Auction
The condition and authenticity of all the records in our auction section are always carefully and closely scrutinised. If you enjoyed our auctions, then you may also enjoy checking out our latest soul additions.
Terry Callier
Ordinary Joe / Golden Circle Of Your Love
Cadet : CA 5692 DJ (45s)
Made immortal by Terry's unparalleled gift for mixing the two genres with a seamless ease of social comment delivered by his beautifully "cracked" vocal, partitioned by fluid "scat" and simplistic piano notes. Mr. Callier tiptoes through the irresistible piano rhythms, his voice rising up stronger and stronger as he absorbs himself in his carefully crafted lyrics.
Just brilliant, a flawless masterpiece of his own creation, that has been universally applauded for several decades now, without ever becoming in the slightest, tired or overplayed.
Damn hard to acquire, the few owners will never part company with this treasure of our scene.
Condition Report
Two clean promo labels, fine clean strong gloss vinyl, revealing only the n=merest soft hairlines under light. as you can hear, plays, loud crisp and clean.
New Wanderers
Let Me Render My Service / This Man In Love
Beltone Recording Corporation : acetate (45s)
Condition Report
two clean gloss finish labels, strong clean lacquer, no flakes, scratches or lift. Beautifully preserved for over decades, crisp clean sound quality.
Van Dykes
Save My Love For a Rainy Day / Tears Of Joy - Mala
Mala: 584 (45s)
It is not often you can say, a record producer takes a Motown recording and makes it superior to the original. This Norman Whitfield composition never achieved more than album track recognition in 1967. Until a quick on the draw Charles Stewart saw potential for his four man Texas Soul gathering to revamp it into a hit.
Rondalis Tandy, Wenzon Mosley, Eddie Nixon and James Mays with his rich baritone, do such a beautiful job of pouring out vocal-group "Motown", whilst still retaining a strong sense street-corner teamwork. Sprinkling the "edges" with a seamless flood of harmony Soul, as that icy-cold lead falsetto completely wins you over..
Charles Stewart's thundering bass-line intro, peppered with chiming vibes, blasted into orbit by a barrage of brass, colliding head-on with Ron Tandy's searing falsetto.
It is one of the most motivational intros of them all - park your drink and dash to the dancefloor, it is a record you can really dig your feet into. Driven to the brink of dancefloor elation by a torrent of male voices..
THIS IS NORTHERN SOUL at it's most exhilarating
But do not overlook the flipside, a delicious top drawer Sweet Soul harmony. That showcases one of the most gifted Soul groups, who sadly failed to make worldwide fame.. The Impressions, Manhattans, Dramatics, Temptations, The Dells would not have sung "Tears Of Joy" better than the fabulous Van Dykes. A group who never quite reached the dizzy heights their talents so richly deserved.
THIS IS SWEET SOUL at it's most exquisite, backing up a Northern Soul Anthem that fires up so many memories.
Condition Report
Two flawless labels, with NO ink fade, so rarely encountered without that ugly storage rub. The play perfect full gloss vinyl only reveals the merest soft hairline when tilted under direct light. Plays mint, visually gorgeous.
Buffoons
My World Fell Down / Tomorrow Is Another Day
Columbia: DB 8317 (45s)
A renowned 6 man Dutch gathering recording in the UK under the guidance of accomplish Hammond Jazz keyboardist Howard Blake & David Paramor the man behind some notablemid-60's Brit productions for The Senate, Garnett Mimms, The Gods and the creator of that all-time Psyche classic for Simon Dupree and the Big Sound - Kites.
The Buffoons were in good hands, and certainly do not live up to their name. The "Buffoons" are a highly honed male harmony team who glide trhrough this stunning full orchestra production. With Howard Blake & David Paramor seemingly inspired by George Martin Beatles' offering of the time.
Both sides are masterly full orchestra afforded British-made Psyche, benefitting from the highly-honed seamless vocals of this formidable sextet.
Condition could not be finer!
Condition Report
A flawless Mint still housed in birth sleeve.
Winston Blake / Itals
Herbert Spliffington / Oh Lord, Why Lord
Punch : PH 15 (45s)
Two really cool tunes, but more importantly in playable condition, check out the crisp clean soundfiles, and enjoy the mix of entrancing trombone, leading the compelling dance rhythms all kicked off by the most effective spoken intro of them all.
Flip it over for an equally enthralling dance session, this time delivered by seamless vocal-group harmonies woven into a rich background elevated by pumping horns.
TWO TOP TUNES on one disc.
Check out the irresistible soundfile - you cannot avoid being bewitched by its double-helping of street-level Jamaican magic...
Condition Report
a minuscule fine 6 on the a-side 4 prong centre, is the labels only tiny flaw.
Sound Dimensions / Barry Llewelyn
Time Is Tight / Sad Song
Coxone : CS 7097 (45s)
Studio One's premier instrumentalists under the stewardship of Clement Dodd; between them they conjure a colossal interpretation of Booker T.'s Memphis classic, featuring spectacularly inventive saxophone manipulation, partitioned by moments of inspired trumpeting, whilst seamless keyboard strokes whip up the perfect Hammond storm. Peppered by a Melodica the whole session takes flight..
Brilliant version! Dare we say, leaving the original version way behind?
Flip over for a reworking of Darryl Carter's Memphis creation that Oscar Toney Jr. and Joe Simon did so well. Dodd and his team make the original source almost unrecognizable as the session adds quirky effects and extra lyrics, so different in fact, that the label cheekily credits "Barry Llewelyn" as the composer.
Two great sides that travel so well from Memphis to Kingston with Studio One retaining a hint of Soul whilst elevating to top-tunes.
Condition Report
name x 2 on label, original push-out removed. Fine clean full gloss near to mint minus playing surface, as you can hear both sides play crisp and clean. BUT NOTE this disc has on the run-in groove a bubble effect on the very edge if both sides, (see image) does NOT run into the playing surface, as you can hear both sides play at least excellent plus after a couple of low-fi thuds on the very first few notes. First class fidelity, with no hint background crackle whatsoever.
Prince Buster's All Stars
Quit Place (sic)* aka Johnny Dollar / Rude Boys
Blue Beat : BB 393 (45s)
Rare unblemished condition, two clean labels, 4 prong centre intact, strong gloss vinyl revealing only sparse occasional surface hairlines.
* the flipside "Quit Place" was previously released as "Johnny Dollar" on Blue Beat BB 326
Condition Report
Rare unblemished condition, two clean labels, 4 prong centre intact, rare receiving turntable action as the spindle-hole displays with its tight fit.
Sweet Breeze
Slow Change Up / Good Thing
Willpower : WC 4503 (45s)
Get ready for a shatteringly spectacular soul-girl voice, backed by a rich male vocal group; together they will sweep you off your feet. With she strolls through her all consuming love affair. A mid-tempo delight that has been pleasuring some of the more musically endowed rare-soul connoisseurs Sabbath get-togethers. "Slow Change Up" is a really a very special slab of sister-soul. As the momentum builds, the arrangement still remains calm as the lead carries the song to a emotions finale. Classy and memorable...
The "Slow Change Up" vinyl reveals two tiny marks that give up a few ticks and pops in the early stages. But the sensational girl-lead will certainly distract you from any flaws, her singing is so captivating.
The other side has enjoyed the attentions of innovative DJs in the past, a potent Funky edged dance total dancer, with again the female lead stealing the show as she rides a Latin / Funk thumper assisted by the male members of Sweet Breeze hammering out the thumper dance pulses.
