by taking a listen.

Tough to find in clean condition.

Here's an exceptional mint minus copy of this highly sought after 1977 Roots, beautifully unblemished!

Dennis Pinnock bashing propaganda in Uganda with Alton Ellis taking inspiration from Minnie Ripperton's "lovin you" decorating the arrangement like Stevie Wonder's backing girl did with chirping birds and summery ambience.  Sunshine vibes whistle through the production in delightful contrast to Dennis's gravel coated throat...that's drawing attention to the atrocities of the notorious despot Idi-Amin.

Muscular Roots unfolds as Dennis's 1977 career gets off to a roaring start.

Niney Holness with his "Observers" on a groundbreaking project from the very beginning of "Roots" in 1971, comes an addictive session benefiting from Niney commanding vocal riding relentless guitar pulses, supported by shrill man-vocal choruses, this session seamlessly rolls along. 

The flipside although turning the title on its head, utilizes the same backing track, embellished with more of those searing choruses and some well timed vocal interventions from Niney. 

Two strong sides, in fabulous condition. 

Two coontrasting sides on this February 1969 D.I.Y. Rock 45 from this very young 5 man gatherimg from  New London, Connecticut.

The band ledd with a dreary wimpish teenage harmony ballad, typical young-boy remorseful stroller full of regretful, sparked by lost love, from the pens of friends and neighbors William Bink & John Elgelhofer. 

The band were blessed with two highly skilled guitarists, brothers John and David Egelhofer with William Brink, Steve Rengert and Robert Perfetto making up the full five members, This was the quintet's only 7" single. With only David Egelhofer continuing to record in later life, in Maryland with "PaperUmbrella" the others faded into obsurity. 

Whilst the original b-side "Don't Leave Me" comes from a totally different train of thought. Killer, beligerant free-style Garage showcases some solo guitar work, way-beyond their years, matched by strong reaching vocals, and thumping percussion. 

Upbeat, persistent and full of desire, intension and hope, peppered with moments of superior guitar decoration.. 

Good stuff, and damn rare! 

Certainly nothing to do with "our" Solomon King but an insanely RARE 1964 private-press label, before the song sneaked out on the flipside of that wonderful  Veep double-helping of Northern Soul by "Willie & The Handjives" "Gotta Find A New Love" in 1966.

Willie & The Handjives started life as "The Poe-Kats" were one of the very first interracial R&B groups with Big Al Downing on vocal & piano basing his wild style on "Little Ricard" this Coffeyville, Kansas gathering released this mini private-press of "Runnin Girl" written and produced by Big Al and arranged by Poe Kats guitarist Vernon Sandusky in 1964.

"Willie & The Handjives" were in fact a later incarnation of the Poe-Kats two years later, after the members split to form "Washington D.C." band "The Chartbusters", hence "It's A Chartbuster" label in 1964, some other associates went away to form tenuous connections Mod band "The British Walkers" 

"Runnin Girl" is a before-its-time big-production cruiser with Bobby Poe on lead vocal, riding a moody saxophone and horn drenched "Big City Beater" cradled by a bevy of shrill girl choruses, building up into a magnficent crescendo with the booming lead voice grows to bursting point toward the finale. 

Sulking Northern Soul in its utterly "impossible" clothes - a stunning label with a fascinatingly entangled "Family Tree"

As rare of NS collecting can possibly be...

Rare vintage 60's British Northern Soul 45s that influenced the MODS at clubs like The Scene, The Twisted Wheel, The Mojo, Club A-Go Go, Flamingo etc. The trick though, is to locate and acquire them in tip-top investment condition, now there is a challenge. So often labels have been written on, 4 prong centres removed, not to mention the vinyl is invariably not in the condition you'd hoped for. It's not a good feeling, that "our-of-sleeve" inspection when it disappoints. 

Before you today, is not only impeccable silky-smooth girl-vocal-group excellence, conceived by East Coast studio-men, one a son of Philadelphia, the other a boy from the Bronx. You are viewing one of their greatest sessions, Jerry Ross & Joe Renzetti aided and abetted by Artie Resnick, Kenny Young  Victor Millrose. A team that seamlessly hooked into the girl group phenomena after fellow Philadelphian Richie Barrett had blazed the "girl sound" trail with huge success a few years earlier. 

The Sapphires vocal style gives-up the very essence of girl-group Northern Soul with more than a few considered timeless Northern Soul classics. Here is one of their greatest, "Evil One" in its highly coveted format, the 27 August 1965 press, in magnificent eye-popping near mint minus condition! A rare combination indeed, for this particular 45.

The genius of a 22 year old Kenny Gamble hidden away in the background and the experience of a 10 years his senior Jerry Ross and Joe Renzetti construct an an upbeat finger-snapping dance journey into a young-girls' realization of male duplicity. Carol Jackson honeyed vocal floods a vibe-filled Motown-esque brass filled arrangement; with her every sentence echoed by a shrill uncredited girl-group presence. With the male "Sapphires", George Garner, Joe Livingston limited in contribution. Going back in the day, right from it's first plays "Evil One" delivered the pace and the punchy power to become a Northern Soul club classic. 

But today, after decades of being hidden away, I'd to implore you to check out the dreamy flipside, a haunting floater dead-right for "Beat Ballad Heaven" and beyond. It is a "lost" girl masterpiece, fitting like a glove into today's broader Sunday chill vibe.

Two killer sides, so hard to acquire in this derisible British form at this fabulous level of condition.