NO matter which side you drop the arm on, you are treated to standout independent Rare Soul that so seldom comes to market.
Condition Report
Two clean labels, "Slow Change Up" has two marks that give up a few ticks and pops in the early stages. But the girl lead will certainly distract you from
Marsha Gee
Baby, I Need You / I'll Never Be Free (Because I Love You So)
Uptown: 704 machine stamped matrix (45s)
Now strap yourself in, for an high-octane, turbo-charged journey into girl-group NS classics. Unfortunately this title is one of the most-often discs, to be erroneously sold as a Northern Soul collectable, the counterfeit copy from circa 1974/75 has often caught collectors unaware, sadly paying original press prices for 45 year old counterfeit replicas. You can't mistake this stamped original for anything other than the original!
An essential timeless Northern Soul girl anthem from the golden years of The Torch, Mecca, Va-Va's etc. that today is an highly elusive original to acquire.
Edward Wright and Harry Hanson fresh from their exploits with The Springers lead vocalist Jeff Dale who released three wonderful Atco 45. Showcasing their writing and producer prowess. In 1965 decided to move into the sister Soul vocals with their sessions with The Deletts on Blue Rock and this killer with the mysterious Marsh Gee; as the duo try and emulate "Motown" with the "Smashville" productions so closely mapping "Hitsville" in make-up and delivery.
The pair had quite a gift for emulating the "Motown Sound" as displayed with this foot-stomping, hand-clapping, finger-popping, horn-powered NS classic. Girl group backing doo-wahs fill the air as Marsha boosts here considerable vocal-force to elevate the song to new peaks throughout the song. Laying down one of the best loved NS classics that decorated that early 70's pre-Wigan Casino era of cornerstone Northern Soul.
I feel this recording could easily have been credited to the girl group Deletts, as the similarities are stark; or was Marsha a Delett? Were the girls in the background the foundation of the Deletts? This is of course, essentially a girl-group recording... that interesting links the two artist credits. Any extra info would be most welcome as we try to document those dark recesses of Northern Soul's greatest recordings.
But do not overlook the classy mid-tempo flipside, also more than worthy of you attention.
and relax in the assurance this is the seldom-seen authentic 1965 "machine stamped matrix" original.
Condition Report
small black X on black labels, almost unnoticeable, spectacular full gloss mint minus vinyl. A stunning copy!
Lozine Cannon
I'm Gonna Quit While I'm Ahead / Cold At Night
Philips : 40240 (45s)
Firstly, this listing is the attractive "black stocker" in glorious mint minus condition, still in its birth sleeve. Secondly it gives up not one, but two potent dancefloor destroyers.
The mighty vocal of "Lonzine" when first discovered by the Northern Soul DJ's was mistaken for a man's; being covered-up as Earl Jackson; a compliment indeed as we all herald "Earl's" mystery vocal, as right up there with the very most potent of all NS artists. The a-side a Van McCoy creation, with Luchi DeJesus and Shelby Singleton summoning up a mountain of brass, blasting over bass guitar pulses as a compelling dancer unfolds. Brilliantly decorated with shrill girl group choruses, the recipe for Northern Soul greatness is all in place, for "Lonzine" to rip the session to shreds with her decidedly masculine attack on the already roaring arrangement.
But also let's be aware this is also a fabulous double-hitter with "Cold At Night" on the flip, giving up another almighty explosion of horns, matching her snarling attitude for off-the-scale R&B dance.
Two great sides, with "Quit" once again is receiving the attention it deserves, from international DJs with real-soul-nous and impeccable taste..
Condition Report
Two clean black labels, not a hint of storage wear, full gloss vinyl reveals only the merest sleeve contact hairlines. both sides play perfect.
Adrian Lee Bal
Bach & Forth part 2 / Bach & Forth part 1
Bal Records : BG-309 (45s)
Adrian Lee Bal is an accomplished self-taught electric bass guitarist, manipulates his instrument to the nth degree. Breaking through all previous boundaries of Jazz & Funk. The result is a jaw-dropping, pounding cocktail, fusing both genres.
Every week on a Wednesday, we hope to make this auction, a good read and an enlightening listen. This UCLA student pushes the boundaries of instrumental achievement, for which he won the annual 1971 "Sinatra Award" only open to UCLA students, Adrian Lee Bal won that award in his section, along with $2000 in prize money that financed this incredible 7" single.
I hope you, like me, are about to be amazed by this totally divergent slab of Jazz/Funk, and appreciate the skill required to compose and play this level of jaw-dropping funk.
Click the soundfile, listen fully to part 2, before reluctantly declaring it, your most memorable listen of the week.
Insane but Brilliant!
Condition Report
Two perfect labels, flawless previously unplayed archive vinyl, still housed in birth-sleeve; complete with a newspaper cutting of the Monday evening, when Frank Sinatra discovered Adrian Lee Bal.
Harvey Averne Dozen
Never Learned To Dance / Dynamite
Uptite : 007 (45s)
The imploring lead vocal rolls out a checklist of reasons to dance. As that bass guitar dispelling all doubts, convincing you to take to the floor as those pumping bass-throbs burst through a near impenetrable platform of honkin' horns, frantic guitar rhythms, keyboard decoration, rattling drums all fuse as one as that becoming breathless lead-vocal leaves you in no doubt where you should be - out-on-the-floor,
It's a club-destroyer of the most uplifting kind... proper dance-music... proper Northern Soul, very hard to acquire; with the bonus of hard-hitting Latin/Funk dance tune hidden on the other side; featuring taut guitar riffs, bombarded with heavy-duty horns, later partitioned by an inspiring, wailing trumpet solo. Another top-tune!
A two for the price of one - essential!
Condition Report
Strong gloss on vinyl, revealing some soft surface marks, other than a few soft clicks on the intro, none of which really affect play. Listen the fine double soundfile. Labels have sparse radio station notes / writing on it. (see images)
Moods
Little Alice / Lady Of The Sea
Sarg: 162-45-1 (45s)
This is the Moods' first 7" single, this six man gathering, taking inspiration from Louisiana, styling "Lady Of The Sea" from the big-hit of 1959, Phil Philips - Sea Of Love. A fine group harmony mid-paced stroller. But it was later that the flipside "Little Archie " that burst through in the realm of highly collectable Rock-A-Billy. Enthusiastic demand led to a "silver" text bootleg.
Before you today is the real-deal is spectacular previously unplayed vinyl still housed in its birth-sleeve.
Two great sides from Bar-B-Q-ville where 6 young school friends formed a group. With Clyde Allen Wallace, taking the lead vocal on "Little Alice" you can hear why he was affectionately referred to as "Big Foot" his rasping beast-like vocal roar, perfectly suited to the frantic pace of his own writings "Little Alice". Curled-up-lip snarls sing the virtues of Little Alice as he tries to make her his. Superior rocking guitar, hard-blown saxophone, smashed by relentless Jerry Lee Lewis motivated rapid-fire piano display, followed by a jaw-dropping guitar break that steals the show.
Killer small town Texas Rocker..
The original a-side is a cool tune also, capturing that 1959 mood with a haunting mysterious stroller, with the rich smooth vocal Jimmy Bazar cradled by a controlled saxophone displayed and a considerate melodic piano rhythms. Creates the perfect "Prom Night" smoocher.
Two contrasting but equaling enthralling sides, in never to be encountered again archive condition.
Condition Report
Two clean labels, crisp bright GOLD text on a rich blue background no age-fade, magnificent previously unplayed vinyl
Gladys Knight & The Pips
No One Could Love You More / Take Me In Your Arms & Love Me
Tamla Motown : TMG 864 DJ (45s)
Previously only an album track, to help fill the demands of a record that has been consistently filling the dancefloors up and down the country, for two decades, this 45 is the only way to play it, as the full volume richness making itself a NS DJ essential, above the timid album track.
An afterthought by EMI to back the Gladys classic "Take Me In Arms And Love Me" reissue with an album track, giving birth to another Northern Soul monster previously unissued as a 7" 45.
"No One Could Love You More" has been pleasuring the NS dancefloors across Europe for quite a few years now, with no signs of it's popularity ever fading. In 1971 the writing combination of Pamela Sawyer and Gloria Jones crafted an album track for Gladys's "Standing Ovation" LP, which was wisely spotted by an EMI executive and then scheduled for release to fill in the flipside void.
It was to be years later for the Northern Soul scene to latch onto this inviting anomaly, but once those turntable outings began, there was no stopping it's progress to the top of the Motown NS choice of plays. Gladys's imposing Diva-level voice, raps an unforgettable piano led intro, engaging the crowd to stroll onto the dancefloor, before her voice takes flight into a full-blown aerial presence hitting all those glass-shattering notes we have grown to expect from this all-time-great.
fully orchestrated by Johnny Bristol and the underrated Clay McMurray, erupting in a full big-bollock production, complimenting Gladys every step of the way.
Impossible to self-distance to, as everyone loves dancing to this morsel of Motown magic! But what better way to own it, than this eye-catching rare and immaculate Green & White 1973 UK Demo!
Condition Report
A close - "Manship Mint" Two totally clean green and white demo labels, 4 prong centre intact, full gloss vinyl reveals hardly a blemish on the vinyl, that has never encountered a Northern Soul DJ in its lifetime as a captive in a record librar near perfect. Still housed in its birth-sleeve.
Baby Huey and the Baby Sitters
Just Being Careful / Messin' With The Kid
U.S.A. : 801 DJ (45s)
Before moving on with funkier cutting-edge material with Curtom Records under the guidance of Donny Hathaway & Curtis Mayfield. His posthumous album for Curtom heralded as a true soul classic, that has earned him a cult following ever since his untimely death at 26 years of age from heroin. His work with Curtom considered an essential source of inspiration for Hip Hop/Rap artists ad producers. Lyrically Baby Huey was way ahead of his time portraying sentiments that still ring true today. .
Before you today though, is his very first 45; That U.S.A. Records picked up from "Shann" of Chicago, a street-level one release label. A J.B. Kargman project delivering instantaneous Northern Soul on a wave of hanging mournful horns, echo chamber girls, with Baby Huey's gravel-coated vocal racing through Johnny "I Can't Help Myself" Ross' lyrics. Johnny the creative "Baby Sitter" wrote this muscular Chicago Northern Soul dancer for the larger-than-life Baby Huey supported by two saxophone's and a trumpet, two guitars and a drummer, a six man backing band that would grow into a 10 men as Baby's career grew. Unfortunately Baby "James Ramey" Huey grew at the same time, to an incredible 350 lbs putting his health in danger.
"Just Being Careful" is proper foot-the-floor high-octane Northern Soul - a real-deal allniter tune, encapsulating everything 60's Chicago Soul is all about!
Don't forget the killer R&B thumper on the flipside with James Ramey's reworking of Junior Well's Mel London song "Messin' With The Kid ". Relentless, aggressive, sustain R&B attack on the senses.
Condition Report
Clean a-side label, flipside label has a name "Joe Reney" too close to "Ramey" to be coincidental? (see images) Strong gloss on the vinyl, revealing just a few insignificant surfase blemishes. As you can hear both sides play clean.
Donald Height
Talk Of The Grapevine / There'll Be No Tomorrow
London: HLZ 10062 (45s)
I can't help imagining what it must have been like, in the summer of 1966 to be a MOD standing on the Twisted Wheel dancefloor and to have this relentless avalanche of Soul dropped on you. Wow! it would have blown the dancers minds. As it demands "dance!" on every note, with every squawking girl chorus the session builds into tsunami of sound, and then as if those New Yorker's somehow knew what the young mid-sixties Brit would crave next, an intrusive Sax Break mounts an attack on the senses.
JUST BRILLIANT!
Does Northern Soul get any more motivational than this? ... perfectly crafted dancer in every way.. so impressive I've even forgot to mention that the condition is pefect!
Click the soundfile, you will like me, will be beamed back to that fabled dancefloor in your mind, where we can only imagine what effect this style had upon a teenager fed on a weekday radio diet of The Beatles - Yellow Submarine, Jim Reeves - Distant Drums, Tom Jones - Green Green Grass of Home..... the effect was of course, the launching pad to ignite, what is today the most investigated underground music scenes in the world - THIS NORTHERN SOUL!
PS The flipside "There'll Be No Tomorrow" is for Beat Ballad Heaven fans to check out, an overlooked piece of Brill Building influenced Soul-March of real quality.
Condition Report
Miraculous condition, two totally clean labels, full gloss previously unplayed archive, still housed in birth sleeve, as good as it gets
Incredibles
There's Nothing Else To Say / Heart And Soul
Stateside : SS 2053 (45s)
Now considered a Northern Soul classic, that nobody I know, has ever grown weary of hearing or dancing to.
But don't you just love the real-deal Northern Soul anthems, in their original British attire, just as it would have appeared on the turntables of the allnite MOD clubs in late 1967. The birth-sleeve though would probably have been thrown away by now. As in the 60's company sleeves for many were deemed to be an hindrance, to the quickfire loading on those hideous multi-stack Dansette record players, that kept the house parties in full swing right into the early part of 1970's.
For those who grew up with Sue, Stateside, Tamla Motown, red Atlantic, light blue Stax 45 strewn on the carpet at young "soulies" get-togethers. This vision of SS 2053 is just beautiful, a sight that takes every Northern Soul fledging back to his junk-shop, market stall, jumble-sale diggin' days. Stateside's, TMG's, blue Stax, red Atlantic, all vinyl vistas we all optimistically carried around in our head every day we set out on a hunt. For me the hope of finding an Incredibles or Hoagy Lands on Stateside was an indelible driving force of hope. That I still foolishly carry with me still today!
I never have of course found either 45 in the wild even after over 50 years of stalking every possible vinyl hideaway on my travels. Most every day of my life.. it's the hope, the search, the junkie addiction of the chase, knowing the adrenaline rush will be supreme; if I ever found it or its equal in the wild... it would be worth every second wasted in thousands and thousands of fruitless hours of pursuit. Remembering there is an army of eager British Soul Boys still taking part in this addictive vocation every weekend..
But more than beauty on the eye, this release, is in fine complete condition, that is what brought these words of memories and vinyl-love out of me today.
Take another spy at one of the Stateside "greats" in it's full glory, then take a well earned listen to the soundfile... there is of course "......Nothing Else To Say!"
except that, it is records like this, that the Northern Soul scene was build upon.
Condition Report
Two clean labels 4 prong centre intact, full gloss vinyl revealing just a few soft hairlines under light, still housed in birth-sleeve.
Bill Grace
Chances Go Round / Lonely
A S P: ASM 406 (45s)
The mysterious Bill Grace with a D.I.Y. indie he wrote and produced himself, in 1979 avoiding the temptations of the straight disco sound. Bill beefed up the this session with potent electronic enhancement, a compelling synthesizer working overtime of the dance pulses and rhythms with a male backing chorus taking influences from Earth, Wind and Fire in a low-budget "Boogie Nights" style, no getting away from the compelling dance inducement.
A listing for those DJ's and collectors who seek out those small private label 70's dance tunes that never got past their local hangouts, selling perhaps only an handful or so. That probably why Bill never seemed to have attempted another lone-wolf foray in the local club-scene. but there is not denying it left the world "Boogie" scene with another rarity to chase. A relatively new discovery that has yet to become wider known, but already the meagre few that have been discovered, ownership has been vigorously contested...
They don't come much obscurer that this keyboard driven, vocal group Boogie session, credited directly to the creator, writer, producer, singer of this out-of-the-ordinary invitation to get down...
Flawless condition!
Condition Report
Perfect previously unplayed copy
Masqueraders
Do You Love Me Baby / Sweet Lovin' Woman
Wand : WND 1172 DJ (45s)
This gargantuan vocal group dancer, a long term Northern Soul classic from one of the heroes of our scene. This is of course currently their most-wanted 45... a guaranteed dancefloor detonator, backed up with a perfectly executed Memphis Deep Soul ballad, showcasing why this group are universally considered one of the slickest, most emotive Soul teams ever to perform; being close friends who have stayed together 5 decade...their mastery of Soulful harmony rivalled only by world renowned groups like The Dells, Manhattans, Dramatics etc
"Do You Love Me Baby" encompasses all their varied vocal tones and pitches, welling up into a wall of harmony with Soulful snarls accentuating the high points, and rich bass voice adding extra depth and meaningful Soul. Crocheted into a blistering Northern Soul dance arrangement by Tommy Cogbill. "Do You Love Me Baby" is truly a masterclass in vocal-group NS dance... heralded for decades as a DJ must-own.
As is the sublime cocktail of Memphis Deep Soul "Sweet Lovin' Woman" blended by Chips Moman with Chicago styled harmonies, a heart-rendering sees ion of distilled harmony, saturated with the class and power to change your mood.
Putting this level of team-talent in a studio with the two Memphis magicians Chips Moman & Tommy Cogbill, there could only be one outcome.
Soul Heaven awaits, which ever side you drop the stylus on..
Condition Report
not for sale promo text has been redacted by a black marker. Otherwise two clean labels, NO bb drill, vinyl carries strong gloss, revealing only a few very soft hairlines. both side plays loud clean and true. Both sides,
Patti & The Emblems
I'm Gonna Love You A Long, Long Time / My Heart's So Full Of You
Kapp : K-987 DJ (45s)
Here today as the REAL-DEAL March 1968 original promo copy with the PINK "A" indicator on the "My Heart's So Full Of You" label.
Leading lady Patty Russell supported by her trio of guys The Emblems Eddie Watts, Vance Walker, Alexander Wilde. Together they epitomise the late 60's Philly sound; with another Northern Soul anthem from the office of Leroy Lovett and Frank Bendinellil. Two guys who provided the Northern Soul scene with so many Philly delights, as they progressed through the 60's recording NS sounds other fabulous tunes from Patti & The Emblems on Kapp. With "I'm Gonna Love You A Long, Long Time" being the apex of their work in 1968 but received such disappointing sales the black store copy has long been recognized as one of the rarest of all the coveted "black" stock 45s.
This dynamic duo Leroy Lovett and Frank Bendinellil work was sadly obscured by other great Philadelphia writing teams, Ironically Gamble & Huff had just launched the beginnings of TSOP pushing this talented twosome even further into the shadows. This soaring crash-bang-wallop production ticks all the boxes; so much so when original "A" "My Heart's So Full Of You" failed in the market. Kapp quickly switched the a-side to "I'm Gonna Love You A Long, Long Time" but unfortunately this side also fell through the cracks, with lack of radio airplay.
The unforgettable Cape Canaveral launch of Patti's vocal, rocketing skyward on an high-octane whoosh of male vocals, is one of the most instantly motivational Northern Soul intros all them all! Propelled by g-force horns, pattering bongos, crashing cymbals, searing strings; with those triumphant male group vocals increasing in intensity, whilst being occasionally peppered by the inspired inclusion glockenspiel chimes. Launch pad genius is not too strong a word for this opening! This is instantaneous Northern Soul, that Leroy & Frank have been working towards in the battle to head-up the 60's sound of Philadelphia.
Don't forget to flip it over for the original A-side "My Heart's So Full Of You " you are again treated to a mountainous production, featuring a magnificent full orchestra and seamless harmony vocals. Philly does the "The Brill Building" sound, is not to be passed by.
Condition Report
Two clean promo labels, strong gloss on vinyl , some soft surface hairlines, both sides play well NO cue-burn that plaques most copies from the rigors of the Northern Soul circuit for decades.
Billy Arnell
Tough Girl / same: instrumental
Holly : 1001 (45s)
A Cleethorpes Pier / Wigan Casino behemoth of huge historical importance.
Whether it be the swirling keyboard instrumental or the inspirational blue-eyed vocal this record triggered the very essence of Northern Soul dancefloor passion, A guaranteed packed danefloor where every boy and girl would strive to execute all their best moves to this proper NS dancefloor motivator.
But it is so rare hardly any have come to market since those heady days of the mid-seventies, even today its turntable outing in my room has rocketed me back in time to my years at Cleethorpes Pier. Euphoric recall of gazing down from the stage at a totally rammed moving dancefloor with the music broken up by synchronized hand clapping and whoops with raised arms, as the crowd sang along at near the same volume the speakers were blasting out.
An indelible vision and experience...
Condition Report
Light storage wear to the labels but clean (see images) strong gloss on vinyl with light surface marks, but plays great. listen to the full double soundfile lifted directly from this "impossible" 45.
Joanie Sommers
Don't Pity Me / My Block
Warner Bros: 1740 DJ (45s)
A dancefloor elevating goodtime, guaranteed to ignite the club every time, into an inescapable state of mutual euphoria; as this so-easy to dance to big-production sends out tidal-waves of razor-sharp strings fused with a swooping girl-choir in enthusiastic support. This is big production New York at its most muscular. With Joanie's saccharin sweet vocal the perfect contrast for lift-off.
Writers & producer Tommy Oliver could never ever have foreseen the affect this joyous Big Apple session would have on the British Northern Soul crowds.. it's irresistible building atmosphere riding on a full orchestra stirred with girl-group unison. Captured here in high fidelity with this 1965 promo press still housed in its birth-sleeve.
Check out the stunning clarity emitted from the high-quality VINYL grooves.
THIS IS NORTHERN SOUL!
in superb clean condition... it's a floor-packer, a head-turner, a scarce opportunity to own something that guarantees dancefloor reaction!
Condition Report
a fine hardly noticeable X on the a-side label, is the only flaw on this brilliantly clean archive promo.
Bobby Garrett
My Little Girl / Big Brother
Mirwood : 5511 vinyl (45s)
The most hallowed of all West Coast soul labels. Who's quest to emulate Motown's success in Detroit, recruited the most talented black musicians and artists Los Angeles could provide. In the process producing some of the greatest Northern Soul recordings ever committed to vinyl
Can you believe "My Little Girl" started life as a B-side to a male vocal -group harmony ballad. All that energy lay hidden away until the embryonic Northern Soul discovered its power in 1969/70.
Shirlie Mathews, James Anthony Carmichael and Fred Smith the same innovative trio, who six releases earlier created Mirwood's greatest Northern Soul girl-group recording by The Belles - Don't Pretend - the three mirror that magnificent session by crafting this blinding record.
For me this recording outstrips Motown, giving up distilled energy, panache with an authentic no frills approach; born of the spontaneous enthusiasm for the moment, that was unfolding before them whilst not seeking commercialism in any way.
Shirley Matthews guiding her group "The Belles" to support Bob Relf's soaring vocal, with shrill heavenly choruses. James Anthony Carmichael conjuring up a vortex of swirling strings driving the song from one crescendo to another. With Fred Smith gluing the whole this together with potent bassline dance pulses and bringing in the male-group vocal choruses at the end, to cap it all off.
A record that has in recent times earned a very welcome renaissance to new Northern Soul recruits, whilst welcomed back by old-school hearts that were set alight by this sound back in the golden years of Northern Soul infancy in 1969/70, then featuring at all the iconic dancehall's throughout the 70's and beyond.
THIS IS NORTHERN SOUL - at its most vibrant! a record that changed the life of 1000's of youngsters nearly 50 years ago - exciting, exhilarating real-deal 60's Soul dance, willful indoctrination to a lifetime of NS dedication.
This listing of course is the original February 1966 press; beware of counterfeits or worn out styrene copies that have ran the gauntlet of the notorious Northern Soul worn-out styli, penny-weighted cartridges, clumsy DJ cueing for over 5 decades. This copy is the durable VINYL press. Sit tight and resist the around-the-kitchen euphoric recall dance session, it will most likely ignite!
Condition Report
Two clean labels, good gloss on vinyl does reeal light surface marks, as you can hear it plays crisp, loud ad clean.
Si-Berians
Crying Won't Help The Hurt / This Is The Ending Of Our Love
Ricardo: R42972 (45s)
Two truly blissful harmony gliders, current spins for a few highly-respected DJ's like Arthur and most of Sweden's groundbreakrers;
I can't decide which side absorbs me the most, as the lead-side is every note a compelling sweet soul masterpiece, a delicate dressing of intricate guitar plucking lays down the carpet to weave again one man's hurt with his friends gathering round to dull the pain, with subtle freewheeling symphony of support, for the brilliantly beseeching falsetto reaching out to your inner emotions.
the backup-side typically featuring the deep-rich solo vocal rap partitioning the discharge anguish his girl is causing, midway-rap was the height of Soul ballad fashion in the early 70's, The Si-Berians pulling it off smoothly, but not so smoothly that it loses that glorious edge from "The Street-corner", still filtering through that authentic neighborhood atmosphere. As the lead singer convinces us with real-hurt, as he recognizes his precious love affair is about to end. His pain is quite palpable, with his voice gently cracking at the most poignant moments.
This is top quality vocal-group harmony Soul journey into the Lowrider Heaven not once but twice over..
Elusive Chicago is superb condition.
Condition Report
Two clean labels, full gloss previously unplayed mint minus vinyl, both sides play beautifully clean (listen)
Mary Wells
Dear Lover / Can't You See (You're Losing Me)
Atlantic : AT. 4067 DJ (45s)
But as dance-trends evolved through the decades, it was "Dear Lover" that took up pole-position as the DJ's choice. The gifted partnership of Gerald Sims & Carl Davis replicate Mary's Motown moods, simulating her Smokey Robinson classics with a finger-clicking, zipping string stepper driven by simplistic piano notes showering subtle horns. Just a seamless mid-tempo delight arguably trumping her Motown past. With a fabulous instrumental interlude towards the finale.
But when it comes to Twisted Wheel revival evenings, it has to be the foot-tangling "Can't You See (You're Losing Me)" that whips up the euphoria on a frantic dancefloor.
Two classic sides framing one of soul's most-loved of all, soul-songbirds.
Condition Report
Two clean yellow demo labels, the flipside giving up some soft age blemishes, see the images. Vinyl carries full gloss, revealing only soft hairlines when angled in the light. plays superb.
Pink Floyd
It Would Be So Nice / Julia Dream
Columbia: DB 8401 DJ stickered (45s)
Under pressure from EMI to record a top 10 hit, this is the record that went against Pink Floyd's vision of their future and consequently regretted releasing the most.
Pink Floyd's 1968 third single for Columbia, written by the "quieter" member of the band, Richard Wright who constructed a rather whimsical look at daily life's routine; with notes of Ray Davies in the lyrics and style but infused with moments of quality psychedelic multi-instrumentation hovering in the background; as it skips in and out of the two styles that seamlessly merge into one; the hoped to be commercial hit. That unfortunately never happened. Despite of a huge EMI promotion campaign it was allegedly shunned by the BBC because the original version mentioned "The Evening Standard" re-edited into "The Daily Standard" a fictional newspaper but still ruffled the feathers of the strict adverting rules and regulations the BBC enforced at the time. Receiving hardly any radio airplay at all.
This is 3.40 seconds "Daily" version of course. Lead vocals were by Richard Wright himself, whilst also playing a combination of instruments, "Floyd" nor its fans consider this a great record by any stretch of the imagination and it "bombed" badly". But the magical flipside Roger Waters composition that saved the day; "Julia Dream" was the compass reading "Floyd's" music would follow. Eerie, haunting "Prog" featuring hovering flutes, echoing choruses, imaginative sound effects and weird lyrics like the famous "Scaly Armadillo" reference.
Now an elusive 45, a real failure for "Floyd" at the time, a rarity indeed, solid collectors piece that can only rise in value as the years pass by.
Condition Report
FACTORY SAMPLE NOT FOR SALE EMI sticker on a-side label. Clean labels, 4 prong centre intact, although the label reveals little or no signs of turntable outings. The vinyl reveals multiple soft surface marks, plays clean and true only the occasional soft tick along the way.
Byron Lee and the DragonNaires
Dumplins / Kissin' Gal
Blue Beat : B 2 Bagby credit (45s)
This the first press Blue Beat no. 2 with the correct writer credits to (Doc) Bagby adjusted from "accidental" crediting of Bryon Lee & Lester Williams as the creators of this 1957 crazy Sax instrumental by Doc Bagby.
Lee & Williams inject the Jazz of Jamaican to Alan Freed choice of play. Elevating their version up and beyond, with hard blown sax, insane piano and machine-gun drumming! Bryron Lee discards the Hammond organ break of the USA original, sprinkles it with uplifting Jamaican spices, transforming it into a superior mix.
A great tune, but more importantly and essential rare number in this most-wanted series of Jamaican dedicated label.
Condition Report
X on flipside label, a-side label is clean, tiny soft wear of the title, (see images). Strong gloss on vinyl, reveals multiple soft surface hairlines, as you can hear both sides play strong.
Beltones
Home Without You / Why Pretend
Harry J Record : blank 7638 (45s)
Two superior vocal-harmony Reggae grooves on one disc. Sit back and experience Harry J Johnson guide an accomplished/seasoned 4 member harmony group.
top sound in its rarest form.
Condition Report
Red label has a handwritten title with S.Chin in marker, flipside label has has a rubberstamped label imprint i.d. telephone number and availability at Duhaney Park Pharmacy. Fine clean vinyl revealing only a few soft surface hairlines.
Big Youth with Vivian Jackson
Yabby Youth / Big Youth Fights Against Capitalist
Prophets : 5042 (45s)
Condition Report
"Yabby Youth" label both sides - slight writing - red ticks indicators on the correct label - above fine clean vinyl - close on
Big Youth
Phill Pratt Thing / version
Terminal : 8006 (45s)
Phil Pratt guides Big Youth to embellish, John Holt's - Riding For a Fall - whilst retaining that gorgeous hanging trombone, cradled by hovering vocal-group harmony and intricate guitar picking. The result is mesmerizing! With Big Youth decorating the session with his deep vocal rap, squeals and commentary.
It works so well, especially on this interference free mint minus vinyl.
A stunning song, delivered with narcotic rhythm and dreamscape vocals.
love it!
Condition Report
two clean two clean labels, full gloss mint minus vinyl, plays perfect both sides.
Robert Moore Group
Alter Ego / No Drivin-On Sunday
Starship : 4452 (45s)
Super cool indie, that never got past local gigs, rarely seen for sale, and gaining a reputation, and not just in the Twin Cities area.
Word is out, value will rise, only list once before on e-bay. Out first copy!
Condition Report
two clean labels, full gloss vinyl revealing only soft surface blemishes when angled in the light
Lyn La Salle
Randee Ram-Jet / Takin' Life Easy
Hy-Nibble: 824H-9241 (45s)
Two strong sides "Takin' Life Easy" was the chosen a-side in 1967.
But we lead with uplifting psyche/rock flipside, with the weird title of "Randee Ram-Jet". Heavily utilizing the in-vogue "Ravi Shankah" instrument of choice; which infiltrated Rock music during 1967, "The Sitar" was becoming the "in" sound, with George Harrison particularly highlighting its uses within '67 rock music.
Lyn La Salle's recording sound much more like a group than a single artist, infuses wonderful psychedelic decoration for the song, from the first notes to the last The Sitar plays a major part in this atmospheric mix of guitar, sitar and group vocals. Good tune, no wonder it enjoys an underground following.
The chosen a-side "Takin' Life Easy" has tones of Haight - Ashbury flower-power with early hints of "Donovan" quickly lost as the zipping strings strengthen the production.
Two great indie sides from 1967, on this most inspiring label design, that is rarely seen for sale, as it's first local imprint "Hy-Nibble" which was later picked up by "dill as dishwater" A&M for national release that completely failed.
Condition Report
Two clean art-labels, vinyl reveals soft surface blemishes, but plays with only soft background, with the music dominating and coming through crisp and clear.
Jimmie Ellis
Happy To Be (The Man You Like To See) / Looking Through The Eyes Of Love
Century City : CCR 511 (45s)
Here's 45 that just doesn't turn up for sale. A local Los Angeles project by radio DJ Tom Cross, who persuades Jimmy Preacher Ellis to momentarily park his "Blues" career; to co-write and record some crossover soul excellence, creating a mid-paced groove of mesmeric quality.
Jimmie's gravel coated baritone gliding through guitar and drum mid-tempo dance pulses, is a spine-tingling uplift. As he declares he'd be happy to be a man his girl wants him to be. He's sure with her love, he'll be recovered from the trauma of Vietnam, in the morning.
Life is gonna be sweet tomorrow.
Especially if you're able to secure this "ghost" of a 45 that past by his many Californian Blues fans and sold nothing at the time.
Condition Report
Two clean labels, view images, strong gloss on vinyl revealing only minuscule sleeve storage hairlines when angled in the light.
Johnny Summers
I'm Still Yours / Prove It To Me
Yorktown : 1008 (45s)
So brilliantly constructed, with Johnny Summers pleading voice convincingly conveying a narrative that seems to have sprung from personal experience. Label owner Harry Bowen calling upon the great Miles Grayson's mastery of the piercing girl-group chorus. Decorating a bass guitar driven dance arrangement, a truly magnificent Northern Soul masterpiece quickly unfolds. So many innovative musical ingredients fusing into one supreme dancefloor delight. Aerial horns prompting Johnny's beseeching pleas gliding from one peak to another, ending with a particularly fabulous cocktail of trumpets, girls and drumrolls.
This Miles Grayson NS dancer injects penetrating girl-group affirmation, answering Johnny's beseeching words of despair. Even though his anguished situation builds and builds. With those dispiriting Bowen lyrics, deliberately softened by an exceptional girl-group choruses, as his pain swells. The combination with brilliantly timed key changes creates inspiring "have to dance to" Northern Soul. Not to often does such deep seated misery, get so deliciously woven into such a muscular Northern Soul dance production.
Magnificent Northern Soul classic, a huge play for the legendary NS DJ John Vincent circa 1983, sounding even better today than it did back near 40 years ago.
PS. Do not overlooked the moving Deep Soul ballad that lies hidden away on the flipside
This copy is in stunning near perfect condition.
Condition Report
Two bright clean solid silver labels, no fade or ring wear. Vinyl is a full gloss unblemished mint minus, a top copy!
Vibrations
'Cause You're Mine / I Took An Overdose
Epic : 5-10418 (45s)
After that crazed piano intro ...followed by those howling group vocals..
total dancefloor mayhem explodes ..
everytime!
Condition Report
Two flawless label, play perfect vinyl reveals only the merest sleeve contact blemishes under direct light. A beautiful copy
Sunlover's
My Poor Heart / This Love Of Ours
Breakthrough : 1002 (45s)
Joey Jefferson's highly regarded D.I.Y. Los Angeles Soul label, given iconic Northern Soul status by that limited press of the single sided Holy Grail by The Inspirations - No One Else Can Take Your Place - in late 1967. This plain but gorgeous label vista presenting vocal group excellence, was released just one label number number after the Inspirations. But utilizing the masterplate from the previous Mutt and Jeff 18 release from the summer of 1966 .
"My Poor Heart" was The Sunlover's first 45 release, suffering from being pressed with release number "18" that was later duplicated Mutt & Jeff release no. 18 also shared by "You'll Never Make The Grade" in 1967
Please note the discogs listing of the Mutt and Jeff 18 "This Love Of Ours " 45 gives the release date as 1967 erroneously assuming "Breakthrough" press was first, in fact Mutt & Jeff was first by at least 12 months. But writer, producer, label owner Joey Jefferson believed in the standout songs. With a relaunch of his two standout soul-group recordings on his 1967 imprint "Breakthrough" a label that triggers an adrenaline rush, the few times I've come across. "My Poor Heart" was mastered and pressed late June 1966. with "This Love Of Ours" going to press late June 1967 on Mutt & Jeff 18.
It is thought both "Inspirations" and "Sunlover's" more or less enjoyed simultaneous release month, with the Sunlover's taking priority on the promotion effort. "The Inspirations never receiving a b-side, attention was focused on Breakthrough 1002 as both sides showcased truly magnificent mid-60's L.A. vocal group sound.
Confusing indeed, but interesting. As The Inspirations remains a Holy Grail "impossible" whilst the Sunlover's I believe to represent Joey Jefferson's finest work, which ever side you drop the arm on.
Listen and prepare to be wowed! As 1966 and 1967 partner each other on this most magical harmony Soul 45.
Condition Report
two clean labels, immaculate full gloss vinyl, a top copy, both sides playing crisp and clean
Liberation Street Singers
Love Is In The Air / Sunshine Of The Morning
Petagram: PE 203 (45s)
Hidden away on the flipside of a pedestrian "Gospel" recording, lies a thumping slab of stabbing Northern Soul propelling a confrontational sister vocal; that rises and falls from a shrill PMT growl to a tyrannical ear piercing scream. . Projected from girl who demands your complete attention, as she and the relentless horn n' piano thrusts its unapologetic power straight through you. This highly-charged session demands you stop what you are doing, as it crashes head-on into your space, with untold presence and power.
Seasoned Capitol Records producer Steven Douglas Kreisman, a more-than accomplished studio saxophonist, rips into the arrangement adding even more potency to this already belligerent mover.
If you like your Soul Sisters to take no prisoners, on waves of relentless horns and squealing saxophone, this tune is merciless as it never pauses to take breath, a perfect allniter floor-destroyer!
Rarely comes to market with such beautifully clean mint minus vinyl.
Condition Report
Clean mint minus vinyl, soft h2o fade on the label see images. NO flaking text deterioration.
Tobi Lark
Happiness Is Here / Talkin' About Love
Topper: 1011 (45s)
Both her 45s for Topper highly sought-after Motor City movers from a Northern Soul Goddess, who can do no wrong.
"Happiness Is Here" a snappy George McGregor project with Tobi skipping through accomplished jazz-grounded instrumentation with Hamilton's studio guys who had honed their skills, 'cross town at Motown's Jazz Workshop. You can hear that top quality musicianship on everything Dave Hamilton was involved with.
Killer Sister Northern Soul dancer that triggers feel-good elation, right from the opening barrage of horns, the perfect platform for Tobi's heavenly voice to soar high over the peppering piano notes, cradle by archetypical Detroit girl choruses. This song could not be more "Detroit" than it is. All the ingredients on Detroit musicians can mobilize .
The flip "Talkin' About Love" is darn good also, but not in the class of the uplift that "Happiness Is Here" supplies.
Condition Report
Age browning stain on both labels, no flake or paper or print deterioration. (see images). Full gloss mint minus vinyl.
Webs
Don't Ever Hurt Me / Little Girl Blue
Dynamic: 109 (45s)
No. 109 for me offers no only the best and rarest vocal group Northern Soul experience, it does it twice over with the beseeching "Don't Ever Hurt Me" balanced up against the equally impressive horn-loaded, harmony cruiser "Little Girl Blue"
Two "killers" on one disc both benefitting from the unique vocal of Willie Cooper that gave up and unusual blend of edgy emotion, a soft rasping that accentuates his powerful soaring falsetto, this incredible vocal was complimented by his writing prowess with help from his neighbor and group stalwart Marshall Boxley.
On side one, "Cooper's" spectacular vocal is perfectly framed as he effortless ascends from one pleading phrase to the next. Reinforced by Abe's studio band blasting out their signature Tex-Mex horns that featured in so many of Epstein's productions. The combination is truly breathtaking Northern Soul, underlining my opinion, yes this is The Webs and Willie Cooper's finest recording session.
Flip it over for the exquisite "Little Girl Blue". The Webs dampen the pace down a tad but lift the harmony togetherness up a few notches, a slick slow-burner that at times I prefer to hear, depending on my mood.
A 45 with two equally sumptuous performances of top-drawer Northern Soul, that rarely comes to market.
Condition Report
Two clean labels, Sheldon stamped vinyl gives up full gloss mint minus vinyl. A real beauty! do not pass by, encountering another copy as clean as this may never happen.
Spectrum
Little Girl / Asking You
Columbia: DB 7742 DJ (45s)
All that corporate power for manufacturing a new boy-band, success eluded them. The project failed miserably in Great Britain but received some success in Europe which is why RCA persevered, releasing 7 more 45's over an 18 month period. But the high hopes of Colin Forsey (vocals), Bill Chambers (organ), Tony Atkins (lead guitar),Tony Judd (bass), and Keith Forsey (drums) amounted to little or no success in the UK. This seriously obscure 1965 debut 45, is today aimed at those of you Brit-group archeologists and completists of the 60's sounds. Most of whom will never have heard either side.
So be prepared for these surprisingly superior blue-eyed boys, guided by Peter Snell melding two darn good Drifters-esque sound. The a-side "Little Girl" distinctly mimicking the Drifters style, even down to the swirling strings and clip-clop New York Latin influences. The harmonization is remarkably seamless. The flipside "Asking You" is more Mersey-beat but still still awash with exceptional tight vocalization, within its slick delivery.
Two rather cool sides on this auction today as 99% of our members will not have hear either side. We feel both need to be heard, a cut-above, most Brit-pop being made in 1965.
Listen, you will be impressed.
Condition Report
Archive condition, mint minus full gloss vinyl, discreet release date on the a-side label, the only freckle on an other flawless face. Still housed in birth-sleeve.
Blues & Soul
#6 March 1968 / inc: Al Greene, Wilson Pickett, Troy Keyes, Pyramids etc - Blues & Soul
Contempo Pubications: 6 (MAG)
Plus the usual fascinating array of artist pics and bios include.
1. Full page artist photo and bio full page bio of artist of a man that would become a Soul icon Al Greene with interesting facts he used to sing with The Creation on Zodiac. Born in Memphis now recording in Grand Rapids Michigan. On the success of his "Back up Train" success he was soon to return to Memphis to become a super-star under the guidance of Willie MItchell
2. Bio (no pic) of Barbara Mason with her UK Action releases under scrutiny
3. Black & White pics of Booker T. Jones, Bobby Bland, Lou Rawls and Felice Taylor
4. Wilson Picket full page bio and full page picture
5. Pyramids - picture and bio
The much loved Record Company adverts - I particularly love the SUE -PER-SOUL-IC-SOUNDS new catchphrase for SUE records and the now incredibly rare Albums advertised. Also Bell records support for Oscar Toney Jr, James Carr, James & Bobby Purify plus their impressive new compilation album "Bell's Cellar Of Soul". Soul City with their consistently looked forward to advert. Full back page spread of Tamla Motown album releases and latest singles...
A timey reminder that it was just The nite-clubs and the DJ's that inspired the British Soul scene Blues & Soul played a crucial part in its meteoric rise through the decades.
Essential reading and preservation of our history and culture.
Condition Report
a fine clean copy - no writing, stains, rips or tears. Just some soft storage aging
Emotions
Love Of a Girl / Do This For Me
Vardan : 201 (45s)
The thumping flipside "Do This For Me" was later issued on Philips 40353 a year later, is totally magnificent Northern Soul a typically powerful Arthur Wright blaring horn propelled dancer. A slow start then explosive drumming takes them into "Impressions" mode, impressively matching all those signature vocal-peaks Curtis Mayfield and team were so admired for. Killer Northern Soul indeed, that if Gate Records of San Francisco & nationally distributed by Philips hadn't chosen to reissue it, "Do This.." would surely have outstripped the high values of their "Frantic" 45.
The prize on this disc though, is not the Northern Soul dancer (as good as it is) but the scrumptious harmony stroller "Love Of A Girl" that never appeared on 45 again, just this colourful 1965 Vandan label. An anagram of the first 3 letters of each name of label owner and producer Arvey Andrews.
Swirling strings, considerate percussion, the delicate plucking of the violin, the razor-sharp strings cutting the air. The three boys McHenry Otis, Danny Sanders and James Gregory rise up with the most-gloriously silky "Lowrider" experience. Flawless, soaring male group harmony, glide through Arvey Andrews master-crafted string dominated landscape.
Utterly Sublime!
Condition Report
Two Clean labels, full gloss unblemished vinyl, both sides play perfect.
Carl Holmes And The Commanders featuring Pervis Herder
Soul Dance No. 3 / Crossin' Over
Blackjack : 409 (45s)
Psychotic, prowling, predatory Philadelphia, Northern Soul which ever side you drop the arm on!
Since the beginning of the 60's decade the Carl Holmes and his 5 man backing team had made themselves the Soul-party band of Philadelphia. Adding to this animated team of John Holmes - percussion, Calvin Irons - bass, Don Lewis - tenor sax, Tommy "Fats" Howard - keyboard and Marco King enriching those cataclysmic vocals whilst bashing his tambourine. This guys together are one of the most imposing gatherings ever committed to vinyl. Imagine then when Mr, Holmes signs up Leon Huff associate Pervis "Soul City" Herder adding his squealing vocal prowess into the mix.
The result is not one but two, explosive mix-sixties screamers;
Driven by pounding drum intro, bombarded by a barrage of trumpets, Carl Holmes' pulsating plectrum mastery dictates the pace. Harnessed by Herder's pebble-dashed screams delivering the dance instructions. Scythed apart by Don Lewis' chainsaw saxophone bursts, pumping it all up yet another level. Then the John Holmes comes back in with an assault on the senses with his explosive relentless quick-fire drumming attack..
The other-side follows the same recipe, going for the "throat" all out merciless Northern Soul at it most destructive!
AWESOME dancefloor destroyers no matter which side you spin..
Condition Report
Two clean labels, full gloss mint minus vinyl revealing only a few soft, feeble, sleeve storage blemishes when angled in the light. Plays super-clean, loud and clear.
Smoke Inc.
Waitin' For Love / It's The Same Old Song
Smoke Records Inc. : 461 (45s)
The Bay Area's ability to fused Jazz and Soul has over the decades crafted some of the Rare Soul scene's rarest, most-wanted 45s. This one, from the affluent area of Marin County (DJ Shadow territory) has remained excruciatingly elusive, whilst demand and awareness has steadily built up through the years. Until reaching its zenith recently with only less than 56 copies surfacing over the last 30 years or so.
Rare indeed, and it's so damn good. I adore the classy "bar" that Bay Area artists set when they blend Soul/Jaz/R&B together, no region does it better.
This beyond rare example is one of the finest. Swirling organ, gentle piano, subtle drumming, accomplished guitar riffs are the perfect platform for the softly rasping lead vocal to glide through. His teammates' on hand to add a rich "da da doo" chorus at every opportunity. A fabulous flute solo, cushioned by impressive cymbal tickling is is the highpoint as the vocal takes pause, the group enrich this already impressive session into to rare soul greatness.
A superior journey into Soul/Jazz/fusion in stunning condition
Condition Report
two clean labels, flawless mint minus vinyl, as good as it gets condition.
Fantasy
I'll Call You Every Morning / I Can't Let Her Go
R G & Curia : 8206 (45s)
A dancefloor monster for A-list DJ's like Soul Sam, Ted Massey, Mick Taylor over the last few years, a proper 80's crowd-pleaser with immense powers to lift the room.
A optimistic Latin arrangement seems at odds with Joel's lyrics of being abandoned, but he turns his unforeseen desertion into a magnificent Latin/Soul dancer. The showering Conga pulses, are riddled with incessant Cowbell thwacks, cooking up a captivating invitation to dance, as the group-choruses send out uplifting embellishments.
Stunning dancefloor fuel, that has been cramming the floors at every event it's been played at.
OVO DJ's and promotors note this is the 1981 original press, that only a privilege few own. Accept no less...
A guaranteed set-save when your choices hit a lull, spin this tune, this Mr, DJ and the crowd is yours, uplifting in the extreme.
Condition Report
signed by the writer, producer Joel Ramirez on the a-side label, flipside label is clean. Strong gloss vinyl, reveals multiple soft surface hairline when angled in the light. As you can hear it plays a totally clean Ex+.
T & T
Something On My Mind / Betcha by Golly Wow
Cobra: 45-002 (45s)
Jazzy guitar picks decorate this inviting dance tune, stabbing keyboard pulses, accomplish tenor sax augments this Ashford & Simpson composition, an infectious platform for a mysterious Massachusetts duet. Tiajuana giving up the reaching lone vocal, with Tommy Bryant providing the enriching layer of skilled saxophone expression.
This one-off recording from the so far mysterious T & T featuring Tommy Bryant and his lady partner Tiajuana. It is not clear who "Tiajuana" actually is, same goes for "Tommy Bryant"; is he the same guy who recorded for T-Neck or the veteran jazz artist? So far We have found the artist information sparse and unclear. An Ashford & Simpson composition, that comes under the umbrella of "Jobette" that Diana Ross recorded in 1970, released as a LP track. Unfortunately like the majority of ms. Ross’ later work; far too “saccharin” for real rare-soul dancefloor impact.
What is clear though, is this independent E. W. Brown production, on his own Boston based label is the first of four releases none of which made any significant local sales. All are elusive and the second time Mr. Brown utilized a Nick Ashford and Valerie Simpson composition. The other being the excellent, but not as rare, Arlene Bailey "Ain't That Something".
Who ever this couple were, they give up an uncomplicated early 70's dancer, that carries the required “edge” to get noticed; Simultaneously making waves on the British & European rare-soul dance scene for quite some time now.
Listen this infectious, lilting shuffler; you'll find, is beyond impressive.
Condition Report
Two clean labels, full gloss unblemished mint minus vinyl. a superb copy.
Flirtations
Stronger Than Her Love / Settle Down
Festival : F-705 DJ (45s)
New York's finest come together to shape one of Northern Soul's great girl-sounds. But you wouldn't expect anything else when Sidney Barnes, Horace Ott & Herb Abramson breaking bread.
Rattling piano keys meld with searing vibes, due for a head-on collision with hard-blown horns. ..
WHAT AN INTRO!!
The starting pistol for a mass migration from the carpet to the wooden floor of soul-dance expression. The girls elevate those boasting lyrics on almost every word, as the lead singer becomes intent on breaking the sound barrier... the expected crescendo does not disappoint either! Burping "Terry-type" sax, again those resounding vibes, carrying a determined lead voice that is just not gonna be defeated... the tsunami of sound drives the dancefloor mood up and beyond all that the night has brought you, so far.
THIS IS GIRL GROUP NORTHERN SOUL at its most potent!
Totally brilliant, but do not overlooked the delicious mid-tempo flipside that has lived in the shadows of the lead side Soul-blitz for too long..
Then there's that stunning label-vista of brilliant white to consider... does Northern Soul collecting get any more satisfying than this 45?
A listing that delivers on every aspect you would consider, whilst chasing the real-deal NS classics..
"Stronger Than Her Love, My Love Is Stronger Than Her Love..." sweet music to our ears..
An opportunity to own a timeless classic in archive condition, stunning perfection..
Condition Report
two pristine promo labels, pristine throughout. Vinyl is in archive condition. Full gloss ad totally unblemished. Absolutely no previous contact with the Northern Soul scene. Rare condition indeed!
Don & Ron
I'm So So Sorry / Girl I Hope To Find
White Cliff : 214 (45s)
A monster tune for Carl & Maria Willingham on their much anticipated travels up and down the United Kingdom, in fact one of the records why this couple's DJ sets were so in-demand countrywide...
When it comes to male vocal Northern Soul duets, few recordings give up the impressive they are a "group" with a this session giving up double, triple, quadruple vocal-volleys as this mysterious pair ricochet off each others vocal charms; as writer Emile Guess seems influenced by the Chicago sound, with hints "Monkey Time" filtering through on the horns. A rhythm that this exceptional duo harnesses and then ride home with great urgency. Giving up compelling Northern Soul, that I've witnessed congesting the dancefloor at Benn Hall, Rugby allniter, quickly followed by prolonged audience applause.
THIS IS A TUNE!
But do not overlook the flip, a dreamy mid-tempo grooves that creeps under your skin, with Don & Ron again showing off their skill of double voiced harmony.
This is killer NOLA Northern Soul, a fleeting ghost that just never comes to market.
Do not pass by, only our 2nd. copy this century.
Condition Report
Two clean labels, only the merest signs of careful storage (see beautiful images)